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Release Radar 5/29/20: Starchild vs Zola Jesusradstarron May 29, 2020 at 4:16 pm

Cut Out Kid

Release Radar 5/29/20: Starchild vs Zola Jesus

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Release Radar 5/29/20: Starchild vs Zola Jesusradstarron May 29, 2020 at 4:16 pm Read More »

Chicago designates six city streets to be opened for dining & recreationCarole Kuhrt Breweron May 29, 2020 at 8:18 pm

Show Me Chicago

Chicago designates six city streets to be opened for dining & recreation

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Chicago designates six city streets to be opened for dining & recreationCarole Kuhrt Breweron May 29, 2020 at 8:18 pm Read More »

Blindly following “the science” into ruinDennis Byrneon May 29, 2020 at 7:42 pm

The Barbershop: Dennis Byrne, Proprietor

Blindly following “the science” into ruin

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Blindly following “the science” into ruinDennis Byrneon May 29, 2020 at 7:42 pm Read More »

On dishwashing, ATMs, walking the neighborhood and shopping for food during the time of “we’re all in this together….”Bonnie McGrathon May 29, 2020 at 6:57 pm

Mom, I Think I’m Poignant!

On dishwashing, ATMs, walking the neighborhood and shopping for food during the time of “we’re all in this together….”

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On dishwashing, ATMs, walking the neighborhood and shopping for food during the time of “we’re all in this together….”Bonnie McGrathon May 29, 2020 at 6:57 pm Read More »

The Beauty of Hecky PowellJohn Chatzon May 29, 2020 at 10:16 pm

It’s Never Just Black And White

The Beauty of Hecky Powell

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The Beauty of Hecky PowellJohn Chatzon May 29, 2020 at 10:16 pm Read More »

Protesters enter Minneapolis police station, set firesAssociated Presson May 29, 2020 at 3:49 am

MINNEAPOLIS — Cheering protesters broke into a Minneapolis police precinct station on Thursday after the department abandoned it, setting it ablaze and igniting fireworks as three days of violent protests spread to cities across the U.S over the death of George Floyd, a handcuffed black man.

A police spokesman confirmed late Thursday that staff had evacuated the 3rd precinct station, the focus of many of the protests, “in the interest of the safety of our personnel” shortly after 10 p.m. Livestream video showed the protesters entering the building, where fire alarms blared and sprinklers ran as blazes were set.

Protesters could be seen setting fire to a Minneapolis Police Department jacket and cheering.

Protests first erupted Tuesday, a day after Floyd’s death in a confrontation with police was captured on widely seen citizen video. On the video, Floyd can be seen pleading that he can’t breathe as Officer Derek Chauvin, who is white, kneels on his neck. As minutes pass, Floyd slowly stops talking and moving. The 3rd Precinct covers the portion of south Minneapolis where Floyd died.

Minnesota Gov. Tim Walz earlier Thursday activated the National Guard at the Minneapolis mayor’s request, but it wasn’t immediately clear when and where the Guard was being deployed, and none could be seen during protests in Minneapolis or St. Paul. The Guard tweeted minutes after the precinct burned that it had activated more than 500 soldiers across the metro area.

Earlier Thursday, dozens of businesses across the Twin Cities boarded up their windows and doors in an effort to prevent looting, with Minneapolis-based Target announcing it was temporarily closing two dozen area stores. Minneapolis shut down nearly its entire light-rail system and all bus service through Sunday out of safety concerns.

In St. Paul, clouds of smoke hung in the air as police armed with batons and wearing gas masks and body armor kept a watchful eye on protesters along one of the city’s main commercial corridors, where firefighters also sprayed water onto a series of small fires. At one point, officers stood in line in front of a Target, trying to keep out looters, who were also smashing windows of other businesses.

Hundreds of demonstrators returned Thursday to the Minneapolis neighborhood at the center of the violence, where the nighttime scene veered between an angry protest and a street party. At one point, a band playing in a parking lot across from the 3rd Precinct broke into a punk version of Bob Marley’s “Redemption Song.” Nearby, demonstrators carried clothing mannequins from a looted Target and threw them onto a burning car. Later, a building fire erupted nearby.

But elsewhere in Minneapolis, thousands of peaceful demonstrators marched through the streets calling for justice.

Floyd’s death has deeply shaken Minneapolis and sparked protests in cities across the U.S. Local leaders have repeatedly urged demonstrators to avoid violence.

“Please stay home. Please do not come here to protest. Please keep the focus on George Floyd, on advancing our movement and on preventing this from ever happening again,” tweeted St. Paul Mayor Melvin Carter, who is black.

Erika Atson, 20, was among thousands of people who gathered outside government offices in downtown Minneapolis, where organizers had called a peaceful protest. Many protesters wore masks because of the coronavirus pandemic, but there were few attempts at social distancing.

Atson, who is black, described seeing her 14- and 11-year-old brothers tackled by Minneapolis police years ago because officers mistakenly presumed the boys had guns. She said she had been at “every single protest” since Floyd’s death and worried about raising children who could be vulnerable in police encounters.

“We don’t want to be here fighting against anyone. We don’t want anyone to be hurt. We don’t want to cause any damages,” she said. “We just want the police officer to be held accountable.”

Hennepin County Sheriff David Hutchinson said the rally had been peaceful and there had been no arrests by late evening.

After calling in the Guard, Walz urged widespread changes in the wake of Floyd’s death.

“It is time to rebuild. Rebuild the city, rebuild our justice system and rebuild the relationship between law enforcement and those they’re charged to protect,” Walz said.

Much of the Minneapolis violence occurred in the Longfellow neighborhood, where protesters converged on the precinct station of the police who arrested Floyd. In a strip mall across the street from the 3rd Precinct station, the windows in nearly every business had been smashed, from the large Target department store at one end to the Planet Fitness gym at the other. Only the 24-hour laundromat appeared to have escaped unscathed.

“WHY US?” demanded a large expanse of red graffiti scrawled on the wall of the Target. A Wendy’s restaurant across the street was charred almost beyond recognition.

Among the casualties of the overnight fires: a six-story building under construction that was to provide nearly 200 apartments of affordable housing.

“We’re burning our own neighborhood,” said a distraught Deona Brown, a 24-year-old woman standing with a friend outside the precinct station, where a small group of protesters were shouting at a dozen or so stone-faced police officers in riot gear. “This is where we live, where we shop, and they destroyed it.” No officers could be seen beyond the station.

“What that cop did was wrong, but I’m scared now,” Brown said.

Others in the crowd saw something different in the wreckage.

Protesters destroyed property “because the system is broken,” said a young man who identified himself only by his nickname, Cash, and who said he had been in the streets during the violence. He dismissed the idea that the destruction would hurt residents of the largely black neighborhood.

“They’re making money off of us,” he said angrily of the owners of the destroyed stores. He laughed when asked if he had joined in the looting or violence. “I didn’t break anything.”

The protests that began Wednesday night and extended into Thursday were more violent than Tuesday’s, which included skirmishes between offices and protesters but no widespread property damage.

Mayor Jacob Frey appealed for calm but the city’s response to the protests was quickly questioned as things started spiraling into violence. “If the strategy was to keep residents safe — it failed,” City Council Member Jeremiah Ellison, who is black, tweeted. “Prevent property damage — it failed.” On Thursday, he urged police to leave the scene of the overnight violence, saying their presence brings people into the streets.

But Eric Kowalczyk, a police captain in Baltimore during the Freddie Gray riots in 2015, generally supported the Minneapolis police strategy to avoid confrontations with protesters when possible, saying heavy-handed police responses are only met with more violence.

“Nobody wants to see their city on fire, but at the same time, you don’t want to see citizens injured by the very police department they are protesting,” he said.

Protests have also spread to other U.S. cities. In New York City, protesters defied New York’s coronavirus prohibition on public gatherings Thursday, clashing with police, while demonstrators blocked traffic in downtown Denver. A day earlier, demonstrators had taken to the streets in Los Angeles and Memphis.

Amid the violence in Minneapolis, a man was found fatally shot Wednesday night near a pawn shop, possibly by the owner, authorities said.

Fire crews responded to about 30 intentionally set blazes, and multiple fire trucks were damaged by rocks and other projectiles, the fire department said. No one was hurt by the blazes.

The city on Thursday released a transcript of the 911 call that brought police to the grocery store where Floyd was arrested. The caller described someone paying with a counterfeit bill, with workers rushing outside to find the man sitting on a van. The caller described the man as “awfully drunk and he’s not in control of himself.” Asked by the 911 operator whether the man was “under the influence of something,” the caller said: “Something like that, yes. He is not acting right.” Police said Floyd matched the caller’s description of the suspect.

The U.S. Attorney’s Office and the FBI in Minneapolis said Thursday they were conducting “a robust criminal investigation” into the death. President Donald Trump has said he had asked an investigation to be expedited.

The FBI is also investigating whether Floyd’s civil rights were violated.

Chauvin, the officer who kneeled on Floyd’s neck, was fired Tuesday with three other officers involved in the arrest. The next day, the mayor called for Chauvin to be criminally charged. He also appealed for the activation of the National Guard.

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Protesters enter Minneapolis police station, set firesAssociated Presson May 29, 2020 at 3:49 am Read More »

The COVID Council of Comedians: Pandemic Purchases Revealed!Teme Ringon May 29, 2020 at 5:00 am

Comedians Defying Gravity

The COVID Council of Comedians: Pandemic Purchases Revealed!

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The COVID Council of Comedians: Pandemic Purchases Revealed!Teme Ringon May 29, 2020 at 5:00 am Read More »

Welcome to my review site!Jessi Moenon May 28, 2020 at 10:49 pm

Jessi’s Media Review – A Chicks Point of View!

Welcome to my review site!

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Welcome to my review site!Jessi Moenon May 28, 2020 at 10:49 pm Read More »

Watch NASA and SpaceX Launch its First Crewed MissionSophie Sanchezon May 29, 2020 at 6:39 am

Cosmic Chicago

Watch NASA and SpaceX Launch its First Crewed Mission

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Watch NASA and SpaceX Launch its First Crewed MissionSophie Sanchezon May 29, 2020 at 6:39 am Read More »

A trilogy for times of terrorKerry Reidon May 28, 2020 at 5:45 pm

The world of quarantine is paradoxical, with our immediate environments smaller and more constrained even as the big existential issues grow ever more ominous. What does it mean to live, to love, to dream in such circumstances?

A trifecta of plays I watched online recently, all with Chicago roots and all recorded from the Time Before Covid-19, address those questions in dramaturgically divergent but compelling ways. Collectively, they’ve probably affected me more than any of the other streaming work I’ve seen so far in quarantine, even if they don’t boast the slick recording quality of, say, the National Theatre.

Gentrification, William Blake, and Julia Child might not seem to have much in common. But Free Street Theater‘s Still/Here, Catastrophic Theatre of Houston’s There Is a Happiness That Morning Is (written by Chicago playwright and Theater Oobleck cofounder Mickle Maher), and TimeLine Theatre‘s To Master the Art all created an interesting conversation inside my head–which is where I, like too many of us, am spending entirely too much time lately.

Still/Here‘s subtitle–Manifestos for Joy and Survival–provides the roadmap for this 2019 show, filmed in August of last year and available for free through Vimeo. Created by the ensemble and directed by Free Street artistic director Coya Paz, the show is a series of vignettes raising evergreen questions about how segregation and discrimination have shaped Chicago’s history.

Just seeing a crowd of people gathering on a sunny day in West Town’s Walsh Park is enough to trigger nostalgia in a time of pandemic. But the show also begins with the cast giving a rapid-fire rundown of “everything we remember that we love about Chicago.” The list includes outdoor water parks, Chinatown, roller skating on the south side, SummerDance at Michigan and Balbo, the smell of chocolate downtown, and music. Music everywhere

The opening vignette’s premise is that we’re hearing “final logs” from a city on the brink of apocalypse. But for most of its hour-plus running time, Still/Here, as the name suggests, is about being in the present, even as the forces of gentrification push the ensemble around.

Literally. In one of the most engaging segments, the troupe enacts a game of musical chairs using a collection of milk crates representing public investment. As new “improvements” arrive–a school that is actually a cop academy, “affordable” housing that is anything but–the crates disappear one by one, and the people remaining are left to try to figure out how to all fit into the space that is left.

But somehow, this show from pre-COVID days hit me as an even more vibrant and vital call to action now. Can this pandemic help us begin to address historic inequities in Chicago and beyond in health care, housing, education, and criminal justice? “Fear is what gentrification looks like. Death is what erasure looks like,” one ensemble member tells us. With both death rates from the coronavirus and arrests for violating social distancing restrictions hitting communities of color harder than primarily white neighborhoods, that observation straddles the line between epigram and epitaph, even as the show (based on interviews with 400 residents from all over the city) straddles the line between documentary theater and agitprop, with warmhearted doses of personal anecdote tossed in.

I saw Maher’s play four separate times in three different productions with Theater Oobleck, beginning with its first production in 2011 at the now-gone Storefront Theater downtown. So it’s safe to say it’s one of my favorite pieces to emerge from Chicago in the last ten years. One of the upsides of being quarantined and watching streaming productions is that I can catch up with work from around the country and the world, and it was delightful to revisit Maher’s piece, available free through Catastrophic’s YouTube channel, in the hands of a company wholly unknown to me.

As has been the case with Maher’s work now for several years, through such shows as The Hunchback Variations and The Strangerer, There Is a Happiness That Morning Is uses a sterile institutional background environment (and one dedicated to carefully structured public discourse) as a way to explode that environment and expose the rotting beams holding it up.

Two academics and longtime lovers, Bernard and Ellen, are delivering intertwined lectures on William Blake’s Songs of Innocence and Experience in the aftermath of having been caught in flagrante on the lawn of their small decaying liberal arts college. Their lectures are supposed to take the form of apology for having sex in public, on orders from the dean. But though Bernard, awash in midlife afterglow (“I happy am,” he burbles, quoting Blake’s “Infant Joy”) and fresh from a night in the woods, is more than willing to appease the powers that be to get things back to normal, Ellen is not.

We soon learn that she’s dying of an abdominal tumor, which makes her choice of poem for the day, “The Sick Rose,” even more achingly ironic. And of course, even more of a gutpunch for us now, as we try to hide from virulence. “The invisible worm, That flies in the night,” indeed. And while their escapade on the quad has reinvigorated Bernard, Ellen thinks the ensuing public humiliation finally killed her love for him.

Catastrophic’s production, recorded in May of 2013 and directed by Jason Nodler, marks the first time I’ve seen any Oobleck show performed by a different troupe. I feel in many ways as if I’ve grown up alongside this company. The first Oobleck show I ever saw was in the winter of 1988–Jeffrey Dorchen’s The Slow and Painful Death of Sam Shepard, written long before any of us had an inkling that the American playwright and poet of family tragedy on the plains would indeed have a slow death from ALS in 2017. I mourned with them last year as Oobleck founding member and my old friend Danny Thompson succumbed to a rare genetic disorder. If I have any yardstick for what truly original dramaturgy looks like, it began with Oobleck’s mash-up of the high- and lowbrow, the political and the personal, the epic and the ridiculous.

Happiness, written in rhyming couplets, arose out of what Maher described in a recent YouTube discussion with Catastrophic as “a real desire to write something with more humor and more sex in it.” And it is funny–at least, as funny as anything about death, love, and trying to find room for one last chance at honest self-revelation can be. In other words, it’s howlingly, horribly hilarious. And also bittersweet and wise. Amy Bruce and Troy Schulze as Ellen and Bernard bring out all the nuances of nostalgia, rage, and finally desperate need for connection driving the lovers, staring down the twin existential terrors of unemployment and death. That’s as relatable a set of circumstances as we’ll ever find these days.

“Hearts can’t say what’s in their now when dizzied by their future,” Ellen says late in the play. As we stay stuck in our now, dizzied and terrified by the future, the idea that perhaps salvation lies in choosing joy over fear, moment to moment and as best as we can, has never felt more noble.

TimeLine’s To Master the Art, now available on a ticketed paid basis for remote viewing through June 7, also celebrates the love of a couple of a certain age. Here, it’s Julia and Paul Child, as seen through the eyes of playwrights William Brown, who also directs, and Doug Frew, and endearingly embodied by Karen Janes Woditsch and Craig Spidle. Originally produced at TimeLine’s home space in Lakeview ten years ago, this recording is from the encore presentation in fall of 2013 at the Broadway Playhouse. I saw the first outing, but not this revival. But to my eyes, the proscenium staging loses little of the inaugural production’s intimacy in translation, and with the original cast all on board, it’s, well, a feast.

Woditsch’s Julia is initially an awkward fish-out-of-water in Paris, where Spidle’s Paul has been stationed, courtesy of the United States Information Agency, to bring the best of American culture to postwar Europe. If you’ve seen Julie & Julia, the story will be familiar, though Woditsch, like Meryl Streep, is far too gifted an actor to indulge in mere mimicry of Child’s famously flutey voice. But the play feels poignant now for different reasons, and not just because some of us (though not me, sadly) are using time at home to beef up our own culinary skills, or wondering how to reinvent ourselves in a strange new world.

Paul especially is hounded by the McCarthyites in the State Department who are bent on sniffing out the merest whiff of communism, and Spidle’s layered take as a man increasingly frustrated by the conflict between his high-minded aspirations and the dull-witted (if not outright malicious) limitations imposed by bureaucrats feels bang on the nose; it also paired nicely with Ellen and Bernard’s dean dilemma in Happiness. And like the Blake scholars, Julia and Paul also find salvation in their love for each other and other pleasures of the mind and palate.

“Here’s to mastering the art of living life to its fullest and enjoying every damn minute of it,” Spidle’s Paul proposes near the end of the enchanting TimeLine production. I didn’t cry the first time I heard that line onstage. But watching on my laptop at home, the tears sprang to my eyes. v






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A trilogy for times of terrorKerry Reidon May 28, 2020 at 5:45 pm Read More »