Error fetching full content with error: 500 ([unable to retrieve full-text content])Read More
Five Bungalows for When You Just Need a Houseon September 30, 2020 at 8:27 pm Read More »
Chicago theater is in the midst of a historic transition, with COVID throwing companies into financial turmoil, forcing season cancellations, mass layoffs, and in some cases, permanent closures. Yet alongside this devastation, demands for rapid social evolution have led some institutions to step (or be pushed) into dramatic growth. Historically, talented Black theatermakers have largely been relegated to onstage or lower-level administrative roles. Now a stunning wave of seven new hires (taking the lead at nearly the same time) marks an era of seismic change. Below is a glimpse into the fresh vision for the future of Chicago theater from these new leaders.
In the long tradition of Black mentorship, I asked everyone interviewed who helped shape their careers along the way, as well as what up-and-comers and collaborators they see as the next link in the chain of this Chicago Black Artistic Renaissance.
Sana Selemon, the executive director for BoHo Theatre, first auditioned with the company two years ago, came on as a company member earlier this year, and was quickly approached about the executive director position. “Honestly, at first I was a little scared because I thought that taking a larger leadership role with an organization was something I thought would happen later on in my life. I think there’s always a bit of impostor syndrome when you first hear these things.” Black talent has often been passed over for critical career-defining promotions. It is imperative that young leaders get a foot in the door with small organizations, so that as they mature they can keep pace with their white peers in terms of career advancement.
As she takes the helm, one of her biggest challenges is grappling with COVID and the safety of returning to live performance. Selemon says, “We are never going to jump the gun on something like that. There are so many opportunities to keep that measure of artistic integrity while remaining safe.” She sees virtual performances as a silver lining to help bring in historically underrepresented artists. The other silver lining is the opportunity to hear from artists, and incorporate community suggestions such as the We See You W.A.T. (White American Theater) document. Selemon says equity “is something we need urgently in this moment. There is no other way forward.”
For mentors, Selemon lists Shelley Delaney (her acting teacher at Ohio University), her mother, and Brian Evans, her voice and speech teacher in college. “He fostered the love of language in myself.” For up-and-coming artists, she recognizes Neel McNeill and Sophiyaa Nayar of Definition Theatre and actor-singer Mariah Copeland.
Kamille Dawkins was pleasantly surprised to be enthusiastically voted in as interim artistic director of Strawdog by her company peers, who saw that she was already doing most of the job anyway: serving as co-ensemble manager, the diversity, equity, and inclusion committee chair, and managing conversations between the board, the previous artistic director, and the ensemble. So how did Strawdog achieve a healthy culture where Dawkins’s contributions could be celebrated and rewarded organically?
Dawkins says, “We have been trying to sculpt the company so that it’s more ensemble-led. We are finding that, when the ensemble gets to make the decisions, they are usually looking out for their fellow artists and trying to make the right choices that go beyond just the business aspect of things.” Strawdog is not only presenting a virtual season, but also plans to utilize bold social justice initiatives, ranging from donating a portion of ticket sales to different service organizations, to directly giving back to the Chicago community.
Two of Dawkins’s favorite mentors are Sonita Surratt and Kemati J. Porter at eta Creative Arts Foundation. “It’s amazing how other Black women who are older than you encourage you to go even further.” Artists that she looks forward to working with include Brianna Buckley, Marcus D. Moore, and Wardell Julius Clark. “I gravitate towards artists who use their voice to speak out about injustices, and who make sure the art they create is helping that.”
As Regina Victor steps into the artistic director position of Sideshow Theatre, they are one of the few trans people to lead a Chicago theater company–a bit of information which has proven challenging to fact-check. (Will Davis served as artistic director for American Theater Company before it folded in 2018.) Ironically, the difficulty tracking down this information speaks to the need for more diverse theatrical journalistic coverage–an area where Victor has already led the charge, launching the publication Rescripted (of which I am a contributor).
Upon starting with Sideshow on October 1, Victor’s first order of business will be figuring out “How do we take care of our people first, on every level? How do we consider safety? How do we take care of people without shutting our doors? How do we provide new opportunities for people? Because that is how I got into Sideshow, through their new play program. I want to make sure that the pipeline is still flowing.”
Victor thinks that the culture of exceptionalism can be detrimental to creating progress within BIPOC communities. “We are fighting so hard to do things for the first time and because of that, people often want to sit on the sidelines to see if it works out, [to see] if we will be the exception, rather than leaning in and helping.”
Speaking to that pipeline, Regina cites a long list of mentors that they have had the privilege to work in fellowship with, including Steppenwolf artistic director Anna Shapiro, Azuka Theatre founder Raelle Myrick-Hodges, former Victory Gardens artistic director Chay Yew, Daniel Alexander Jones, and Court Theatre. “They were the first people to give me a staff position as a producer.” In terms of future and current leaders, they list Michael Kaiser, Ian Damont Martin of Haven Chicago, and Ken-Matt Martin.
Donterrio Johnson, the artistic director at PrideArts, sees this watershed moment as an opportunity “to show Blackness on our stages that isn’t the ‘normal’ Blackness seen in theater. Chicago theaters often stage shows that deal with Black pain, and there is a place for that, but there are so many shows that are a celebration of Blackness that I am interested in bringing into the fold.” In response to COVID, PrideArts has begun renovating the lobby space, getting rid of old furniture and carpeting, and redoing the bathrooms, as well as imagining smaller shows that will help future audiences and actors to feel safe.
When asked about something that could radically change the Chicago theater community, Johnson answers “Communication. What I would love to see is the community banding together and finding ways to work with each other.” The mentors who provided creative guidance and inspiration during his career include Brenda Didier and Jermaine Hill. When he reflects on the next generation of leaders, he lists David Robbins and Jos N. Banks as people who are currently making their mark.
Mikael Burke, the associate artistic director at About Face Theatre, is looking forward to shaping the new play development program, along with educational initiatives that work to decenter whiteness. “I have the great fortune of being in this position at one of the very few queer-oriented companies in town, where I will have direct impact to guide how we are engaging with the up-and-coming generation to foster and create responsible artists who are prepared to step into the world and put an emphasis on BIPOC queer storytelling.” Burke is excited that he has agency to steer the ship to ensure that the product About Face develops is truthful and beneficial to everyone and not just the few white artists who already have ample resources.
In terms of mentors, Burke points to Ann Joseph-Douglas, and his graduate training at the Theatre School of DePaul, specifically Lisa Portes (head of directing), Damon Kiely (head of performance), and most impactfully, Phyllis E. Griffin, the first Black theater professional he had the opportunity to work for as an assistant director, in a room where the entire production was Black. “She had a greater impact on me as a human than she will ever truly understand. She helped me understand my potential as a Black queer artist. I am forever grateful and indebted to her for that.”
When thinking about the next generation of artists on the come up, he mentions a trio: Herbert White II, Leah Brock, and Sir King Castro, who have founded a creative hub called BLK Uncommon. As Burke muses on changes that could prove transformative for the Chicago community, he thinks there should be term limits on artistic leadership positions. “I don’t believe there is one human being at the head of a cultural organization who can be as in touch with his community ten years later as he was when he first started. A decade is more than enough time to do so much good work and pave the way for someone else to pick up the mantle.”
Picking up one such heavy mantle is Anthony LeBlanc, who stepped into the role of interim executive producer of the Second City upon the departure of longtime former owner and producer Andrew Alexander amidst calls for equity. “As an artist who has been a comedian for 20-plus years, you see that some things are cyclical, but you start to see the point where the patterns are starting to break.” Drawing a line from Ferguson, to the #MeToo movement, to the BLM movement, he sees a new sustained momentum that won’t peter out. “Not only is this [work] worth it, but there’s a possibility of seeing the change that you are working for while you can still experience it.”
When asked about those who provided a helping hand along the way, LeBlanc mentions the Black performers who were at Second City when he started performing, including Claudia Wallace, Keegan-Michael Key, David Pompeii, and John Hildreth, who provided emotional support weathering microaggressions from white colleagues in the greater comedy community at crucial junctures in his career, and his mother. “I grew up in southeast Texas and my parents grew up in the Jim Crow South. One mantra that I often say in rehearsals that I learned from her is that she was someone who followed the rules, so that when you break the rules, it means something.” To that point, LeBlanc muses on the audition process and how actors often leave the room never knowing why they weren’t cast. “Do we have to do it that way?”
“I want to create a place where you not only reduce the need to struggle, but you also support those folks to find their voice to continue to persevere.” Mentioning up-and-coming leaders in the Chicago artistic community, LeBlanc names Asia Martin, an actor and writer who recently presented a show at the Kennedy Center, and me, the author of this article. (I am an instructor at the Second City and LeBlanc was my first Black improv instructor.)
Not every theater has been behind the curve on equity. As a matter of fact, some, like Congo Square, have been quietly leading for years, and its appointment of Charlique C. Rolle as managing director is a continuation of a long history of Black leadership. “Starting a new job in the middle of a pandemic is wild and crazy. It has been exciting coming into this amazing company that has been producing for over 20 years, being really grounded and rooted in the Chicago community, creating a platform for Black voices.”
Reflecting on the differences between working in predominantly white and predominantly Black spaces, Rolle notes that, in white spaces, “There’s a sense that my Blackness or my culture is an exciting convenience . . . Coming to Congo, there’s an innate freedom; you don’t have to ‘put on’ just to be yourself.”
Rolle continues, “We aren’t in the middle of a white theater trying to get them to understand and to hear us. This is our heart, our mission. This is who we are. There is no separation for us. In the midst of all of this uprising we are rooting and anchoring more deeply, so that the work we are producing, even in the digital space, still maintains that integrity where Black voices can be heard.” To that end, Congo Square is nurturing the next generation of Black artists and administrators through a series of industry training workshops to ensure sustainable community growth. “It’s not enough just to make sure people get into the space if they can’t keep the space.”
Rolle lists Richard Smith and Robert McKee of Inaside Chicago Dance as mentors (“They were able to see things in me that I was not able to see in myself”) as well as Jackie Taylor, founder of Black Ensemble Theater, and Vershawn Sanders-Ward, founder of Red Clay Dance. “They as leaders have made an impact on who I am and where I am in this moment.” Two up-and-coming leaders Rolle respects are writer-director-activists Kristiana Rae Colon and Sydney Chatman.
The oft-repeated adage in Black households that “You have to work twice as hard to get half as far” is evident in the substantial bodies of work that precede all of the artists interviewed for this article, illustrating that they have earned their titles in full. However, the realities of racism, even in liberal spaces, can unfairly paint notable successes by BIPOC artists as unearned tokenism to satisfy quotas. Fortunately, these leaders are unfazed by such racist sentiments.
Burke says, “If all of this hadn’t gone down, would there be six or seven of us taking positions all at the same time? Probably not. But I hear these kinds of things and I roll my eyes and sigh at how limited their worldview must be to feel that way.” Says Dawkins, “It’s bizarre to me to think that a company would even put themselves in jeopardy by giving a job to someone who isn’t qualified just for optics. Companies don’t do that, ever.”
LeBlanc passes on advice from one of his mentors. “If you are a person who is different from anyone else, you have to be good. If you got to that place, it’s because you deserved to get it.” Victor says, “I think we have an opening right now and we need to take as many positions as possible and not worry about things like tokenism. White supremacy will always devalue anything that any ‘minority’ has ever had.”
Selemon quips, “If people want to think that, let them think that. That’s not my concern.”
Succinctly, Johnson says: “Watch us work.” v
We field phone calls and emails that concern malfunctioning hearing aids on a daily basis. These queries always get our attention and are treated as a priority. We look for solutions to achieve the best possible hearing outcome.
Those who are lucky enough to wear Lyric, the only extended wear hearing aid, certainly have the simplest fix. It takes one quick visit to remove the problematic device, inspect and clean the ear, and place a new device in the ear canal. The problem is easily resolved.
Traditional hearing aids are quite different. It takes a bit of detective work to decide if the hearing aid can be repaired in the office or if it requires the attention of the hearing aid manufacturer. Your Audiologist may have parts in stock to correct the problem. If we don’t have what you need, many replacement components can be ordered from the factory.
When a hearing aid gets sent to the manufacturer, ask if it is under warranty. Most new hearing aids carry a manufacturer’s warranty that will cover up to 3 years of repair. If the device is out of warranty, you should be informed of what it will cost to send the hearing aid in, including any shipping and handling charges.
Hearing aids that are older than five years old may cost a bit more to repair. Some manufacturers refuse to fix older devices. In such cases, there are labs that will service most brands.
With modern technology, it may come to a point where the device is unrepairable. Your hearing aid is a small computer and once there are no more integrated circuit boards, you will be out of luck. Gone are the days of solder and flux. There are no more broken wires to reconnect
Technology changes quickly. It may be worth your time to consider upgrading to something new. If you wish that you could hear better, the rapid advancements in technology afford that possibility.
When your hearing aid breaks, don’t despair. Your investment in better hearing deserves attention. Please call us. We’d love to help.
Filed under:
Hearing Aid Cleaning and Maintenance
Meet The Blogger
Dr. Gostomelsky earned her Bachelors Degree in Speech and Audiology at the University of Illinois, in Champaign IL, her Masters Degree in Audiology at Illinois State University, and her Audiology Doctorate (AuD) from the Arizona School of Health Sciences.
Dr. Gostomelsky is licensed through the State of Illinois, and maintains membership in the Academy of Dispensing Audiologists and Illinois Academy of Audiology. She has over 40 years of experience treating patients.
Dr. Gostomelsky takes pride in helping her patients understand what it takes to be successful in both protecting and improving hearing, one patient at a time.
Completely spam free, opt out any time.
Latest on ChicagoNow
Posts from related blogs
Most recent post: Can I deduct a haircut from my taxes?
Most recent post: Good Posture
Most recent post: Why I Walk in BCAN’s Annual Event
More from Lifestyle: Wellness
Read these ChicagoNow blogs
Read these ChicagoNow Bloggers
©2020 CTMG – A Chicago Tribune website –
Crafted by the News Apps team
Can My Hearing Aid Be Repaired?Dr. Sheri Gostomelskyon September 29, 2020 at 10:43 pm Read More »
I’ve needed to catch up with the beer reviews I’ve already recorded for my “One Take Beer Review” YouTube playlist. And I have reviewed more of the Black Is Beautiful collaboration beer series, intended to raise funds and awareness for Black issues and social justice.
Flight of Black Is Beautiful at Orange & Brew
My chance to catch up was the weekend before last, when Orange & Brew Bottle Shop held a Black Is Beautiful tap takeover. Among the ten beers they had on tap were four I had not gotten to before. And they just happened to be selling a flight of four beers. So here we go:
Proceeds to benefit M.A.S.K. (Mothers/Men Against Senseless Killings) and Breakthrough (supporting East Garfield Park).
Roasty, with a dark appearance. There is a bit of coffee roast malt in the taste. However, it is somewhat smoothed by the oatmeal. This is a good example of a regular American-style stout.
Proceeds benefit My Block, My Hood, My City.
Plenty of maple in the nose, mostly like a maple frosted doughnut, which can get an “artificial” note if there’s too much of it. Chocolate roast malts come up in the taste, then backed up by a cinnamon edge. Light foam that leaves some oily legs around the sides of the taster glass. Alcohol is warming, and accented by the maple syrup.
Also benefiting My Block, My Hood, My City.
Not much nose to start. And not as much foam as the others I’ve had today. Taste is nice, though, with a mild roast malt. More of a strong porter than an imperial stout. Smooth, and a little lighter in alcohol. Then the alcohol seeps in halfway through, improving the final result.
Benefiting the Chicago Alliance Against Racist and Political Repression
Another straight ahead Impy Stout. A mild nose, and perhaps that’s my issue. As the last beer in my flight, it’s still showing a little bit of tan head after several minutes. The taste has “clean” dark malt with little roastiness. Nice and smooth compared to some of the other beers. Alcohol is surprisingly not that apparent, considering I’ve now finished the equivalent of 20 oz. of stout.
It should be noted that on top of the proceeds being donated from the individual brewers, Orange & Brew was earmarking the proceeds from this event to the Chicago-based Wood Family Foundation.
I’ve finally gotten as much out of this series as I’m likely to find. I hope to bring in some more at a later date.
Filed under:
Beer Review
Tags:
Black Is Beautiful, Midwest Coast Brewing, Orange & Brew, Pipeworks Brewing, Revolution Brewing, Sketchbook Brewing
Fresh Beer Events, occasional bacon, but always spam free, opt out any time.
Meet The Blogger
Writer, trivia maven, fan of many things. I thought to learn all there is to know about beer as a way to stay interested in learning. It is my pleasure to bring Chicago’s craft beer scene to you.
More Events, blogs and podcasts
I’ve been named one of the Top Chicago-based Bloggers to Follow by Flipkey.com, the vacation rental division of TripAdvisor.com!
Recent posts
Categories
Tags
Blogroll
Latest on ChicagoNow
Posts from related blogs
Most recent post: Bjrnck Releases A Masterpiece Of Sensual Art With “Waiting On You”
Most recent post: Chicago Theatre: Fall 2020 in person and virtual productions
Most recent post: PHOTOS: Looting in Chicago
More from Entertainment: Nightlife
Read these ChicagoNow blogs
Read these ChicagoNow Bloggers
©2020 CTMG – A Chicago Tribune website –
Crafted by the News Apps team
We’ve been doing Family Meeting for over three years now. Just listen to testimonials from a few participants:
Husband: I like that we established it when they’re young so that it’s normal when they’re older. I like that it allows them to give input on our weekend. I like the penguins. I think it gave a logical venue to discuss the race stuff.
9 year old: I kind of like the planning stuff and knowing what we’re doing.
6 year old: Well, I don’t know if I even think it’s fun.
Fair enough.
So, what IS Family Meeting?
It’s carved out time when we look back at our past week, look forward to the next one, and share a story and discussion. The ritual goes something like this:
Light a CANDLE
Read a STORY
Discuss the story and CHARACTERS
Plan the WEEKEND
Consult next week’s CALENDAR
Look back with PENGUINS
Say a PRAYER
*
CANDLE: We light a candle and sing the chorus of “This Little Light of Mine” to signal the start of the meeting.
STORY: In 2017, we started by reading Desmond Tutu’s illustrated Children’s Bible. Since the death of George Floyd, we’ve read books about people of color (POC).
CHARACTERS: We spend a few weeks on each POC. So far, we’ve learned about Ruby Bridges, John Lewis, Kamala Harris, Harriet Tubman, and Thurgood Marshall. * True story: the 2.5 year old will request that Alexa “play the Darth Vader song by John Lewis” (instead of John Williams). Proof that even when they’re little, they’re absorbing more than we think.
WEEKEND: For the kids, we ask them each what’s one fun thing they want to do during the weekend. My husband and I earmark some time for ourselves, and (usually) focus on a task to complete in or outside the house.
CALENDAR: We go through the weekdays and confirm activities and commitments. (This is the part where my husband says we are overscheduled, and I look at him sheepishly.)
PENGUINS: This is a cute addition that started a few months back. In “Penguins of Madagascar,” Private is constantly striving to be “a meaningful and valued member of the team.” In my daily gratitude journal, I take note of actions that are meaningful and valuable between family members.
I also make it a point to focus on areas that are challenges for the specific person: when my husband steps out during his work day so I can get something done, when the oldest is actually nice to the middle one, when the middle remembers his socks, when the little tells us he has to go pee. It’s basically a warm fuzzy packaged as a penguin.
PRAYER: We close the meeting with the Lord’s Prayer and then we definitely don’t fight over who gets to blow out the candle.
And there you have it: Family Meeting.
(Once a year, we also set our personal and family goals. This is where we decided on our family motto: “Gossers show up.”)
Filed under:
Parenting
Tags:
discussing race, family meeting, family time, weekly meeting
Meet The Blogger
“Your life will never be the same after a kid!” Um, duh. I’m a French teacher turned stay-at-home mom who strives to maintain her social life with and without her kid. By day, a French speaking, cloth diaper changing, baker extraordinaire in both real and pretend kitchens. By night, a cabaret performer, below average triathlete, and club hopper. (Book club, that is.) Email at: [email protected].
Completely spam free, opt out any time.
Find me on Scary Mommy!
Find me on In the Powder Room!
Find me on activitieschildren.com!
Latest on ChicagoNow
Posts from related blogs
Most recent post: Yes, Teenage Boys Are That Stupid
Most recent post: The Inevitability of Hope and Change
Most recent post: Shop Lookpreneur September
More from Lifestyle: Parenting
Read these ChicagoNow blogs
Read these ChicagoNow Bloggers
Error fetching full content with error: 500 ([unable to retrieve full-text content])Read More
How the Bears Pump Crowd Noise Into Soldier Fieldon September 29, 2020 at 8:14 pm Read More »
Error fetching full content with error: 500 ([unable to retrieve full-text content])Read More
Five Autumnal Day Trips for Misanthropeson September 29, 2020 at 10:18 pm Read More »
Mayor Lori Lightfoot announced Monday that the city will be easing coronavirus restrictions in Chicago for establishments, including but not limited to, bars, restaurants, fitness centers, and salons in response to the city’s success in fighting the pandemic.
Advertisement
View this post on InstagramAdvertisement
A post shared by Mayor Lori Lightfoot (@chicagosmayor) on Sep 28, 2020 at 11:17am PDT
This breaking news in Chicago will help struggling businesses by allowing bars to open for indoor service. In addition, restaurants can increase their indoor capacity from 25 percent to 40 percent. This is a huge development, as the city has been finding ways to accommodate indoor dining in creative ways as the harsh winter months in Chicago rapidly approach. Perhaps the increase in 15 percent capacity will avoid the city from having to employ a ‘Rats With Radiators‘ approach to winter dining, but who are we to say. Some business owners are wary of the latest news, saying that a slight bump in capacity won’t make much of a difference, if any difference, while others are saying they’ll take anything at this point.
This breaking news in Chicago comes the same day that the state of Illinois reported 1,709 more coronavirus cases and 13 additional deaths. However, city officials are confident in Chicago’s progress enough to contain the spread of coronavirus that a loosened grip on the current restrictions is in the best interest of the city and its citizens.
When the city tightened restrictions at the end of August, it severely hindered operation in business without food licenses. It severely affected breweries and neighborhood taverns who could not maximize patrons by socially distancing people indoors.
Per Block Club Chicago, this is a rundown of the new restrictions and latest news that will go live at 5 AM on Thursday morning:
• Restaurants, health and fitness centers, personal services, non-essential retail can operate at 40 percent indoor capacity, up from 25 percent. These establishments, restaurants and venues still are limited to 50 total customers within one room or space. The limit of no more than six people at a table also remains in place.
Advertisement
• Breweries, taverns, bars and other establishments that serve alcohol without a food license may reopen with indoor seating, at 25 percent capacity or 50 people, whichever is fewer. Service must be capped at two hours per party. Patrons must be seated when eating, drinking or order. Patrons also cannot walk up to the bar to order.
Advertisement
• Bars, restaurants and other establishments that serve alcohol will now be able to sell alcohol for on-site or off- site consumption until 1:00 am and may remain open until 1:30 am. However, liquor stores, grocery stores and other establishments that sell alcohol to-go through a Packaged Goods license must continue to stop selling alcohol at 9:00 p.m.
• Health and fitness classes and after-school programming may now allow 15 people in groups, up from 10.
• Facials, shaves and other personal services that require the removal of face coverings will be allowed.
So, what does the latest breaking news mean? Is this a sign that things are going back to the way they used to be?
Unfortunately, the coronavirus has not gone anywhere. The City of Chicago has just gotten very good at combating it and, while it may be difficult to deliver compliments in the direction of leadership, it’s a testament to the strict protocols put in place from the get-go. Dr. Allison Arwady, who heads up the city’s Department of Public Health, still demands that Chicagoans follow all social distancing protocols and remain extremely cautious about who they interact with, continue to wash and sanitize hands, and wear your mask whenever you’re out in public.
Expand your culinary horizons with home private dining and Chef Wood Porter. It’s a one of a kind experience.
View More About Chef Wood Porter
The city also reminded that just because coronavirus restrictions in Chicago are being loosened on October 1st, does not mean they will remain there if the numbers begin to trend in the opposite direction.
Unfortunately, the news of expanded indoor dining capacities comes too late for some bars and restaurants to survive. You can find our updated running list of restaurant closures later this week. However, this news might be able to save a handful of establishments looking for that extra push of business to remain afloat.
For more coverage on the coronavirus updates in Chicago, you can follow this link.
At UrbanMatter, U Matter. And we think this matters.
Tell us what you think matters in your neighborhood and what we should write about next in the comments below!
Featured Image Credit: Koi Fine Asian Cuisine
In 2010, Chicago underground music maven Patrick Scott (formerly of My Lai and 97-Shiki) launched postpunk label Modern Tapes with the self-titled debut cassette from Carbondale coldwave three-piece Staring Problem. The band have since relocated to Chicago, and Scott now lives in New York City, but their relationship has remained intact: Staring Problem’s first vinyl full-length, Eclipse, arrives as Modern Tapes celebrates its tenth anniversary. Eclipse wears its DIY pride on its sleeve, and the rawness and cavernous echo of Staring Problem’s lo-fi recordings keep their most skeletal arrangements from sounding too thin. Staring Problem draw heavily from 80s goth and postpunk, though their deft melodies give even their coldest songs a therapeutic warmth–and they sometimes break from the genre’s obvious reference points with infusions of classic girl-group sweetness. On the forlorn “Primrose,” bandleader Lauren Owen sings about trudging through tragedy, her bereft but unbowed vocals reaching for the better tomorrow that can only come if she keeps moving. v
For more than two decades, singer and guitarist Matt Christensen has led Zelienople, a Chicago trio that explores the outer limits of slowcore by dismantling its melodies and song structures. Christensen focuses on similar territory in his solo work–at least, that’s the impression I get from what I’ve heard so far. His Bandcamp page features more than 120 releases he’s made since 2011, though one is a retrospective-slash-primer compilation he put together as part of a 2018 interview for Glassworks Coffee’s website (the roaster’s founder, Ben Crowell, worked for Touch and Go before launching his coffee business). But Christensen’s work doesn’t require you to develop an encyclopedic grasp of this expansive catalog in order to understand what’s moving about it. Though the songs on September’s A Swollen Sun sound like they’re always almost falling apart, his sparse, spacious guitar playing and murmured vocals, awash in gentle reverb, reliably come through to keep the music moving. Christensen sometimes flirts with rootsy guitar tones that make parts of the album sound like disintegrating country ballads, but mostly the auras he summons feel mystical, monklike, and deliberately open to interpretation. v
Chicago’s Favorite Food Critics and Bloggers
Leave a comment