What’s New

Fields of gloryCatey Sullivanon July 6, 2022 at 8:34 pm

In Pearl’s Rollin’ With the Blues, Felicia P. Fields gets a showcase for her indomitable vocals. The Tony nominee (for The Color Purple) is a bona fide star in the land of musical theater, her voice an irresistible mix of low-down growling blues and clarion-clear belt. As the titular chanteuse in Writers Theatre’s world premiere (directed by Ron OJ Parson), she’s backed by a five-piece band led by Chic Street Man, a star in his own right whose steel-pan guitar can wail and moan in a thousand shades of indigo. Together, they offer an informal concert heavy on audience interaction, storytelling, and instrumental solos. 

Pearl’s Rollin’ With the Blues: A Night With Felicia P. Fields
Through 7/24: Wed 3 and 7:30 PM, Thu-Fri 7:30 PM, Sat 3 and 7:30 PM, Sun 2 and 6 PM; Writers Theatre, 325 Tudor Ct., Glencoe, 847-242-6000, writerstheatre.org, $35-$90

Fields brings the heat and the sizzle to numbers including “Rough and Ready Man,” but the most powerful parts of the production arrive when Fields tells a deeply personal story about growing up on the south side and being bussed to a high school on the north side—a trek that had her leaving her home while it was still dark in order to make the two buses/one train commute. Getting to school was nothing compared to dealing with the racism she encountered when visiting a white friend’s home after school. The blues plumb the deepest sorrows and illuminate the most sensual aspects of life. Fields puts the entire spectrum into her voice. She’s spent the past 30-plus years showing audiences precisely why she’s a star. When she makes her entrance in Rollin’ With the Blues, you know you’re in the presence of greatness, and fortunate to be there indeed. 

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

Read More

Fields of gloryCatey Sullivanon July 6, 2022 at 8:34 pm Read More »

Southern gothic heatKaylen Ralphon July 6, 2022 at 8:44 pm

For their inaugural production, Violet Sky Theatre company has chosen Tennessee Williams’s Summer and Smoke from 1948.

As is expected with any of Williams’s canonical works, Summer and Smoke is a portrait of the delicious agony of unrequited love. Alma Winemiller, the minister’s daughter, has been in love with John Buchanan, the boy next door, for her entire life. When John returns to their small Mississippi hometown after finishing medical school out east, Alma’s feelings return with the vigor of the Gulf winds that the townspeople pray for during their insufferably hot summers. 

Summer and Smoke
Through 7/31: Thu-Sat 7:30 PM, Sun 3 PM, Reginald Vaughn Theater, 1105 W. Thorndale, violetskytheatre.com, $27

Alma is anxious, and Lindsey Zanatta gracefully and authentically carries that burden in her performance. She is quick-witted but reserved, beholden to the expectations of her religious upbringing and the belief that if she is the perfect lady, love will come. As John, Joshua J. Volkers embodies the swagger of a man who can have anything he wants, and he wants it all—sex, booze, parties, and maybe Alma—right now. Where Alma stutters, John stalks. Together, they invoke collective, trepidatious joy in the moments where their power dynamic flips, when Alma manages to catch John off his guard.

Summer and Smoke is a spiritual, sexual romantic drama, and Kevin Rolfs’s scenic design nails the southern Gothic aesthetic that carries this inherent dichotomy. Where there’s smoke, there’s fire, and in this performance, it’s stoked by the constant friction between Alma’s beliefs and John’s instincts, the heat when they hold hands. 

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

Read More

Southern gothic heatKaylen Ralphon July 6, 2022 at 8:44 pm Read More »

Listen to The Ben Joravsky ShowBen Joravskyon July 6, 2022 at 8:40 pm

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.


A flexible position on free speech

Looks like Elon Musk believes in free speech for everyone except his SpaceX employees.


Not a dream

The casino may actually be worse for Chicago than the dreaded parking meter deal.


False equivalence

Centrists’ attempts to say the left is as bad as the right are part of the gaslighting of America.

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

Read More

Listen to The Ben Joravsky ShowBen Joravskyon July 6, 2022 at 8:40 pm Read More »

ChicagoNow’s Best Posts of June 2022

ChicagoNow’s Best Posts of June 2022

Supreme Court. Photo courtesy of Chicago Tribune,

Every month, ChicagoNow holds a contest for the best posts that appeared on ChicagoNow.com during the previous month. Of the more than 1`,000 posts that appeared on ChicagoNow.com during June 2022, here are the 20 judged to be the best. (Posts originally appearing on Margaret Serious were selected by the votes of other bloggers.)

Chicago Weather Watch How hurricanes got their names

Chicago Weather Watch Strawberry honey super full summer moon

Comedians Defying Gravity Sinisterhood in Chicago: Comedy comes to creepy curses

Getting More from Les Supreme Court Reinstates Slavery; Follows Up Roe V Wade by Declaring 13th Amendment Null and Void

Getting Real Real Estate Expert Home Price Forecast Not Yet Affected By Mortgage Rates

I’ve Got the Hippy Shakes For Donald Trump, it was always all about the Benjamins

I’ve Got the Hippy Shakes While I still miss my dad, Father’s Day continues to get better

JUST SAYIN Of all The Titles in the world/”Daddy” Hands Down tops the List

Looking for the Good One step at a time

Margaret Serious How to Write a Mystery: the Imaginary Writers‘ Room weighs in

Margaret Serious A reply to Aquinas wired about writer’s block

Mom, I Think I’m Poignant! Thoughts on living in tents: under an Archer Avenue viaduct… in Chicago parks… that one time in Idaho… and that time in California’s Steinbeck Country

Opinionated Woman One thing Alzheimer’s can’t take away from us: love

The Quark in the Road Fishy Semantics at Your Local Eatery?

The Quark in the Road How Do I Break a Writer’s Block?

Purple Reigns: How to Live a Full Life with Lupus I’m beating boredom by learning a new language

Purple Reigns: How to Live a Full Life with Lupus Why I love Mondays

Retired in Chicago Grumble and then move on

Show Me Chicago Art Institute of Chicago’s iconic lions are taking a short leave from their Michigan Avenue watch

Token Female ‘Saved’ by Roe v. Wade, Killed in Grade School?

Filed under:
Chicago Now Best Posts

Advertisement:
Advertisement:

Welcome to ChicagoNow.

Meet
our bloggers,

post comments, or

pitch your blog idea.

Meet The Blogger

Margaret H. Laing

I moved to Chicago from the south suburbs in 1986. I have diverse interests, but I love writing about what I’m interested in. Whether it’s a personal interest or part of my career, the correct words to get the idea across are important to me. I love words and languages — French and Scottish words enrich my American English. My career has included years as a journalist and years working in museums, and the two phases were united by telling stories. I’m serious about words and stories. So here I am, ready to tell stories about words and their languages.

Subscribe by Email

Completely spam free, opt out any time.

Monthly Archives

July 2022
June 2022
May 2022
April 2022
March 2022
February 2022
January 2022
December 2021
November 2021
October 2021
September 2021
August 2021
July 2021
June 2021
May 2021
April 2021
March 2021
February 2021
January 2021
December 2020
November 2020
October 2020
September 2020
August 2020
July 2020
June 2020
May 2020
April 2020
March 2020
February 2020
January 2020
December 2019
November 2019
October 2019
September 2019
August 2019
July 2019
June 2019
May 2019
April 2019
March 2019
February 2019
January 2019
December 2018
November 2018
October 2018
September 2018
August 2018
July 2018
June 2018
May 2018
April 2018
March 2018
February 2018
January 2018
December 2017
November 2017
October 2017
September 2017
August 2017
July 2017
June 2017
May 2017
April 2017
March 2017
February 2017
January 2017
December 2016
November 2016
October 2016
September 2016
August 2016
July 2016
June 2016
May 2016
April 2016
March 2016
February 2016
January 2016
December 2015
November 2015
October 2015
September 2015
August 2015
July 2015
June 2015
May 2015
April 2015
March 2015
February 2015
January 2015
December 2014
November 2014
October 2014
September 2014
August 2014
July 2014

Latest on ChicagoNow

ChicagoNow’s Best Posts of June 2022

from Margaret Serious by Margaret H. Laing
posted today at 3:03 pm

Square Roots Festival Preview Part 2: Brewer’s Kitchen Beers

from The Beeronaut by Mark McDermott
posted today at 2:05 pm

Le Colonial Lake Forest: upscale dining on Market Square

from Show Me Chicago by Carole Kuhrt Brewer
posted today at 1:04 pm

Highland Park announces cancellation of some upcoming events due to tragic shooting

from Show Me Chicago by Carole Kuhrt Brewer
posted today at 9:36 am

Highland Park Reminds Us That Guns Kill People and Destroy Our Liberty

from Getting More From Les by lesraff
posted today at 7:53 am

Read these ChicagoNow blogs

Cubs Den

Chicago Cubs news and comprehensive blog, featuring old school baseball writing combined with the latest statistical trends

Pets in need of homes

Pets available for adoption in the Chicago area

Hammervision

It’s like the couch potato version of Mr. and Mrs. Smith.
Advertisement:

About ChicagoNow

FAQs

Advertise

Recent posts RSS

Privacy policy (Updated)

Comment policy

Terms of service

Chicago Tribune Archives

Do not sell my personal info

©2022 CTMG – A Chicago Tribune website –
Crafted by the News Apps team

Read More

ChicagoNow’s Best Posts of June 2022 Read More »

Sam Thousand, Chicago soul Renaissance man

Multi-instrumentalist, producer, and vocalist Sam Thousand moved to Chicago from Texas in 2009, and within a year he’d joined hip-hop fusion outfit Sidewalk Chalk. He’s since become deeply embedded in several overlapping arts communities, gaining increased visibility under his previous stage name, Sam Trump—I first saw him perform solo in 2018, during a cross-genre Steppenwolf show presented by Growing Concerns Poetry Collective. He does work as a hired gun for musicians who want a soulful trumpet player on their recordings, and in 2016 his experience booking shows around town helped him cofound ChiBrations, a live performance series and advocacy group that elevates local soul musicians. Thousand also wrote the score for Unapologetic, a 2020 Kartemquin documentary about Black millennial abolitionists directed by Ashley O’Shay and coproduced by TRiiBE cofounder Morgan Elise Johnson. 

As told to Leor Galil

Through the pandemic, I transitioned to fully performing solo. I started this online show called The Midnight Hour. I was making live beats with my looping station and my synthesizer and playing the ukulele and playing trumpet and singing. I was performing original songs; there’s some covers. It was a great way to interact with the audience and engage with my fans—we needed each other. 

An episode of The Midnight Hour from early 2021

Now that the city’s back open, I want to say June is probably the apex of my business. Leading up to this moment I was doing more performances, but a lot of them remain small. I was like, “Hey, I can just come and perform solo.” I have a lot of different iterations of my performing, so it just works out to be able to have so much variety while I’m stimulating the same market within Chicago. 

I have a duo with this gentleman named Justin Dillard, who plays the Hammond keyboard. We have a standing residency at Pilsen Yards, which is every last Thursday. I also have a trio—we started at Soho House; we were playing there once a month. 

I also have two sextets. One is an acoustic group, Acoustic Audile. Another one is a more dance, funk, soul, and R&B group—it’s called the Soul Vortex, and we’ve been doing a whole lot lately. Prior to the pandemic we recorded a live album—I recently was pushing it a lot. We did a listening party for that album, because I’ve been holding onto it during the pandemic. Once things started opening up, we finished it up, did all the editing and mixing. I actually reached back to everyone who was at the show and invited them back to the Promontory—where we recorded it—to hear it in the space. We mixed the whole album and did a reception and played the album for them. 

I do all my own booking; I do all my managing. I’m getting busy, especially in this last month. I’d been a booking manager for a couple different venues throughout Chicago. For about four and a half to five years now, I’ve been a booking manager for Untitled Supper Club, which is a speakeasy restaurant—it’s in River North. I was playing there—they offered me a residency back in the day, when I was performing. Then there was an opportunity to do some curating, and I was moving toward that space anyway, of just wanting to do more with my platform. 

Curtis Mayfield Tribute with Sam Thousand backed by Verzatile
Wed 7/6, 7:30 PM, Untitled Supper Club, 111 W. Kinzie, reservations recommended, all ages

Sam Thousand & Justin Dillard
Thu 7/28, 7 PM, Pilsen Yards, 1163 W. 18th, reservations recommended, all ages

I’m a founder of an organization called ChiBrations, which is shedding light and bringing more awareness to soul music in Chicago. We’ve got a Jazz Fest, we’ve got a Blues Fest, but prior to us starting ChiBrations there was no Soul Fest. Now there’s the Chi-Soul Fest at Navy Pier, and that kind of happened around the same time. Two years before the pandemic, ChiBrations partnered with the Chi-Soul Fest, and they let us have a block of time in the festival—to actually curate a whole three- to four-hour block of time. 

What ChiBrations was originally, it was bringing in an artist and their band to come into our studio—wherever we had a space. We partnered with the Den Theatre, so they just gave us a room to work out of. We would build it out, and then we would record two songs with them. Every month we would highlight an artist that we recorded; we would put out a video for one week, then wait two weeks and put out another. For that whole month it would be highlighting an artist, promoting these shows they’ve got. This is another way to give back, so I’m always trying to find ways to connect but also use my platform to really lift up others. 

Sam Thousand (then known as Sam Trump) performs at a ChiBrations session in 2019.

Throughout the three years that we did things before the pandemic, we would highlight about eight to ten artists at the end of each year. We would do an anniversary show—which happened usually in November, October—where we would bring all of those artists, and we would put them all onstage for one night. I’d be the one coordinating all these things and curating all the artists and all that. We’re looking to do more with ChiBrations, because ChiBrations needs to expand beyond soul music. 

There’s so much of the underground scene that really gets no love, and a lot of them are people of color. If you look at the festivals—I even tried to get my band at some festivals on the north side. There’s maybe a couple Latin bands, but I personally feel like it should be representing more of what Chicago is and its diversity, and even its political stance. 

I started playing trumpet when I was seven. I was in a magnet school, kind of like a fine arts elementary. My brother started playing the trombone when he was in third grade—he was a year older. Once you get to third grade, you’re able to actually get into an elective program, and so I was inspired by him to get into music. I wanted to play drums, but drums were inundated by the time I was making my choice, so I had to choose another instrument, and the trumpet resonated. It was a wonderful program, very competitive, and kept me busy—kept me out of a lot of trouble. And it kept me challenged. 

I like community; I’m an extrovert. [That school music program] allowed me to be around a lot of people, and taught me how to be a team player, taught me about individuality as well, and responsibility—because you’ve gotta learn your part, but for a bigger picture, right? I think that upbringing really prepared me for a lot of things I do now. I understand, as an individual, I need to make an impact, but there’s also the broader picture to look at, and how I operate within the scene in Chicago. How I operate as a Black male in America. How I operate as a teacher and a mentor. How I operate as a trumpet player, even, or singer. 

I got offered a scholarship to come out here and play in the big band at Columbia College. I did an audition through YouTube, and they accepted me. I came out to Columbia College, was a full-time student, playing trumpet. Although I was a singer and a songwriter, I wasn’t really pushing that in school, I was really just trying to do my job during the day. By night, if I wasn’t working my night job, I was out on the scene, hitting open mikes, just really getting my name out. 

I first made my name as an artist at an open mike—specifically a poetry open mike. The scene is super vibrant—it was back then as well—and I just really started to meld into what was going on in the scene, joining bands. I joined a band called Sidewalk Chalk. We toured for five years in the past, independently. I joined that band literally three months after I came to Chicago.

Sidewalk Chalk released An Orchid Is Born in 2017.

I got here in 2009. In 2013 is when I decided to go full-time, and when Sidewalk Chalk decided to actually start touring for real for real. Once we got off that first tour—after we all quit our jobs, we got that first tour—I was like, “I gotta find a way to make money.” That’s when I started hitting the scene as an artist, fully. I started really becoming more of a staple on the scene in Chicago, to where even people who were new fans at the time, they just assumed that I was from Chicago. 

It wasn’t until 2017, 2018 where I would start getting some real, real love and affirmation—confirmation—from people that I respect so much that are from the city. They’re like, “Hey man, you’re Chicago.” So to hear it from the right people—the people that I love and respect so much—I really felt the love, and felt like this was home. And then what really cemented it for me was getting the 3Arts Award in 2019, and that really made me truly feel that I was accepted here. 

It was so fulfilling to get that call. My last ChiBrations shoot for the 2019 season—I was shooting this artist named Wyatt Waddell, who’s super dope. We had just wrapped up his session, and I got the call from [executive director] Esther [Grisham Grimm] at 3Arts, and she was like, “Hey, just wanted to reach out, are you sitting down?” I was like, “No, should I?” 

Wyatt Waddell covers Josh Kelley’s “Walk Fast” for ChiBrations.

She broke the news that I won. She was saying how her and the judges, they were really impressed with the things I was doing, especially for the community. I was like, “It’s so cool that I get this call while I’m doing this ChiBrations shoot.” ChiBrations, we weren’t getting paid for that—that was just a passion project—so it felt really good to get that confirmation. That’s how they describe the 3Arts Awards: they’re thank-you awards. 

Unapologetic was another affirmation for me; getting into film is like a whole ’nother realm of music. And for them to reach out and say, “Hey, we want you to do the score,” I felt so honored. For such an amazing and powerful story line, with some amazing characters—I knew [activist, rapper, and writer] Bella [Bahhs] really well, because we had actually been doing music together prior to them reaching out. 

There was always a demand, there was always something coming up, I was always planning on something. It’s in my blood, man. My whole family on my father’s side, they’re workhorses; they’re always doing something, they’re always doing multiple things at once, so it’s really never a dull moment. Up until the pandemic, I’d been in Chicago for ten years and hadn’t owned a TV, just because I had no interest in sitting down and not doing much with my time. I could be practicing, I could be finishing up some idea, I could be putting a proposal together. There are so many things to be doing. 

I just always wanted to keep hitting people with stuff. When I would do a show, there’d be so much great feedback. People always be posting on Instagram, and I just be like, “Man, all right, well, come to the next one.” My social media—like, my Instagram and Facebook—all of that, like, tens of thousands of followers, and all of that is organic. It just comes from years of being consistent. 

I think it’s also an act of service too. I understand that there is a higher calling in my life, to do what I do, and only I can do it the way I do it. I think that’s what many artists—all artists, really, we have these very specific talents and skills and experiences that really make us who we are as creatives. And as long as we’re walking in it fully, we’re gonna be super impactful in a way that no one else can do it. And I feel like I just discovered that, because I was looking for it. When you’re in that space, there’s this purpose and drive, and there’s definitely a reason to get out of bed and operate with integrity.


The Growing Concerns Poetry Collective ask all races to fight racism

Mykele Deville, McKenzie Chinn, and Jeffrey Michael Austin tell stories for black folks that aim to reach everyone.


Artist on Artist: Robert Glasper talks to Justin Dillard

“When I play in Chicago, you got an 80-year-old white lady sitting next to a 16-year-old black kid”


An Unapologetic love letter to Chicago’s Black women activists

The documentary takes audiences to the front lines with millennial women leading the city’s Movement for Black Lives.

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

Read More

Sam Thousand, Chicago soul Renaissance man Read More »

Sam Thousand, Chicago soul Renaissance manLeor Galilon July 6, 2022 at 7:41 pm

Multi-instrumentalist, producer, and vocalist Sam Thousand moved to Chicago from Texas in 2009, and within a year he’d joined hip-hop fusion outfit Sidewalk Chalk. He’s since become deeply embedded in several overlapping arts communities, gaining increased visibility under his previous stage name, Sam Trump—I first saw him perform solo in 2018, during a cross-genre Steppenwolf show presented by Growing Concerns Poetry Collective. He does work as a hired gun for musicians who want a soulful trumpet player on their recordings, and in 2016 his experience booking shows around town helped him cofound ChiBrations, a live performance series and advocacy group that elevates local soul musicians. Thousand also wrote the score for Unapologetic, a 2020 Kartemquin documentary about Black millennial abolitionists directed by Ashley O’Shay and coproduced by TRiiBE cofounder Morgan Elise Johnson. 

As told to Leor Galil

Through the pandemic, I transitioned to fully performing solo. I started this online show called The Midnight Hour. I was making live beats with my looping station and my synthesizer and playing the ukulele and playing trumpet and singing. I was performing original songs; there’s some covers. It was a great way to interact with the audience and engage with my fans—we needed each other. 

An episode of The Midnight Hour from early 2021

Now that the city’s back open, I want to say June is probably the apex of my business. Leading up to this moment I was doing more performances, but a lot of them remain small. I was like, “Hey, I can just come and perform solo.” I have a lot of different iterations of my performing, so it just works out to be able to have so much variety while I’m stimulating the same market within Chicago. 

I have a duo with this gentleman named Justin Dillard, who plays the Hammond keyboard. We have a standing residency at Pilsen Yards, which is every last Thursday. I also have a trio—we started at Soho House; we were playing there once a month. 

I also have two sextets. One is an acoustic group, Acoustic Audile. Another one is a more dance, funk, soul, and R&B group—it’s called the Soul Vortex, and we’ve been doing a whole lot lately. Prior to the pandemic we recorded a live album—I recently was pushing it a lot. We did a listening party for that album, because I’ve been holding onto it during the pandemic. Once things started opening up, we finished it up, did all the editing and mixing. I actually reached back to everyone who was at the show and invited them back to the Promontory—where we recorded it—to hear it in the space. We mixed the whole album and did a reception and played the album for them. 

I do all my own booking; I do all my managing. I’m getting busy, especially in this last month. I’d been a booking manager for a couple different venues throughout Chicago. For about four and a half to five years now, I’ve been a booking manager for Untitled Supper Club, which is a speakeasy restaurant—it’s in River North. I was playing there—they offered me a residency back in the day, when I was performing. Then there was an opportunity to do some curating, and I was moving toward that space anyway, of just wanting to do more with my platform. 

Curtis Mayfield Tribute with Sam Thousand backed by Verzatile
Wed 7/6, 7:30 PM, Untitled Supper Club, 111 W. Kinzie, reservations recommended, all ages

Sam Thousand & Justin Dillard
Thu 7/28, 7 PM, Pilsen Yards, 1163 W. 18th, reservations recommended, all ages

I’m a founder of an organization called ChiBrations, which is shedding light and bringing more awareness to soul music in Chicago. We’ve got a Jazz Fest, we’ve got a Blues Fest, but prior to us starting ChiBrations there was no Soul Fest. Now there’s the Chi-Soul Fest at Navy Pier, and that kind of happened around the same time. Two years before the pandemic, ChiBrations partnered with the Chi-Soul Fest, and they let us have a block of time in the festival—to actually curate a whole three- to four-hour block of time. 

What ChiBrations was originally, it was bringing in an artist and their band to come into our studio—wherever we had a space. We partnered with the Den Theatre, so they just gave us a room to work out of. We would build it out, and then we would record two songs with them. Every month we would highlight an artist that we recorded; we would put out a video for one week, then wait two weeks and put out another. For that whole month it would be highlighting an artist, promoting these shows they’ve got. This is another way to give back, so I’m always trying to find ways to connect but also use my platform to really lift up others. 

Sam Thousand (then known as Sam Trump) performs at a ChiBrations session in 2019.

Throughout the three years that we did things before the pandemic, we would highlight about eight to ten artists at the end of each year. We would do an anniversary show—which happened usually in November, October—where we would bring all of those artists, and we would put them all onstage for one night. I’d be the one coordinating all these things and curating all the artists and all that. We’re looking to do more with ChiBrations, because ChiBrations needs to expand beyond soul music. 

There’s so much of the underground scene that really gets no love, and a lot of them are people of color. If you look at the festivals—I even tried to get my band at some festivals on the north side. There’s maybe a couple Latin bands, but I personally feel like it should be representing more of what Chicago is and its diversity, and even its political stance. 

I started playing trumpet when I was seven. I was in a magnet school, kind of like a fine arts elementary. My brother started playing the trombone when he was in third grade—he was a year older. Once you get to third grade, you’re able to actually get into an elective program, and so I was inspired by him to get into music. I wanted to play drums, but drums were inundated by the time I was making my choice, so I had to choose another instrument, and the trumpet resonated. It was a wonderful program, very competitive, and kept me busy—kept me out of a lot of trouble. And it kept me challenged. 

I like community; I’m an extrovert. [That school music program] allowed me to be around a lot of people, and taught me how to be a team player, taught me about individuality as well, and responsibility—because you’ve gotta learn your part, but for a bigger picture, right? I think that upbringing really prepared me for a lot of things I do now. I understand, as an individual, I need to make an impact, but there’s also the broader picture to look at, and how I operate within the scene in Chicago. How I operate as a Black male in America. How I operate as a teacher and a mentor. How I operate as a trumpet player, even, or singer. 

I got offered a scholarship to come out here and play in the big band at Columbia College. I did an audition through YouTube, and they accepted me. I came out to Columbia College, was a full-time student, playing trumpet. Although I was a singer and a songwriter, I wasn’t really pushing that in school, I was really just trying to do my job during the day. By night, if I wasn’t working my night job, I was out on the scene, hitting open mikes, just really getting my name out. 

I first made my name as an artist at an open mike—specifically a poetry open mike. The scene is super vibrant—it was back then as well—and I just really started to meld into what was going on in the scene, joining bands. I joined a band called Sidewalk Chalk. We toured for five years in the past, independently. I joined that band literally three months after I came to Chicago.

Sidewalk Chalk released An Orchid Is Born in 2017.

I got here in 2009. In 2013 is when I decided to go full-time, and when Sidewalk Chalk decided to actually start touring for real for real. Once we got off that first tour—after we all quit our jobs, we got that first tour—I was like, “I gotta find a way to make money.” That’s when I started hitting the scene as an artist, fully. I started really becoming more of a staple on the scene in Chicago, to where even people who were new fans at the time, they just assumed that I was from Chicago. 

It wasn’t until 2017, 2018 where I would start getting some real, real love and affirmation—confirmation—from people that I respect so much that are from the city. They’re like, “Hey man, you’re Chicago.” So to hear it from the right people—the people that I love and respect so much—I really felt the love, and felt like this was home. And then what really cemented it for me was getting the 3Arts Award in 2019, and that really made me truly feel that I was accepted here. 

It was so fulfilling to get that call. My last ChiBrations shoot for the 2019 season—I was shooting this artist named Wyatt Waddell, who’s super dope. We had just wrapped up his session, and I got the call from [executive director] Esther [Grisham Grimm] at 3Arts, and she was like, “Hey, just wanted to reach out, are you sitting down?” I was like, “No, should I?” 

Wyatt Waddell covers Josh Kelley’s “Walk Fast” for ChiBrations.

She broke the news that I won. She was saying how her and the judges, they were really impressed with the things I was doing, especially for the community. I was like, “It’s so cool that I get this call while I’m doing this ChiBrations shoot.” ChiBrations, we weren’t getting paid for that—that was just a passion project—so it felt really good to get that confirmation. That’s how they describe the 3Arts Awards: they’re thank-you awards. 

Unapologetic was another affirmation for me; getting into film is like a whole ’nother realm of music. And for them to reach out and say, “Hey, we want you to do the score,” I felt so honored. For such an amazing and powerful story line, with some amazing characters—I knew [activist, rapper, and writer] Bella [Bahhs] really well, because we had actually been doing music together prior to them reaching out. 

There was always a demand, there was always something coming up, I was always planning on something. It’s in my blood, man. My whole family on my father’s side, they’re workhorses; they’re always doing something, they’re always doing multiple things at once, so it’s really never a dull moment. Up until the pandemic, I’d been in Chicago for ten years and hadn’t owned a TV, just because I had no interest in sitting down and not doing much with my time. I could be practicing, I could be finishing up some idea, I could be putting a proposal together. There are so many things to be doing. 

I just always wanted to keep hitting people with stuff. When I would do a show, there’d be so much great feedback. People always be posting on Instagram, and I just be like, “Man, all right, well, come to the next one.” My social media—like, my Instagram and Facebook—all of that, like, tens of thousands of followers, and all of that is organic. It just comes from years of being consistent. 

I think it’s also an act of service too. I understand that there is a higher calling in my life, to do what I do, and only I can do it the way I do it. I think that’s what many artists—all artists, really, we have these very specific talents and skills and experiences that really make us who we are as creatives. And as long as we’re walking in it fully, we’re gonna be super impactful in a way that no one else can do it. And I feel like I just discovered that, because I was looking for it. When you’re in that space, there’s this purpose and drive, and there’s definitely a reason to get out of bed and operate with integrity.


The Growing Concerns Poetry Collective ask all races to fight racism

Mykele Deville, McKenzie Chinn, and Jeffrey Michael Austin tell stories for black folks that aim to reach everyone.


Artist on Artist: Robert Glasper talks to Justin Dillard

“When I play in Chicago, you got an 80-year-old white lady sitting next to a 16-year-old black kid”


An Unapologetic love letter to Chicago’s Black women activists

The documentary takes audiences to the front lines with millennial women leading the city’s Movement for Black Lives.

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

Read More

Sam Thousand, Chicago soul Renaissance manLeor Galilon July 6, 2022 at 7:41 pm Read More »

Square Roots Festival Preview Part 2: Brewer’s Kitchen Beers

Square Roots Festival Preview Part 2: Brewer’s Kitchen Beers

Beer and Music return with the Square Roots Festival this weekend.

In Part I of this series, we talked with one of the organizers of the Square Roots Festival, returning to Lincoln Square this July 8-10 after a two-year COVID-19 delay. Now I get a chance to write about some of the beer being featured, which turned into a discussion with Dan Abel, co-founder and CEO of Pilot Project Brewing. The “incubator” brewery will be pouring some of their “house brand” Brewer’s Kitchen, that the Festival’s Brew Lounge.

Dan Abel, co-Founder of Pilot Project Brewing.

MM: Let’s start off with what you can tell us about Pilot Project’s involvement with the Square Roots Festival.

DA: So Pilot Project, and by that, our brand, Brewer’s Kitchen, is one of the participating craft sponsors of the festival this year. We will be on premise selling two selections from our house brand, Brewer’s Kitchen.

One is an Italian Pilsner called Il Serpente.It’s a beautiful beer. It’s a clean beer, but it has a noble hop character that would be slightly out of the norm for Italian Pils.

The other is our 55 Rocks hazy pale ale, which is a nod to how much it would cost to go to space base on the charge for a civilian to ride on SpaceX; it’s $55 million. The reason we gave it that name was because we’re using exclusively, hops that have all space themed names, and they’re all pretty new  and unique hops, some of which are not being readily sold or showcased in beers. There’s Galaxy, which is the quintessential “space hop.” We’re using Strata and Comet, and then there’s another hop that has yet to be officially released. It has a letter term right now, but it’s something that will when it does come out, it’s going to have a space name, according to the hop farm.

MM: So, what’s fun about Pilot Projects?

DA: Pilot Project is a brewery incubator, first of its kind, as far as we know, in the world, where it is a business focused on lowering the barrier to entry, and as a result, helping to create new craft beers or beverages and their brands. We’ve launched 13 brands in our first 2 1/2 years of existence. But we don’t just incubate companies, we also incubate concepts and ideas and ingredients. Brewer’s Kitchen is Pilot Project’s house brand, and the reason why it’s called Brewer’s Kitchen is because it’s essentially a Brewer’s kitchen sink for different ideas and creativity. That brand is essentially the amalgamation of all of Pilot Projects research that we get to do with all of these other brewing partners. Essentially, we consolidated into what we consider our “house” company or our public-facing brand because we try to keep Pilot Project as an incubator neutral.

We don’t do this very often where we let Brewer’s Kitchen be out on its own, but for a festival like this, it’s particularly exciting because very seldom do you see our brewers flex their muscles. They’re always working to support the brands that we’re incubating, and so this is kind of our R&D team.

MM: I was at the Beer Under Glass at Union Station, and I had one of the two Brewer’s Kitchen brews. How many have you’ve managed to make as a House brand altogether? And is this something that eventually maybe goes on to one of your incubator clients?

DA: We will use the Brewer’s Kitchen brand as a way to test new, different unique ingredients. At any moment we generally have 4, 5 or 6 unique products from Brewer’s kitchen out there, at retailers and bars and restaurants. 

But what’s fun about our team is when we’re working with our hop farms, they show us these brand new ingredients and say “Hey, can you make something with this?”

MM: When you have an incubator brewer who’s beer catches on, where fo they go next?

DA: If I have a beer that’s proven itself out in the market, I want to make a lot more of it, but I don’t have the production space. I can go to a contract brewer like Great Central. I pay them to produce my beer under license and more of it goes out to the world.

The way that we work with our breweries is that there’s some more hand-holding and consultation involved on the Pilot Project front. Since we launched about 2-1/2 years ago. We’ve had over 450 people apply to be incubated brands at our facilities. When you apply, you’re going to bring to us your product. But even even more important at times is your business plan, your marketing and brand. When we get all of those together and the audition process is completed where we select these brands based on the merit of, essentially all three.

Then, once we’ve selected you, it’s not like this is a flash in the pan. Not “Here’s one beer, be on your way.” We will work with you to create an entire go-to-market strategy. These are oftentimes for people that have never owned their own company before or, in some instances been involved in the brewing industry. 

The way that incubation goes is we have a launch event here at Pilot Project with your first three beers as flagships. Once we get some tasting room success under your belt we begin distributing.

This is how it worked with a brand that we launched called Funkytown. They’re the second black owned brewery to have launched in the City of Chicago. Back in October, Funkytown had their big release party, and then within about a month’s time we had them in 200 different retailers around the state of Illinois. Now they’ve grown from that, but that is the launching mechanism, where the true incubation happens, is over the next six to nine months, where we’re really validating your brand. We’re growing the value, the equity in what you’re doing, such that hopefully you get up to 1,000 barrels a year, and you’re too big for Pilot Project. You’re either one going off and launching your own brewery, or you are working with a contract brewery that can handle larger scale.

MM: So then there are just different occasions where you’re basically pushing your fledglings out of the nests, or different reasons why you can finally do that.

DA: That’s exactly correct. Everyone comes to us with a different plan, a different definition of what success looks like. We make sure that between production and distribution, but then also legal and accounting and marketing and business development that you are in a place that you can really grow. This was modeled after, what Y Combinator and Venture Capital funds do for the tech industry. The analogy that I always use is what the recording industry and labels do for musicians. We try to be that end-to-end support system, so that true creatives can enter this industry and not be intimidated by the very real financial barriers, but then also the intangible barriers of, “I’m incredible at my craft, but I don’t want to go into this industry because I’m not good at legal or I’m not good at this, that and the other thing.” And so what’s been fun about that is when you lower this barrier to entry, you’re not just creating opportunity for creatives, you’re actually leveling the playing field.

So we saw you have the 13 brands we’ve launched. Five of them are female-owned like I mentioned earlier, and we’ve helped launch the second Black owned brewery in Chicago. We have Azadi, an Indian inspired brewery; a travel and adventure inspired brand; and an entirely unique approach to making hard kombucha. All of those things that have come out of this.

MM: Are there some new brewers coming along that you’re able to talk about, with some new concepts?

DA: I can’t talk about anything that’s coming up. But what you can discuss right now is what’s available at Pilot Project. We’ve mentioned Funkytown. There’s Azadi Brewing; they’re an Indian inspired brewery using ingredients, in a lot of instances, straight from the streets of Mumbai.

There’s ROVM Hard Kombucha. It’s started by a woman out of Lake Tahoe. She has a very unique approach to how she has created her hard kombucha.

We’ve always had Brewer’s Kitchen, which is just our melting pot of exploration. Then we have Histrionic Brewlab which is owned by two doctors, scientists. They’re  extremely chemistry oriented. They examine things like the specificity of when we dry hop and when we do this and all, this is extremely diligent and they are a very high performing group that we work with.

MM: Are there any who just kind of went through the program and then decided at the end that it just wasn’t going to work?

DA: I don’t think there’s anyone that would say “This doesn’t work,” because by the time we go through the audition process, we vet them pretty aggressively. There are brands that probably came in with slightly more nuanced approaches to how they wanted to go. What they ultimately learned in that process is, “Hey, I really like this idea as a capstone marketing concept.”

MM: What size batch would some of the initial products be?

DA: You can technically do a batch as small as two barrels, which is not much; it’s 4 kegs or 20 cases of product. More often than not we will launch every unique idea or concept in a 10 barrel batch. That’s 20 kegs or 100 cases. Then we will grow them in our facility to be doing about, at max 100 barrels a month. Then it’s at that point where we begin to contract production to other other producers just so that we can maintain their momentum until they’re ready to graduate.

MM: Then there are the brewers who seem to be aimed at a specific market, like Funkytown or Azadi.

DA: In the instance of Funkytown, we wanted to see how a brand like that, which is meant to be approachable, to win over the non-craft brew drinker. The drinking audience within the Black community has not been necessarily favorable towards the next craft beer. They look to other other options, and so that was Funkytown’s key component.

Whereas with Azadi Brewing, Bhavik Modi, the co-founder of that company, knew that 50% of the liquor store owners in his area are of Indian descent. He targets high end Indian restaurants like Vajra and some of the others in the city. I think what Bhavik has done really well with the Indian inspired beers that are still approachable. You try their Kavi cardamom golden ale, it’s not tongue cloying. It’s really beautiful. You try their Kadak chai stout. I love pastry stout to a certain degree, but then this stands out as different. They’re really intelligent with how they go to market with their products.

MM: I’ve had the Azadi’s Devon tart gose at Beer Under Glass. It was just slightly different in terms of spices, but not trying to blast you with its ingredients.

DA: It’s very culinary inspired, so it’s meant to blend well.

MM: Yes, I just caught some of the some spice, salt and pepper at the very least.

DA: The salt component obviously is leaning into the gose style, but then they used a different mechanism for souring, so it’s not the if you have a kettle sour from any other brewery, the process is entirely different than 99.9% of sours out in the market

MM: You done a few kombucha start-ups. It that a kind of process that requires special equipment, or isolation, like a Belgian beer with wild yeast?

DA: The biggest concern with wild Brett is that it’s basically airborne bacteria. Kombucha, is not going to have that same concern. It basically uses a culture that you know is very clean. It’s just a material that you of course want to dispose of intelligently. Luna Bay Hard Kombucha was one of the first brands that we incubated, and they’ve done very well. I believe during our time with them, we distributed their products to about 13 states. They’re probably in over 25 now and doing very well. I think as a fun success story.

Our current Kombucha brand is ROVM. We can’t keep up with production with our space, it’s tough to subcontract hard kombucha, so we’ve unfortunately to, in a sense, stifle the growth of ROVM just because it’s a very nuanced product that is tough to to brew elsewhere, so we’re in the process of figuring out how to scale that one up.

But getting back to Brewer’s Kitchen. That’s done really well because it’s fun, people know it’s Pilot Project and we’ll make hazy IPA just as well as anybody else. But where we really like to put our flag in the ground is by using some ingredients that may tilt your head. 

We were one of the first brands to start using the Phantasm product that’s now everywhere. That’s a powdered Sauvignon Blanc grape from New Zealand. We used that very early on because we got a nod from the grape farm that was that was producing it.

It gives you all the advantages of a grape must from an aromatics and taste standpoint, but it doesn’t muddy your product. So Reeve Joseph, the co-founder of Odious Cellars, was one of those people who wanted to make Brett beers. He wants to make mixed culture brews, but he also recognizes that’s not for everybody, and so he’ll while he absolutely goes into the market with wild mixed cultures, but then at other times he’ll do things that are slightly more approachable, and I’ve really enjoyed his product. He graduated about a year ago and since then I’m really impressed with what he’s been able to continue coming up with.

MM: Any points we want to drive home a little more?

DA: With respect to Square Roots festival: come check us out. We very seldom, if ever, promote Brewer’s Kitchen. It’s a fun opportunity for us to be able to talk about that, something that we don’t get to do as often so we’re excited to showcase the two beers that we’re bringing there, which we think of as two pieces of art.

As far as Pilot Project goes, we are in the midst of adding a second location. There’s a fundraiser so keep your ear to the ground.

We’ll have some announcements in the coming months. We’ll be launching a couple of new brands to the roster here very shortly.

Advertisement:
Advertisement:

Welcome to ChicagoNow.

Meet
our bloggers,

post comments, or

pitch your blog idea.

Subscribe by Email

Fresh Beer Events, occasional bacon, but always spam free, opt out any time.

Meet The Blogger

Mark McDermott

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.

Latest of over 3,700 RateBeer reviews since 2003:

More Events, blogs and podcasts

Recent posts

Square Roots Festival Preview Part 2: Brewer’s Kitchen Beers »

Mark McDermott on The Beeronaut
Posted today at 2:05 pm

Previewing This Weekend’s Square Roots Festival, Part 1 »

Mark McDermott on The Beeronaut
Posted July 3, 2022 at 10:23 pm

Independence Week in Chicago Beer, July 4-7 »

Mark McDermott on The Beeronaut
Posted July 2, 2022 at 12:07 pm

Chicago’s Independence Weekend in Beer, July 1-3 »

Mark McDermott on The Beeronaut
Posted June 29, 2022 at 10:32 pm

Chicago’s Week in Beer, June 27-30 »

Mark McDermott on The Beeronaut
Posted June 26, 2022 at 12:01 am

Categories

Beer Calendar (817)
Beer Review (328)
Beer Business (79)
Beer News (79)
Beer Festivals (62)
Popular Beers Available in Chicago (37)
Beer Pairing (20)
Beer Competition (18)
Miscellaneous (16)
Brewpub/Bar Review (9)

Tags

Bourbon County Stout (164)
Beer review (86)
Oktoberfest (72)
Lagunitas (55)
Goose Island (54)
Craft Beer Review (41)
Revolution Brewing (35)
Kentucky Breakfast Stout (35)
Two Brothers (33)
COVID-19 (31)

Blogroll

The Beeronaut’s favorite blogs

Afro.Beer.Chick
A POV on Chicago’s Beer world
Chicago Beer Geeks
Homebrewing, event coverage, basic Chicago Beer Geekery!
My 3,400+ beers reviewed at RateBeer.com
Since 2003, I’ve tracked every new beer I’ve had here!
Good Beer Hunting
The überbiersite, with news, podcasts, and movies!

Latest on ChicagoNow

Square Roots Festival Preview Part 2: Brewer’s Kitchen Beers

from The Beeronaut by Mark McDermott
posted today at 2:05 pm

Le Colonial Lake Forest: upscale dining on Market Square

from Show Me Chicago by Carole Kuhrt Brewer
posted today at 1:04 pm

Highland Park announces cancellation of some upcoming events due to tragic shooting

from Show Me Chicago by Carole Kuhrt Brewer
posted today at 9:36 am

Highland Park Reminds Us That Guns Kill People and Destroy Our Liberty

from Getting More From Les by lesraff
posted today at 7:53 am

AN ASSOCIATIVE PERSPECTIVE OF|FOR EGALITARIAN BI-RACIAL EQUALITY

from Improv Class For The Soul by IMPROV CLASS FOR THE SOUL
posted Tuesday at 6:34 pm

Read these ChicagoNow blogs

Cubs Den

Chicago Cubs news and comprehensive blog, featuring old school baseball writing combined with the latest statistical trends

Pets in need of homes

Pets available for adoption in the Chicago area

Hammervision

It’s like the couch potato version of Mr. and Mrs. Smith.
Advertisement:

About ChicagoNow

FAQs

Advertise

Recent posts RSS

Privacy policy (Updated)

Comment policy

Terms of service

Chicago Tribune Archives

Do not sell my personal info

©2022 CTMG – A Chicago Tribune website –
Crafted by the News Apps team

Read More

Square Roots Festival Preview Part 2: Brewer’s Kitchen Beers Read More »

Welcome to the skate park

“When we go to a skate park, we take up space, and then all of a sudden you don’t see a bunch of guys trying to tell you to move out the way, ’cause we’re the majority now,” says Lid Madrid. “And we’re taking up space, and just changing the way that skate parks traditionally look. Because when our community comes in, you have BIPOC skaters, you have trans skaters, you have gender-nonconforming skaters. It’s, like, unreal.”

Madrid is one of the cofounders of OnWord Skate Collective, a local skate crew that welcomes skaters of all ages and all abilities, prioritizing women, trans, nonbinary, and gender-nonconforming people, and anyone else who identifies as LGBTQ+. 

When OnWord hosts a meetup, they start with introductions, pronouns, and positive affirmations. Skaters go around the circle and say things like, “I am enough.” “I’m a badass.” “I will bring authenticity and love into everything that I do.” It creates a sense of safety and community for those not typically welcome at skate parks.

OnWord was founded in January 2021. In typical pandemic fashion, it began over Zoom, with big ideas spoken through screens and a thrilling sense of potential. Madrid and cofounders Bridget Johnson, T Smith, Cath Hodge, and Deb Hwang received a grant from the School of the Art Institute of Chicago (SAIC) to build a DIY skate park. Madrid, then an architecture student, took the lead on designing individual elements like custom beginner-friendly ramps and rails, and then fabricated the parts in SAIC’s wood shop. OnWord participants swapped power-tool tips as well as skate tricks, and they constructed their own skate park. 

They called the project OnSite, and it was the perfect outlet to experiment with skateboarding, inclusive design, and community-building. The first day they built it, and the second day they skated it. Filmmaker Johnson documented the experience on camera, saving Zoom recordings and conducting in-person interviews along the way for a short film.

DuWayne Padilla for Chicago Reader

OnSite was a success, and so was the short that came out of it. The original Breaking the Barrier is full of interviews and action shots of OnWord skaters building the park and skating together; there are young skaters in elbow pads and knee pads, pronoun stickers and top-surgery scars, and an overwhelming amount of queer joy. After a sold-out showing at the Martin, an artist-first event space in West Town, the movie won best documentary short at the Music Box Theatre as part of Premiere, DePaul’s film festival.

But the OnWord crew were far from finished. OnSite and the short film seamlessly paved the way for more changes in the skating world—and for a much bigger film.

“This [SAIC] grant really just allowed us to turn one singular project and one singular event into an entire collective,” Madrid says. They skate together, sure, but in Madrid’s own words, OnWord is first and foremost a community. “It’s a space for skaters—the community of skaters that we have—to share resources, to learn from each other, and also to just hang out and have a good time, and feel included in a skate park.” 

It’s often difficult for nontraditional skaters—anyone who isn’t a white, cisgender, straight man—to find role models and feel welcome in skateboarding. Like some of the OnWord founders, I picked up skating during the pandemic. I live in Uptown near Wilson Skate Park, but I’ve only ventured over a handful of times, and only at non-peak hours. As a queer female and a beginner, I find myself sticking to the adjacent parking lot instead of braving the park itself, feeling a strong sense of unworthiness. And I’ve been lucky—most of the Wilson skaters seem to ignore me, but some women experience direct harassment or inappropriate behavior surrounded by so much toxic masculinity. 

That harassment and the accompanying senses of isolation and unworthiness are exactly what the founders of OnWord want to eliminate.

The OnWord crew host skate meetups and teach lessons; they utilize Madrid’s skills in architecture to teach skate park building and construction; they’re big on skill-swaps, where roller skaters and skateboarders switch wheels and help each other learn; and they also organize events like clothing drives, social hangouts, and town hall conversations.

This work and the relationship-building with OnWord skaters helped Johnson realize that there was potential to turn Breaking the Barrier into a full-length film. It will be the first feature film to come out of her company Dare to Dream Productions, which seeks to tell authentic and positive queer stories with inclusive practices. Like the short film, the documentary will explore identity, equality, and community through interviews with OnWord founders and participants. 

Johnson speaks with such admiration for the OnWord members turned interviewees. “I love just seeing the joy in people’s lives that OnWord has brought to them,” she says. “How they look forward to our meetups on the weekends, and how we’ve kind of become like a family that’s not just about skateboarding.”

Breaking the Barrier will also highlight accessibility, with a broad focus on the south and west sides.

“I think something that we like to keep in mind is that the type of spaces that we wanna create don’t have all that much impact if the people we’re tryna reach can’t get to it,” says Smith, one of the founders. “So it’s been super important for us to be mobile, especially in a place like Chicago where it’s super segregated, where a lot of people don’t even necessarily feel comfortable going to certain areas just because it’s unfamiliar to them, or they don’t have a car to get there, or they might have to leave the event at night.”

Chicago has plenty of LGBTQ+ community resources, but they’re disproportionately on the north side. “Then, everybody else is kinda just left out,” says Smith. “Even if you can get there, in terms of transportation, I think having something centered on the north side sends a certain type of message to various communities.”

And they’re correct—the city doesn’t have any skate parks south of 31st Street, and most of the well-known skate shops like Uprise or Wilson Yards, for example, are on the north side, which means that huge portions of Chicago don’t have access to skating resources and spaces. Burnham Skate Park on 31st is one of the only parks not located up north. “Burnham was not even built or designed by skaters,” Madrid says. “The people who made that were, like, a sidewalk company. So there are ginormous holes in the skate park where your wheels can get caught. And that’s so unfair, you know what I mean?”

DuWayne Padilla for Chicago Reader

OnWord wants to get funding for a truck, large enough that they can transport their mobile skate park anywhere. (For now, it lives in Madrid’s garage.) They also want to transport their film. After the festival circuit, OnWord wants to bring Breaking the Barrier to Chicago public schools and local LGBTQ+ groups. They plan to screen the film and offer Q&A sessions, host interactive skate workshops, and create safe, open spaces for young queer people to talk about identity and belonging. 

It will also be a full-circle moment for Johnson as a filmmaker. “Creating my first feature film has always been my dream since I was 12,” says Johnson. “I’ve met some beautiful souls during this journey so far, and I’m looking forward to meeting more, especially getting the opportunity to showcase the film at schools. I can’t wait to go back to my old elementary school and see my old teachers who encouraged me to follow my dreams.”

On paper, Breaking the Barrier’s target audience generally includes teenagers to 30-somethings, the skateboarding community, and Chicagoans, given its rootedness in the city’s people and physical spaces. However, that’s another barrier the filmmakers want to break.

“We’re hoping to connect to a bigger audience,” Johnson notes. “Because it’s not just about skateboarding, but finding a safe space and what community means to a variety of different people in Chicago.”

“I want everybody to see it,” Smith adds. “I want everybody to hear it.” 

They continue, “When I talk about OnWord and what we do and why we exist, I always say: If you were to have a conversation with someone and ask them to picture a skater, they’re probably not gonna picture most of the people that show up to our events. So we wanna challenge that, we wanna go beyond that norm, we wanna break that stereotype of having a certain image when you think of a skater. Literally anybody can skate! And anybody does skate, right?”

And that’s the deal—anybody is welcome at OnWord. Breaking the Barrier will be a reflection of that inclusivity, and an example of the power of films made by queer people, of queer people, for queer people.

When Johnson was first discovering her sexuality, she leaned on her love of film. Like many people, however, she felt overwhelmed with queer media depicting tragic endings, breakups, and often death. Johnson knew that Breaking the Barrier should be feel-good and inspiring instead. 

“Maybe skateboarding is not for everyone, but there’s always something that you’ve always wanted to do, and hopefully this film empowers people to wanna actually pursue that,” she says. “We want to be the representation and role models we never had growing up.”

DuWayne Padilla for Chicago Reader

While audiences will eventually see the accomplishments of OnWord in front of the camera, the filmmakers also want to ensure that they’re approaching the work behind the scenes with similar intention. The film industry is known for grueling hours, low pay, and even hazardous working conditions, but OnWord’s collaborative DIY approach and commitment to working with diverse local filmmakers will combat this.

“It’s very toxic, how some film crews are run, and how you’re working 14-16 hours without very many breaks,” Johnson says. “And so what we’re trying to do is work less hours and also have more positivity on set.”

Through a mix of school connections and social media, OnWord has created a film crew made up of women and LGBTQ+ Chicagoans, most of whom are also skaters and share a passion for OnWord’s mission in the skate community.

OnWord’s last barrier? The funding. Lucia Agajanian is currently signed on as a producer for Breaking the Barrier. The team has an Indiegogo campaign set up to raise money for production, and they’ve been applying for grants and pitching the idea to get other producers on board. They’re hoping to carry the momentum of the short film and make some headway on funding this summer, all while keeping up with their usual programming.

OnWord will host OnSite 2.0 on August 6, 7, and 8, and have a chance not only to build a new DIY skate park, but also to conduct more interviews and really flesh out the documentary. The finished Breaking the Barrier will go all the way back to those early Zoom calls between the cofounders, ending with this product of their tremendous efforts.

“The film will really start with the origins of OnWord, and then [go] to wherever we end up,” Johnson says. “Like I think that’s the beauty of it—we’re kinda just following our skaters and seeing where life takes them.”

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

Read More

Welcome to the skate park Read More »

Moor Mother’s Jazz Codes needs little decoding

Camae Ayewa, aka Moor Mother, has always been one to cite her sources. In addition to performing as a member of Philly-based free-jazz collective Irreversible Entanglements, the contralto wordsmith has frequently paid homage to the jazz, blues, and gospel canons in her solo work, beginning with her 2016 debut, Fetish Bones, and continuing through last year’s Black Encyclopedia of the Air. Ayewa described those canons in a 2021 interview with Pitchfork: “Not only is it Black American classical music, but it’s also a liberation technology.”

Moor Mother’s new album, Jazz Codes (Anti-), is a collage-style tribute to Ayewa’s musical forebears. She conceived it as a companion piece to Black Encyclopedia, and Jazz Codes is undoubtedly the clumsier sibling. While it’s a solid record for Moor Mother novices, and there are plenty of bangers throughout, Ayewa’s verses lack the freshness they have on previous releases—missing are the white-hot fervor and spontaneity of Fetish Bones and the volleying wit she showcased on Brass, her 2020 collaboration with rapper Billy Woods of Armand Hammer. 

Too often, Jazz Codes is blatantly, underwhelmingly on the nose, with heavy-handed samples and stilted lines such as “Be sharp / So sharp. . . . See sharp / Be natural” (from “Ode to Mary,” a nod to jazz pianist Mary Lou Williams). “Meditation Rag” is a particularly sore thumb; its verses SparkNote a century of jazz history with a wink and a nudge. That’s not to besmirch the sonic makeup of Jazz Codes, though. Ayewa has assembled remarkable collaborators: harpist Mary Lattimore, pianist Jason Moran, flutist Nicole Mitchell, and her Irreversible Entanglements compatriots, to name a few. But as far as Ayewa’s love letters to Black American music go, it doesn’t get better than the Brass track “The Blues Remembers Everything This Country Forgot.” That one still gets truer too.

Moor Mother’s Jazz Codes is available through Bandcamp.

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

Read More

Moor Mother’s Jazz Codes needs little decoding 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.


A flexible position on free speech

Looks like Elon Musk believes in free speech for everyone except his SpaceX employees.


Not a dream

The casino may actually be worse for Chicago than the dreaded parking meter deal.


False equivalence

Centrists’ attempts to say the left is as bad as the right are part of the gaslighting of America.

Did you know? The Reader is nonprofit. The Reader is member supported. You can help keep the Reader free for everyone—and get exclusive rewards—when you become a member. The Reader Revolution membership program is a sustainable way for you to support local, independent media.

Read More

Listen to The Ben Joravsky Show Read More »