What’s New

Chicago-based alt-rockers Smut reach for the comfort in shoegaze with How the Light FeltLeor Galilon November 9, 2022 at 6:00 pm

Alt-rock five-piece Smut formed in Cincinnati in 2014, and within a couple years, their shoegaze-dappled heavy rock had caught the ear of Bully front woman Alicia Bognanno, who offered them a crucial tour-support spot. In the time since Smut’s previous full-length, 2017’s End of Sam-soon, they’ve relocated to Chicago, dialed back the aggression in their wall of sound, and shifted to a more plaintive approach to songwriting. The band’s new How the Light Felt (Bayonet) leans into shoegaze’s ocean-size capacity for tranquility, and this gentler approach sharpens every little detail. They toy with elements from outside shoegaze’s blissful lexicon, though they don’t all land gracefully; the brief drum ’n’ bass loop that perks up a lonesome guitar melody on “Morningstar” goes over a lot better than the cheesy record scratches that stumble into the acoustic picking on “Unbroken Thought.” Smut excel when they console, such as on the restorative “After Silver Leaves.” Front woman Tay Roebuck sings about a former lover who called her by another woman’s name, a painful relationship that her younger self grew out of when she no longer needed the validation; her kindhearted, mellow vocals could help someone in a similar spot imagine a better future for themselves.

  Smut’s How the Light Felt is available on Bandcamp.


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

Chicago-based alt-rockers Smut reach for the comfort in shoegaze with How the Light FeltLeor Galilon November 9, 2022 at 6:00 pm Read More »

Cabin in the woods

In Cat McKay’s queer comedy Plaid as Hell, Cass (Reagan James) hopes that a weekend away in the Wisconsin woods will be a fitting opportunity for her best friend Emilie (Cayla Jones) to bond with her new girlfriend Jessica (Ashley Yates)—who Emilie hasn’t been so keen on getting to know, thanks to an unrequited crush on Cass. Their friend Kelly (Alice Wu) is tired of being caught in the middle. If the knotty interpersonal dynamic isn’t enough to jumble the weekend, there’s also a serial killer at large. While the killer’s whereabouts provide massive suspense, the frank humor and raw vulnerability the women display as they come to terms with their ordeal, and their feelings toward each other, are just as powerful. 

Plaid as Hell Through 11/19: Wed-Sat 8 PM, Sun 3 PM; open captions Sat-Sun 11/12-11/13 and Wed-Thu 11/16-11/17, sensory friendly performance Sun 11/13; livestreaming Wed-Fri 11/16-11/18, Factory Theater, 1623 W. Howard, babeswithblades.org, $35 ($28 students/seniors), $30 streaming, recommended 18+

Presented by Babes With Blades Theatre Company, Plaid as Hell exemplifies the company’s mission to “develop and present scripts focused on complex, dynamic (often combative) characters who continue to be underrepresented on theatre stages based on gender.” The four women contain multitudes, and their highly realistic relationships with one another reflect their unique perspectives, shortcomings, and strengths. Under the direction of Christina Casano, each actor finds depth in moments of lightness and of devastation. The intricate stage combat, by BWBTC ensemble member Maureen Yasko,demonstrates the characters’ imminent danger without ever being gratuitous.


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

Cabin in the woods Read More »

Rent pays off

After thoroughly enjoying the shameless perversity of Kokandy Productions’s Cruel Intentions, under Adrian Abel Azevedo’s direction, I found Azevedo’s Rent at Porchlight to bring a stark, often heart-wrenching dose of relevance to his now-known talent for embodying nostalgia. Musicals can be tough when you have the cast recording memorized, but this production of the late Jonathan Larson’s Tony- and Pulitzer-winning musical won me over, thanks to its capable cast, memorable set, and impressive ability to be both of the early 90s and jarringly present. The stage is literally a giant VHS tape on which live video of the actors is occasionally projected. (Ann Davis designed the set.) This theme of documentation, memory, and capturing moments in tragic times strikes the nerve we felt in the not-so-distant early days of COVID, as well as the current discourse around monkeypox, which has been disproportionately harmful (both physically and ideologically) to the LGBTQ+ community.

Rent Through 12/11: Thu 7:30 PM, Fri 8 PM, Sat 3:30 and 8 PM, Sun 2 PM; also Thu 11/10 10:30 AM, Thu 11/17 1:30 PM, and Fri 11/25 3:30 PM; open captions Sat 11/19 and 11/26 3:30 PM;  Ruth Page Center for the Arts, 1016 N. Dearborn, 773-777-9884, porchlightmusictheatre.org, $45-$79

Yet Rent is so much more than a snapshot in time of the devastating HIV/AIDS crisis. From Angel and Tom Collins (Eric Lewis) to Mimi (Alix Rhode) and Maureen, Rent portrays queer relationships with joy and complexity, celebrating how unique, though ultimately similar, our soulmate connections truly are. This cast nails the ensemble moments, from the vulnerability of “Will I?” to the radical energy of “La Vie Boheme.” Josh Pablo Szabo is an electric Angel, commanding the stage in life and channeling the cast’s collective passion in passing. Lucy Godínez makes a strong case for Maureen’s performance art to be its own, separate production. Finally, David Moreland as Mark and Shraga D. Wasserman as Roger give the best-friend energy that helps land the plane on hope for the future.


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

Rent pays off Read More »

Manservant and manchild

Fourteen years ago, First Folio Theatre presented Jeeves Intervenes, the first in what would prove to be a reliably crowd-pleasing series of adaptations by Margaret Raether of P.G. Wodehouse’s “Jeeves and Bertie” stories. (Jeeves Saves the Daywas the last show the company presented before the COVID-19 shutdown.) So it makes sense that they’d kick off their final season at Mayslake Peabody Estate with a return to the fizzy, silly, slapstick world of perpetual manchild Bertie Wooster and his adroit valet, Jeeves, who does indeed intervene and save the day on a regular basis.

Jeeves Intervenes Through 12/4: Wed 8 PM, Thu 3 PM, Fri 8 PM, Sat 4 and 8 PM, Sun 3 PM; no show Thu 11/24; open captions Fri 11/18 and Sat 11/26 4 PM; First Folio Theatre, Mayslake Peabody Estate, 1717 31st, Oak Brook, 630-986-8067, firstfolio.org, $49-Wed-Thu (seniors $44), $59 Fri-Sun (seniors $54)

Directed by Michael Goldberg, this iteration still offers plenty of goofy charm, even if Christian Gray’s Bertie is a bit more gray around the temples. (Then again, perpetual manchildren get older, never wiser.) Christopher John Grella’s Jeeves is a bit less choleric than Jim McCance, who played the role for the previous versions, but his slightly distanced persona suggests at times that he’s an alien or guardian angel sent to save Bertie from himself. Or in this story, from Bertie’s fearsome Aunt Agatha (Jill Shellabarger), who’s intent on marrying her feckless nephew off to budding intellectual Gertrude (Lydia Berger Gray). Bertie’s even-more-feckless friend, Eustace (Nick Sandys in fine pratfall form), has his own problems with his military uncle, Sir Rupert (Ron Keaton).

The screwball plot takes a while to find its pace, but it’s soon humming along like a 1920s Rolls-Royce Phantom. The actors know exactly when to underplay and when to go for broke, and Angela Weber Miller’s elegant set provides a delightful backdrop. I’ll miss this First Folio tradition. If you’ve never had the pleasure, it might be a good time to check it out before they turn the lights off for good.


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

Manservant and manchild Read More »

Choose your own adventure—from your seat

The Twenty-Sided Tavern—written by David Andrew Greener Laws (aka DAGL), with game design by Sarah Davis Reynolds, and produced by David Carpenter, is an interactive, theatrical quest that invites you to control the story from the comfort of your seat. 

Inspired by fantasy tabletop role-playing games, you choose the characters and the choices they make from your smartphone. Using a browser-based software created by Carpenter’s company Gamiotics Inc., you vote on decisions, multiclick for combat, and solve riddles. 

There are opportunities to participate onstage, but they are voluntary. This production, presented by Broadway in Chicago at the Broadway Playhouse, strikes an entertaining balance between digital and in-person interaction, letting you decide how much you want to be involved. Even if you don’t want to play the game, there are still plenty of comedic and improvisational moments to enjoy.

The Twenty-Sided Tavern Through 1/15: Thu-Fri 7:30 PM, Sat 2 and 8 PM, Sun 2 and 7:30 PM; also Fri 11/25, 2 PM, Wed 12/21 and 12/28 2 and 7:30 PM, Sat 12/24 2 PM only, no show Thu 11/24 or Sun 12/25; Broadway Playhouse, 175 E. Chestnut, 800-775-2000, broadwayinchicago.com, $40-$65

On its opening night, the Dungeons & Dragons-esque show attracted an audience of all ages and backgrounds, confirming you do not have to be a gamer to understand the game. Onstage, as our “Gamemaster” and “Tavern Keeper,” DAGL and Reynolds explained the rules and guided us through the experience. With the fourth wall completely shattered, opening night’s vocal audience had a lot of fun interacting with the actors. At one point, after having a streak with only male characters, one audience member insisted we change one of the characters’ genders, and the cast agreed.

Although Gamiotics lagged on my phone a few times, The Twenty-Sided Tavern fills a gap in live theater by bringing accessible technology to the stage. As the production changes every night based on audience engagement, it redefines experiential entertainment, reminding us that we write our stories.


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

Choose your own adventure—from your seat Read More »

Manservant and manchildKerry Reidon November 9, 2022 at 4:59 pm

Fourteen years ago, First Folio Theatre presented Jeeves Intervenes, the first in what would prove to be a reliably crowd-pleasing series of adaptations by Margaret Raether of P.G. Wodehouse’s “Jeeves and Bertie” stories. (Jeeves Saves the Daywas the last show the company presented before the COVID-19 shutdown.) So it makes sense that they’d kick off their final season at Mayslake Peabody Estate with a return to the fizzy, silly, slapstick world of perpetual manchild Bertie Wooster and his adroit valet, Jeeves, who does indeed intervene and save the day on a regular basis.

Jeeves Intervenes Through 12/4: Wed 8 PM, Thu 3 PM, Fri 8 PM, Sat 4 and 8 PM, Sun 3 PM; no show Thu 11/24; open captions Fri 11/18 and Sat 11/26 4 PM; First Folio Theatre, Mayslake Peabody Estate, 1717 31st, Oak Brook, 630-986-8067, firstfolio.org, $49-Wed-Thu (seniors $44), $59 Fri-Sun (seniors $54)

Directed by Michael Goldberg, this iteration still offers plenty of goofy charm, even if Christian Gray’s Bertie is a bit more gray around the temples. (Then again, perpetual manchildren get older, never wiser.) Christopher John Grella’s Jeeves is a bit less choleric than Jim McCance, who played the role for the previous versions, but his slightly distanced persona suggests at times that he’s an alien or guardian angel sent to save Bertie from himself. Or in this story, from Bertie’s fearsome Aunt Agatha (Jill Shellabarger), who’s intent on marrying her feckless nephew off to budding intellectual Gertrude (Lydia Berger Gray). Bertie’s even-more-feckless friend, Eustace (Nick Sandys in fine pratfall form), has his own problems with his military uncle, Sir Rupert (Ron Keaton).

The screwball plot takes a while to find its pace, but it’s soon humming along like a 1920s Rolls-Royce Phantom. The actors know exactly when to underplay and when to go for broke, and Angela Weber Miller’s elegant set provides a delightful backdrop. I’ll miss this First Folio tradition. If you’ve never had the pleasure, it might be a good time to check it out before they turn the lights off for good.


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

Manservant and manchildKerry Reidon November 9, 2022 at 4:59 pm Read More »

Choose your own adventure—from your seatBoutayna Chokraneon November 9, 2022 at 5:10 pm

The Twenty-Sided Tavern—written by David Andrew Greener Laws (aka DAGL), with game design by Sarah Davis Reynolds, and produced by David Carpenter, is an interactive, theatrical quest that invites you to control the story from the comfort of your seat. 

Inspired by fantasy tabletop role-playing games, you choose the characters and the choices they make from your smartphone. Using a browser-based software created by Carpenter’s company Gamiotics Inc., you vote on decisions, multiclick for combat, and solve riddles. 

There are opportunities to participate onstage, but they are voluntary. This production, presented by Broadway in Chicago at the Broadway Playhouse, strikes an entertaining balance between digital and in-person interaction, letting you decide how much you want to be involved. Even if you don’t want to play the game, there are still plenty of comedic and improvisational moments to enjoy.

The Twenty-Sided Tavern Through 1/15: Thu-Fri 7:30 PM, Sat 2 and 8 PM, Sun 2 and 7:30 PM; also Fri 11/25, 2 PM, Wed 12/21 and 12/28 2 and 7:30 PM, Sat 12/24 2 PM only, no show Thu 11/24 or Sun 12/25; Broadway Playhouse, 175 E. Chestnut, 800-775-2000, broadwayinchicago.com, $40-$65

On its opening night, the Dungeons & Dragons-esque show attracted an audience of all ages and backgrounds, confirming you do not have to be a gamer to understand the game. Onstage, as our “Gamemaster” and “Tavern Keeper,” DAGL and Reynolds explained the rules and guided us through the experience. With the fourth wall completely shattered, opening night’s vocal audience had a lot of fun interacting with the actors. At one point, after having a streak with only male characters, one audience member insisted we change one of the characters’ genders, and the cast agreed.

Although Gamiotics lagged on my phone a few times, The Twenty-Sided Tavern fills a gap in live theater by bringing accessible technology to the stage. As the production changes every night based on audience engagement, it redefines experiential entertainment, reminding us that we write our stories.


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

Choose your own adventure—from your seatBoutayna Chokraneon November 9, 2022 at 5:10 pm Read More »

Listen to The Ben Joravsky Show

Reader senior writer Ben Joravsky riffs on the day’s stories with his celebrated humor, insight, and honesty, and interviews politicians, activists, journalists and other political know-it-alls. Presented by the Chicago Reader, the show is available by 4 p.m. Tuesdays through Fridays at chicagoreader.com/joravsky—or wherever you get your podcasts. Don’t miss Oh, What a Week!–the Friday feature in which Ben & producer Dennis (aka, Dr. D.) review the week’s top stories. Also, bonus interviews drop on Saturdays, Sundays, and Mondays. 

Chicago Reader podcasts are recorded on Shure microphones. Learn more at Shure.com.

With support from our sponsors

Chicago Reader senior writer Ben Joravsky discusses the day’s stories with his celebrated humor, insight, and honesty on The Ben Joravsky Show.


It worked!

Leasing CHA land to the Chicago Fire is part of a longstanding plan to gentrify the city.


MAGA flip-flops

Men from Blago to Bolduc are trying to sing a new song.


Just like we told you

The Bears finally make their play for public money to build their private stadium.

Read More

Listen to The Ben Joravsky Show Read More »

Suicide Prevention Awareness Month has come and gone, but its message continues all year long

National Suicide Prevention Awareness Month takes place every September, but it’s important to be proactive and keep the conversation about mental wellness going strong throughout the year. But if you know someone struggling with depression or thoughts of suicide, approaching them about it can feel daunting.

With that in mind, Nature’s Grace and Wellness has compiled some Do’s and Don’ts to consider when sparking a conversation with someone about their mental health.

Do let them know that you’re there to listen without judgment. You’re initiating this conversation because you care about them and you’re concerned about their well-being and safety. 

Don’t be afraid to be direct and ask hard questions, such as: Are you planning on harming or killing yourself or others? Do you have access to weapons in your home or elsewhere?

Do ask the person what is causing their immediate distress. Asking “what” questions, as opposed to “why” questions allows them to pinpoint the factors contributing to their situation without feeling pressured to justify their feelings.

Do be an active listener. Active listening techniques, such as asking open-ended questions, and using words of affirmation (“I see”) and non-verbal cues (nodding or leaning forward) can help build trust and improve communication.

Don’t try to diagnose or suggest treatment options.

Don’t center yourself. Many people tend to show empathy by sharing similar experiences or interjecting, but this can inadvertently take the focus away from the person in need of support. 

Do remind the person that they are not alone. 

Do guide the person to reputable resources and doctors, or if necessary, a hospital emergency room.

Don’t leave the person alone if there is immediate danger or the situation feels “off. Trust your intuition.

Do call 911 to request an ambulance and a Crisis Trained Officer in the event of a non-violent mental-health crisis,

Do call 988 Suicide and Crisis Lifeline (formerly the National Suicide Prevention Lifeline) as needed for 24/7 support.

Don’t be afraid to discuss your mental health. Opening up to a doctor, therapist, or a trusted friend or loved one is an act of bravery that can help us become stronger and healthier. 

Do continue to be proactive and Spark the Conversation about sucide prevention.

If you or a loved one are in crisis or having thoughts of suicide, please dial 988, call 1-800-273-TALK (8255), or text TALK to 741741. If 911 is needed, ask specifically for an ambulance and for a Crisis Intervention Trained (CIT) police officer. To learn more about Nature’s Grace and Wellness, visit naturesgraceandwellness.com.

Be sure to follow @naturesgraceil on Instagram, Twitter, and Facebook.

Visit https://chicagoreader.com/special/spark-the-conversation/ to read other stories in our series.

Read More

Suicide Prevention Awareness Month has come and gone, but its message continues all year long Read More »

Listen to The Ben Joravsky Show

This article was originally published by City Bureau, a civic journalism lab in Bronzeville.

When Mayor Lori Lightfoot unveiled We Will Chicago two years ago, the initiative to create a citywide plan was touted as having the potential to reshape Chicago, ending decades of racial segregation that has kept low-income Black and Hispanic residents in communities that lack investment. 

In the years that followed, more than 100 residents and civic leaders selected by the city gathered behind closed doors to discuss a collective vision for the city’s future. But despite long meetings, dozens of ideas debated, and countless promises, the 150-page draft released earlier this summer for public comment lacked specific policy recommendations and a time frame to be implemented. Instead, the document offers 40 goals and 150 objectives.

“How is it going to affect policy decisions or budget priorities [if policy recommendations] are not in the plan,” said Amalia NietoGomez, the executive director of Alliance of the Southeast, one of the organizations that hosted community meetings on the plan. “We’re disappointed.” 

The city collected a list of more than 600 “preliminary” policy ideas from the residents and civic leaders who helped draft the plan. But those ideas, critics say, are at the bottom of the We Will Chicago website, like footnotes.

City Bureau reporters interviewed a dozen people who spent a year in “research meetings” with the city, working on a vision for Chicago. While all commended Lightfoot’s administration for tackling nuanced topics, they said Lightfoot is missing an opportunity to implement real change and address Chicago’s systemic inequities by not including tangible steps to change the city’s policies and hold public officials accountable. Some wondered why meetings were closed to the general public and whether there was sufficient community participation for the plan to be truly “for and by the people.”  

The public comment period closed November 1. That same day, a dozen people protested in front of City Hall, with signs that read, “Our Plan, Not The City’s Plan” and “‘We Will’ Be Heard!” They were part of a coalition that had asked the mayor’s office to extend the deadline. They argued that when they surveyed neighborhood residents in the city’s south and west sides, many had yet to hear of the plan.  

“Right now, we go on our experience, and our experience is: we’ve been shafted for decades and decades and decades,” said Leone Bicchieri, founder and executive director of Working Family Solidarity, one of the members of the coalition. Bicchieri said the coalition wants the city to engage in a candid conversation that results in specific policy commitments, including a promise that investors and developers are not going to run the show.

Leone Bicchieri, founder and executive director of Working Family Solidarity, said he wants real talk from the city, not vague promises. Davon Clark for City Bureau Credit: Davon Clark/City Bureau

The city said in a statement to the coalition that it would not extend the deadline, arguing that it had spent 18 months with 115 Chicago residents and 25 community partners to co-create the We Will Chicago draft. The city also said it had gathered “critical resident input before and during the drafting phase through over 3,000 surveys, 150+ neighborhood events, and focus groups with over 250 residents.” 

Kathy Dickhut, the Department of Planning and Development (DPD) deputy commissioner, said in an interview with City Bureau that the priority was creating the goals and objectives, which is why less time was spent on the policy ideas. Before going further with the policy ideas, she said they would have to be flushed out and undergo an equity analysis. But she added that once the broad plan is adopted, the city will look at those 600-plus ideas and develop actionable policies or programs.

“This is a ten-year sort of vision, so we have a lot of content to work with,” Dickhut said. “We are just at the beginning of this.”

For now, the city plans to create a companion document of the policy ideas and publish it with the final version of the plan, which is expected to be approved by the city’s Plan Commission in January. Any policies or programs that come after would need City Council’s approval.

The timing of the $4 million plan isn’t lost on those keeping track of Lightfoot’s promises to uplift Chicago’s economically distressed neighborhoods. Delmarie Cobb, a longtime political consultant, said that with the February mayoral election on the horizon, the plan is a tangible item Lightfoot can point to to show voters—and her opponents—she got it done. 

A citywide plan, which Lightfoot set as a top priority of her first term, became ever more important as the calls for racial justice grew louder in the wake of George Floyd’s murder and news stories highlighted the racial inequities that affect almost every aspect of Chicagoans’ daily lives, from policing and health to housing and parking tickets.

“MAKE NO LITTLE PLANS”

We Will Chicago is the city’s most sweeping acknowledgment, to date, of racial and ethnic inequities and the role public officials have played in creating them. Framed by the city as a “historical reckoning,” the draft’s opening pages summarize how redlining, school closures, the construction of the federal highway system and other urban planning choices have perpetuated racial and ethnic inequity.

Chicago’s last urban planning initiative of this scale, the 1966 Comprehensive Plan under Mayor Richard J. Daley, was both too vague to gain traction and too specific to earn the votes needed for City Council approval. While it informed some development in the following years, it mostly faded into irrelevance. Over the next five decades, the city made no big plans; instead, it focused on regional and neighborhood planning

The city touted We Will Chicago as the first citywide planning initiative since 1966. Both plans articulate how development can align with residents’ needs and priorities but they do so in different degrees of detail.

Christina Harris, the director of land use and planning at the Metropolitan Planning Council, a local nongovernmental organization that helped the city shape the We Will Chicago planning process, said the distinction is in the word “comprehensive.” A comprehensive plan includes specific zoning and land-use policies. 

Some states require cities to create comprehensive plans every ten to 20 years. Illinois does not. The state leaves the choice to municipalities, but provides guidelines for comprehensive planning processes if municipalities choose to do one. For example, a comprehensive plan is not official until it’s been approved by the corporate authority, which in Chicago’s case is City Council. 

By comparison, the state has no requirements for a “citywide” plan, which is what the city is calling its plan. And that gives the city flexibility.

“It’s really more of a citywide vision,” said Chloe Gurin-Sands, also of the Metropolitan Planning Council. “It’s not a land-use plan. It’s not a comprehensive plan. It’s supposed to be guiding decisions about the direction that the city wants to move towards.”

COMMUNITY ENGAGEMENT

Lightfoot promised a plan for and by Chicagoans, which she restated in a letter included in the draft of the plan: “I want this plan to be OUR plan—not one crafted only by City staff.”  

The city’s engagement strategy included research meetings led by city staff and outside consultants, neighborhood forums led by community groups and programming by Honey Pot, an artist group that specializes in engagement and facilitation.

Honey Pot, whose contract is worth more than $283,000, was hired to explain the plan to people in creative ways at farmers markets, street festivals, and other in-person and virtual events. Their strategy included hiring more than 20 artist-organizers to put on around 80 events and share community feedback with each of the research teams involved in drafting We Will Chicago.

In documents reviewed by City Bureau, artist-organizers cited a lack of marketing support and a short engagement period as challenges in their outreach efforts. While they found the community engagement work moving and meaningful, they also encountered a deep disconnect and lack of trust. They said most community members they talked to were unfamiliar with the plan but skeptical that the city would actually heed their input and reverse decades of inequitable investment.

“It was hard,” Marlon Billups, who goes by the artist name Jo de Presser, said in an interview with City Bureau and other Honey Pot leaders and core members. 

Meida Teresa McNeal, Honey Pot’s artistic managing director, said there were just five of them doing all the administrative work, like keeping track of meetings and the broad strategy, and troubleshooting issues. And because of the pandemic they had to scramble to figure out ways to build meaningful connections with people virtually, which was a world apart from the face-to-face work Honey Pot is known for.

McNeal said the group intentionally moves slow because they want to build a space where people feel comfortable sharing, and that takes time. Ideally, she said, the engagement work would have been two-years long. But the city was operating on a fast timeline that gave them just three to four months to engage with people, she said.

What’s more, the city’s strategy kept changing, which meant Honey Pot—and the artists they hired—was constantly adapting. 

“We were building a ship on a ship that was still being built,” said Jennifer Ligaya, an artist,  sound and performance composer, and a Honey Pot core member. 

THE PLAN TO MAKE A PLAN

To draft the plan, the city identified several areas of focus: transportation and infrastructure; environment, climate, and energy; arts and culture; housing and neighborhoods; lifelong learning; economic development; and public health and safety. (Another topic, civic and community engagement, was added later on). Chicago residents were invited to apply to join a research team addressing one of those topics, or “pillars,” as the city called them.

More than 320 people applied. The majority of the applications were for “community partners,” a designation that allowed them to host meetings. Among the criteria used to select people, the city looked at the applicants’ experience, evidence of their local connections, and potential to engage with that community. In the end, the city selected 115 volunteers, most of whom were leaders in groups or organizations working on the specific topics the city was tackling, and 25 community partners.

None of the research team members were paid, though each group was led by several paid consultants and Honey Pot artist-organizers. About a third of the research team members identified as Black, a third as white, 17 percent as Hispanic/Latinx, and 10 percent as Asian. Two people identified themselves as American Indian/Alaska Native. 

The vast majority, 61 percent, said they were women. 

Iyana Simba, a director at the Illinois Environmental Council and the co-chair of the environment, climate and energy team, said her cohort was pretty diverse, and included a mix of residents and representatives from environmental justice organizations. 

Overall, Simba said the research team meetings were more in-depth than she expected. She felt folks needed an understanding of the city’s environmental history to participate. She is proud of their work, including a policy proposal that would create accountability measures around environmental impact assessments. 

“So we really did try to cover everything, but there might be things that we missed, or we messed up on,” she said.

LACK OF SPECIFICS

Over the course of these meetings, the research teams brainstormed goals and objectives that the city later refined into the 40 goals and 150 objectives in the We Will Chicago draft.  

One of the goals under the “economic development” section was to “build and sustain generational wealth and shared prosperity for Black and Latino communities.” One way to achieve that goal, the plan says, is to grow “community wealth through local, democratic, shared ownership and control of neighborhood assets.” 

Separately, a goal under the “housing and neighborhoods” section is to “prevent Chicagoans from being involuntarily displaced, especially those that have been historically marginalized.” And one way to do that is for the city to “increase community ownership opportunities and options for Black, Latino, Native American, Asian, and immigrant residents to collectively own land and properties.” 

But the draft doesn’t say how exactly the city is going to implement those ideas, which is why some community leaders feel the city is wasting an opportunity to enact real change. During the We Will Chicago process, public housing residents who have for decades asked to share ownership and control of the buildings they once called home watched the land be sold to private developers. Moreover, many of the southeast side residents who provided input on We Will Chicago’s environmental and public health priorities were at the same time fighting the city to stop the relocation of a metal shredder facility from Lincoln Park to their neighborhood. They won the battleat least for now.  

Victoria Moreno, a civil rights analyst for the federal government who participated in the housing and neighborhoods research team, said that after discussions group members had to vote on the spot on items to be adopted in the draft. “But what they were bringing back to us, which was supposedly based on our discussions, felt pretty distant, and very specific to revisions that had been done internally,” she said.

Moreno said a lot of the language had acronyms and terminology that were foreign to her. 

“It just was very technical,” Moreno said. She later added, “I still feel like I’m not sure how it’s actually going to translate into day-to-day life for people living here.” 

WHO GETS TO BE IN THE CONVERSATION?

In total, the city held roughly 90 research team meetings beginning in July of 2021. Each meeting typically lasted two hours and was not open to the public, a tension point for some research team participants who believed they should have been. Meeting notes, however, were usually made public a week after meetings were held. [Editor’s Note: City Bureau was a subcontractor hired by SB Friedman Development Advisors, a city contractor, to take notes at the so-called “pillar meetings” through its Chicago Documenters program. The contract was worth $70,000.]

Bill Garcia, an information technology engineer who participated in the transportation and infrastructure research team, wondered if it was even possible to get a comprehensive or representative view of what the public wants. 

“The type of people that come to local government meetings and this type of thing, they’re generally of a certain situation or status,” Garcia said, explaining that the folks who participated in his group had the time to do so, and to do it for free. 

“It was great but, you’re taking two hours out of your day every few weeks—it adds up over time,” he said. “You’re taking time away from your family.”

On the other hand, Garcia said the process could have gone on longer because the topics they were discussing were so big. [Editor’s note: Garcia regularly accepts paid assignments to document public meetings through City Bureau’s Chicago Documenters program.] 

Chris White, an organizer with Alliance of the Southeast, is among members of a coalition who want Mayor Lori Lightfoot to extend the public comment period for We Will Chicago.

Listen to The Ben Joravsky Show Read More »