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Big-box bluesKerry Reidon June 24, 2022 at 2:57 pm

On the wall of the big-box retail warehouse that forms the setting for Eboni Booth’s Paris, now in a midwest premiere at Steep Theatre under Jonathan Berry’s direction, there’s a sign reading: NOBODY CARES. WORK HARDER. It’s a stark enunciation of the realities of late-stage capitalism and consumerism.

Paris
Through 7/23: Thu-Sat 7:30 PM, Sun 3 PM; audio description and touch tour Sun 6/26, open captioning Sun 7/3; Steep Theatre, 1044 W. Berwyn, 773-649-3186, steeptheatre.com, free, but reservations required

The title refers not to the City of Lights, but to the sad little Vermont burg where Emmie (Amber Sallis) has returned in 1995 after a year of college in Washington, D.C. Though she grew up in Paris, nobody seems to believe her—which seems to be a racial microaggression (Emmie is Black). The Emmie we first meet seems pretty introverted (for reasons we come to understand). Manager Gar (Terence Sims), who is also Black, isn’t surprised that she couldn’t get hired to work the register at another store in town. He gives her a chance (and a choice of name tags between “Emmie” and her actual full name, “Emmani”), but there’s not much to celebrate this season. Not even for Gar, who has found his own enterprising way to supplement his wages.

Emmie’s coworkers, including alcoholic middle-aged former nurse Wendy (Lynda Shadrake), who’s married to the town traffic cop, Dev (Alex Gillmor); bitter single mother of four Maxine (Michaela Petro, in fine tear-your-head-off-if-you-look-at-her-wrong mode); and wannabe rapper kid Logan (Alex Levy) bounce off each other like rats in a cage. Sometimes they’re kind, sometimes they’re cruel. But mostly, just exhausted and beaten down by the grind, they share illicit shots of booze on the clock and gossip to pass the time. (Eleanor Kahn’s set makes a virtue of the still-raw Steep space.) The appearance of the fearsome Carlisle (Josh Odor), with whom Gar has made his extracurricular arrangements, adds an element of danger that’s left dangling at the end of the play. But what comes across clearly in this work—the first live production from Steep since 2020, and the first in their new space on Berwyn—is that Booth is a fierce and funny writer to watch.

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Big-box bluesKerry Reidon June 24, 2022 at 2:57 pm Read More »

Shameless nostalgiaMarissa Oberlanderon June 24, 2022 at 2:35 pm

We all remember where we were when we saw Cruel Intentions. Its iconic soundtrack (anyone else melt to Counting Crows’ “Colorblind”?) and “shameless perversity” (thank you, Buzzfeed, for this spot-on description) have become canon in many a millennial’s coming of age and sexual maturity. Directed by Adrian Abel Azevedo, Kokandy Productions’s Chicago storefront premiere of the 1999 movie’s jukebox musical adaptation is an incredibly fun nostalgia trip that still feels at turns shocking, twisted, and touching in all the right, confusing ways. You love to hate every character, especially Kathryn (Maddison Denault) and Sebastian (David Moreland), whose stepsibling sexual tension and moral bankruptcy wreak havoc on all in their wake. The plot, based on the 1782 French novel Les Liaisons dangereuses by Pierre Choderlos de Laclos: an X-rated bet that Sebastian bed the new headmaster’s daughter before the school year begins. 

Cruel Intentions: The ’90s Musical
Through 8/7: Thu-Sat 7 PM, Sun 5 PM; Chopin Theatre, 1543 W. Division, kokandyproductions.com, $40 (students/seniors $30)

That the story is told with limited dialogue and mainly lyrics of your favorite 90s songs is a pleasing foil to its chaotic pacing and some problematic/dated plot points (some suspension of disbelief required here). Scenes with the film’s classics “Colorblind” and “Bitter Sweet Symphony” do not disappoint, with choreographer Laura Savage making the relatively small space feel layered and alive with energy. The entire cast impresses with their vocal performances, delivery of compelling camp, and ability to create an intimacy that verges just close enough to voyeuristic. Anabella Oddo stands out as Cecile (Selma Blair in the movie), using her vocal chops and charming physical comedy to give the “annoying” character depth, growth, and surprising power.

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Shameless nostalgiaMarissa Oberlanderon June 24, 2022 at 2:35 pm Read More »

Pleasant posiesJack Helbigon June 24, 2022 at 2:15 pm

My daughter tells me she likes the 1989 movie version of Steel Magnolias because you can have it running in the background while you do other things, and still more or less follow the plot. The 1987 play the movie is based on has the same virtue. You don’t really have to use all your brain cells to get the gist of what is going on—a group of southern women in a small Louisiana town regularly get together at Truvy’s beauty salon and talk about stuff. The frequently revived play certainly has its virtues—Robert Harling’s dialogue is witty, the characters have enough depth to give actors something to chew on, and the story is sweet, shallow, and inoffensive—but if you go hoping to learn something new about the world, you are at the wrong show. 

Steel Magnolias
Through 8/7: Wed 1:30 PM, Thu 1:30 and 8 PM, Fri 8 PM, Sat 3 and 8 PM, Sun 2 and 6 PM; Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, 630-530-0111, drurylanetheatre.com, $64-$79

The current revival at Drury Lane, directed by Johanna McKenzie Miller, brings out the best in Harling’s material. The pitch-perfect cast makes all of Harling’s lines glitter; they flesh out this rather slow-moving—and at times very predictable—slice-of-life narrative. (Believe me, over the course of this two-hour-plus play, you will have lots of time to drink in Angela Weber Miller’s wonderful, eye-pleasing set.) Every actor in the ensemble gets her star turn, and makes the best of it. Janet Ulrich Brooks is particularly winning as the sharp-tongued local eccentric, Ouiser.    

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Pleasant posiesJack Helbigon June 24, 2022 at 2:15 pm Read More »

The magic is goneAmanda Finnon June 24, 2022 at 3:28 pm

Every piece of art has a timeliness. When it is born and put into the world, it becomes part of its identity for better or worse. For Godspell, that time has come and gone. First staged in 1971, this musical by Stephen Schwartz and John-Michael Tebelak is painfully dated. That cannot be fixed no matter how many contemporary references are crammed into this show, which only make it feel older than it is. Those references are by design, a way to keep the material fresh and timeless, but the opposite occurs. When the music itself is stuck in a certain time, the quips are awkward.

Godspell
Through 7/31: Thu-Sat 7:30 PM, Sun 7 PM; Theo Ubique Cabaret Theatre, 721 Howard, Evanston, 773-939-4101, theo-u.com, $42-$54 (three-course meal from La Cocinita available for $29 per person)

The heavenly voices of Theo Ubique’s angelic ensemble (directed by Christopher Pazdernik) cannot resurrect this relic. Godspell is more akin to a youth church camp musical improv showcase than traditional musical—even Jesus Christ Superstar feels young compared to this tired work.

A series of biblical parables set to flower-child rock opera, this “Baby Shark” infested musical makes for a long two-hour runtime. Which is really too bad because the performers and musicians (led by musical director Jeremy Ramey) are undeniably talented. But Godspell doesn’t have much of a plot to hold on to other than the loosely tied parable strings.

Laz Estrada’s soothing melodies paired with Austin Nelson Jr.’s range could save more souls than one could count. Even so, Godspell has lost its magic. Certain audiences may find themselves spellbound, but this boring, preachy musical is likely to have its nonbelievers.

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The magic is goneAmanda Finnon June 24, 2022 at 3:28 pm Read More »

Shameless nostalgia

We all remember where we were when we saw Cruel Intentions. Its iconic soundtrack (anyone else melt to Counting Crows’ “Colorblind”?) and “shameless perversity” (thank you, Buzzfeed, for this spot-on description) have become canon in many a millennial’s coming of age and sexual maturity. Directed by Adrian Abel Azevedo, Kokandy Productions’s Chicago storefront premiere of the 1999 movie’s jukebox musical adaptation is an incredibly fun nostalgia trip that still feels at turns shocking, twisted, and touching in all the right, confusing ways. You love to hate every character, especially Kathryn (Maddison Denault) and Sebastian (David Moreland), whose stepsibling sexual tension and moral bankruptcy wreak havoc on all in their wake. The plot, based on the 1782 French novel Les Liaisons dangereuses by Pierre Choderlos de Laclos: an X-rated bet that Sebastian bed the new headmaster’s daughter before the school year begins. 

Cruel Intentions: The ’90s Musical
Through 8/7: Thu-Sat 7 PM, Sun 5 PM; Chopin Theatre, 1543 W. Division, kokandyproductions.com, $40 (students/seniors $30)

That the story is told with limited dialogue and mainly lyrics of your favorite 90s songs is a pleasing foil to its chaotic pacing and some problematic/dated plot points (some suspension of disbelief required here). Scenes with the film’s classics “Colorblind” and “Bitter Sweet Symphony” do not disappoint, with choreographer Laura Savage making the relatively small space feel layered and alive with energy. The entire cast impresses with their vocal performances, delivery of compelling camp, and ability to create an intimacy that verges just close enough to voyeuristic. Anabella Oddo stands out as Cecile (Selma Blair in the movie), using her vocal chops and charming physical comedy to give the “annoying” character depth, growth, and surprising power.

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Pleasant posies

My daughter tells me she likes the 1989 movie version of Steel Magnolias because you can have it running in the background while you do other things, and still more or less follow the plot. The 1987 play the movie is based on has the same virtue. You don’t really have to use all your brain cells to get the gist of what is going on—a group of southern women in a small Louisiana town regularly get together at Truvy’s beauty salon and talk about stuff. The frequently revived play certainly has its virtues—Robert Harling’s dialogue is witty, the characters have enough depth to give actors something to chew on, and the story is sweet, shallow, and inoffensive—but if you go hoping to learn something new about the world, you are at the wrong show. 

Steel Magnolias
Through 8/7: Wed 1:30 PM, Thu 1:30 and 8 PM, Fri 8 PM, Sat 3 and 8 PM, Sun 2 and 6 PM; Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, 630-530-0111, drurylanetheatre.com, $64-$79

The current revival at Drury Lane, directed by Johanna McKenzie Miller, brings out the best in Harling’s material. The pitch-perfect cast makes all of Harling’s lines glitter; they flesh out this rather slow-moving—and at times very predictable—slice-of-life narrative. (Believe me, over the course of this two-hour-plus play, you will have lots of time to drink in Angela Weber Miller’s wonderful, eye-pleasing set.) Every actor in the ensemble gets her star turn, and makes the best of it. Janet Ulrich Brooks is particularly winning as the sharp-tongued local eccentric, Ouiser.    

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The quiet inspiration behind the Antetokounmpo brothers’ stunning successon June 24, 2022 at 2:49 pm

Editor’s note: This story was originally published on March 6, 2020. “Rise,” the triumphant real-life story about the remarkable family that produced the first trio of brothers to become NBA champions is streaming now on Disney+.

ALEX ANTETOKOUNMPO THOUGHT he’d had a good game. The senior forward for Dominican High School and youngest of the four basketball-playing Antetokounmpo brothers had posted 15 points, 12 rebounds and 4 assists in a 20-point victory over Mequon Homestead High School on Dec. 7.

His older brother Giannis had other ideas. The NBA’s reigning MVP was fresh off his own 27-point, 11-rebound, 4-assist game in a rout of the LA Clippers on his 25th birthday. He typically darts out of Alex’s high school games quickly to avoid being hounded by fans, but after this performance, he stuck around to share some blunt feedback. Afterward, Alex fired off a text to his coach, Jim Gosz.

“You’ll see a different Alex,” it read.

In Giannis’ eyes, Alex hadn’t been good enough defensively that night, and he wasn’t about to let his little brother slack off on that end of the court. Not when Alex has so much to live up to.

“I’ll tell you one thing, it’s hard to be Alex,” Giannis said. “It’s hard to have three brothers get drafted. He wants to get drafted, but he’s got to get better every day. There’s going to be down days, there’s going to be hard days, it’s going to be days that he doesn’t have confidence, but that’s where we step in and say, ‘Hey, you’re going to be good, keep working hard. Keep your head up. You’re going to be really good.'”

2 Related

Alex can’t escape the watchful eye of his superstar brother, especially not when they share the same home. The two brothers live with their mother, Veronica, along with Giannis’ girlfriend, Mariah Riddlesprigger, and the couple’s newborn child, Liam Charles Antetokounmpo. The baby gets his middle name from Antetokounmpo’s late father, Charles, who was instrumental in establishing the work ethic that drives the brothers today.

“He put in you that ‘don’t-give-a-f—‘ mentality,” Giannis said. “I feel like the toughness, I’ve always had it, but that ‘don’t-give-a-f—‘ mentality whether I win, lose, play good or play bad, I just go out there and chase it. Like, what’s the worst that can happen?”

For the brothers, success isn’t measured in wins and losses, even though Giannis, Thanasis and Kostas play for the two winningest teams in the NBA this season. Living up to their father’s legacy remains the primary goal. From the oldest brother, Francis, a retired soccer player who makes his home in Greece, to Alex, a high school senior in suburban Milwaukee with the bright basketball future, that means supporting and leading one another to greater success.

“It’s the biggest thing that we’ve got to worry about,” Alex said. “If we have one goal to fulfill in life, it’s that.”

MORE: How to listen to The Giannis Draft

GIANNIS WAS FRUSTRATED. The Bucks had just lost in overtime to the Miami Heat in their home opener on Oct. 26. He’d fouled out on a questionable charge call in overtime. Giannis had forced the overtime session with a tip-in at the fourth-quarter buzzer, but after he fouled out, the Bucks struggled to score, missing all five of their shots from the field. Khris Middleton‘s potential tying shot with 0.7 of a second left clanked off the rim, and while the other Bucks who weren’t in the game stood along the sideline to watch Goran Dragic make the game-sealing free throws, Giannis sat on the bench and stared up at the scoreboard.

In the locker room, Giannis sat in a daze, with his size-17 right foot planted in a big, blue ice bucket. Coming off his MVP season in 2018-19, Giannis had opened this year by fouling out in back-to-back games. While the other Bucks gave Giannis space after the loss, Thanasis rolled his chair over and consoled his brother in Greek. The two brothers and teammates conversing in their native language has become a common occurrence in the Bucks’ locker room.

Middleton has been with Milwaukee since Giannis came into the league in 2013, but he said he’s seeing a different side of the reigning MVP this season with his brother on the roster.

“You see them talking, joking and how they treat one another,” he said. “You can just tell how they were raised to be tight and close-knit.”

This is the first time in Giannis Antetokounmpo’s seven NBA seasons that one of his brothers has been his teammate. Ned Dishman/NBAE via Getty Images

Thanasis, Giannis, Kostas and Alex were all born in Greece after Charles and Veronica emigrated from Nigeria when Charles’ professional soccer career ended. Francis, the oldest Antetokounmpo brother, stayed behind in Lagos with his grandparents and eventually followed in his father’s footsteps as a pro soccer player.

The four other brothers have found success in a different sport. But before they became NBA players, Thanasis and Giannis sold CDs, DVDs, glasses and watches on the street in Greece to help supplement the family’s meager income. Charles worked as a handyman, and while life wasn’t easy for the family, he always tried to set a positive example for his children.

“My dad didn’t have nothing,” Giannis said. “He didn’t have a house. He didn’t have a car. No, he didn’t. Not one in his name. Obviously, we were living somewhere and we were driving a car, but it wasn’t his, so, man, all he had was us. We basically are his legacy.”

Nearly three years after Charles’ death, the brothers do everything they can to live up to the example their father set for them. They’re in contact every day thanks to a lively group chat where they give one another advice about basketball and life.

“I feel like we’ve all come in together after my father passed away,” Kostas said. “Everybody is trying to help. Obviously, my older brother Thanasis and Giannis had the biggest role to do, to step in and help more with my mom, me and Alex. But I’ve seen growth in Alex, and they’ve seen growth in me just becoming our own men.”

“My dad didn’t have nothing. He didn’t have a house. He didn’t have a car. No, he didn’t. Not one in his name. … all he had was us. We basically are his legacy.”
Giannis Antetokounmpo

Sometimes that support means holding one another accountable when they’re not living up to the high standard they’ve set for themselves. Giannis is the most accomplished, but that doesn’t make him immune from being called out by his older brother.

After a disappointing Game 1 loss to the Boston Celtics in last season’s Eastern Conference semifinals, Giannis got a call from Thanasis, who was in the midst of a championship EuroLeague run in Greece playing for Panathinaikos. Kostas sat next to Giannis as the brothers spoke for at least an hour and a half on speakerphone. The older brother urged Giannis to “be more aggressive.”

“First of all, have fun,” Thanasis told Giannis. “And just understand that there’s no shortcuts to nothing.”

“Yeah, man, you’re right,” Giannis responded.

The Bucks went on to beat the Celtics in five games.

“We always speak the truth,” Thanasis said. “We always keep it honest. That’s how we get better. That’s the most important thing.”

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NURSING A COMFORTABLE fourth-quarter edge against the New York Knicks at Fiserv Forum on Dec. 2, Thanasis nailed a 15-foot fadeaway and then flashed the family’s famous mean mug to the sideline, which brought Giannis to his feet on the bench. Giannis had seen that face plenty of times before, playing one-on-one against Thanasis when they were growing up.

Neither brother will go into detail on who would win those games as kids, but Giannis says he took several aspects of the game from Thanasis — including the mean mug — and still holds him in high regard, even as he’s become the MVP and Thanasis now plays the supporting role as his teammate.

“Since we were little, he always did that,” Giannis said. “When we were little, he was playing way more than me so he was mean-mugging even more. I never got better than him.”

Thanasis will beg to differ.

“None of us will say we’re better than each other because that’s how we are and being modest and everything,” Thanasis said. “But I feel like we really work hard.”

They’ve made sure they instill that same work ethic in Alex. The family sees limitless potential in the youngest Antetokounmpo brother, who checks in at 6-foot-8 and 200 pounds at 18 years old. The older brothers do everything they can to make sure that potential doesn’t go to waste.

“One thing about Giannis, there’s no gray area with him,” Gosz said. “He doesn’t sugarcoat anything, even to Alex. He’s very hard on Alex, especially when Alex is not playing up to his potential.”

Alex Antetokounmpo averaged 20.1 PPG and 7.0 RPG and shot 52.1% as a senior at Dominican High School this season. AP Photo/Gregory Payan

Sometimes Giannis will show up to Alex’s practices unannounced, and he stays in contact with Gosz for updates. After a game last year, Giannis noticed that Alex wasn’t sprinting back on defense after plays, so he had a solution.

“I took him to the [Bucks’] practice facility around like 1 a.m. where he probably ran for hours,” Giannis said. “It’s not about having a good game, it’s about your effort. That’s what I try to show my brothers, and that’s what Thanasis tried to show us. So if your effort is not there, I’ll go crazy.”

Thanasis, Giannis and Kostas all showed up for Alex’s senior night in February before All-Star Weekend in Chicago. Alex signed the back of Giannis’ custom No. 24 hoodie as he flashed a big smile. The family then made the trip to the Windy City, where they enjoyed the weekend’s festivities before Team Giannis dropped an intense battle to Team LeBron, 157-155.

“After the game, my brother [Kostas] came down, and he said this has been the most fun All-Star he’s been a part of,” Giannis said during his postgame media session, as his family waited in a back room at Chicago’s United Center. “I asked him why, and he told me, ‘Because you guys were really competitive. You guys were playing to win.'”

BEFORE THE LAKERS and Bucks faced off at Fiserv Forum on Dec. 19, Giannis, Thanasis and Kostas all met on the court during pregame warm-ups. It was a rare opportunity for the three brothers to be together during the regular season.

“This is unique, we can’t take this for granted,” Giannis told Kostas on the court before the game. “We were three brothers under the same roof, going through the same game, going through our pregame warm-up. We’re blessed and we’ve got to keep working hard and keep being thankful and earn more on the court.”

Once the final buzzer sounded after Milwaukee’s 111-104 win, the brothers swapped jerseys on the court with huge smiles on their faces. Despite claiming the NBA’s best record that night, Giannis didn’t bask in glory.

Instead, he dressed quickly in the locker room and darted to the arena’s kids’ room for a private family reunion with his girlfriend, his mother and his brothers — almost forgetting his media obligations. Giannis wouldn’t reveal what the family talked about in private, but once he emerged to meet with the media, he spoke about his humble beginnings, saying that night, “At the end of the day, I realize and my family realizes that I’m not supposed to be here.”

When the Bucks and Lakers meet again Friday in Los Angeles (10:30 p.m. on ESPN and the ESPN App), the game will serve as far more than a potential NBA Finals preview. It’ll be a reminder of all that these brothers have accomplished — but it will be bittersweet without Charles there to see it.

“For some reason, I feel like he knew this was going to happen,” Thanasis said of the family’s NBA success. “I don’t know how, but he just knew and he just always believed in his kids, and him and my mom always had hope. So my thing is that we are my father’s legacy. Not what we do. We are the legacy, and Liam is Giannis’ legacy, and then it goes on.”

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The quiet inspiration behind the Antetokounmpo brothers’ stunning successon June 24, 2022 at 2:49 pm Read More »

Psych-rock icon Arthur Brown celebrates his 80th birthday with a new albumSteve Krakowon June 24, 2022 at 11:00 am

If I were forced to subscribe to any wild theory circulating on the Internet right now (we won’t say the c-word), it wouldn’t be about lizard people, a flat Earth, anything “secretly staged by crisis actors,” organized religions, or UFOs. It would be that a God of Hellfire lives and flourishes here on this planet as a for-real deity. This divinely blazing being is widely recognized under the human name Arthur Brown, but to me he’s an effortless pioneer, a visionary, and yes, even an otherworldly lord of the highest order. With his glass-breaking operatic voice, the flamboyantly experimental singer-songwriter broke out of London’s late-60s rock scene with the Crazy World of Arthur Brown, a manic, Screamin’ Jay Hawkins-inspired R&B group best known for their 1968 single “Fire” (in various forms or lineups, they’ve continued to make records on and off ever since). Brown later explored more varied sounds, including futuristic electronics with his 70s band Kingdom Come and avant-garde synth music on the 1982 solo LP Requiem—neither of which the world has caught up with yet. I can be pretty cynical about new releases by even the most beloved legacy artist, but from the get-go, heads will recognize Brown’s new album, Long Long Road, as an epic future classic. Opener “Gas Tanks” (a term on the minds of everyone hemorrhaging petrol money) starts with a collage of electronic swells, birdsong, and other mysterious sounds, then gives way to a pounding organ-led groove of Hellfire God proportions. This righteous cut evokes vintage Brown and puts his proggy tendencies on brilliant display: flute parts, tricky pin-drop changes, and of course his unearthly falsetto vocals. The track blends into the mellow and irreverent spoken word of “Coffin Confessions,” which segues into the Hammond B3 gospel glory of “Going Down.” 

Long Long Road feels like a concept album: the tracks all flow into each other, and together they seem to hint at a theme of aging and roads traveled. Brown is entering the final phase of his career, after all—this LP comes out on June 24, his 80th birthday. The downer “Once I Had Illusions (Part 1)” treats a snaking guitar line with swirling backward effects, while the acoustic-guitar number “I Like Games” betrays an abstract but rootsy Captain Beefheart influence that shows off the versatility of Brown’s voice, which veers into low ’n’ gritty blooz tones. The variety continues on the jazzy, vibes-accented “Shining Brightness,” which is dense with trippy sonic details and chunky fuzz guitar. The album’s title track and first single, “Long Long Road,” is ironically my least favorite here. It feels like a commercial ballad with chart aspirations, and it just doesn’t fit Brown’s talents or this album—especially considering that it precedes the ominous, progressive closing track, “Once I Had Illusions (Part 2).” It runs past six minutes, with dark, ruminative lyrics (“Sometimes I feel there’s no blood in my veins”) and an approach to the blues that’s not quite like anything we’ve heard before—no mean feat.

Long Long Road is a definite must-have for every Brown fan; the main conundrum is deciding between formats. The release will arrive as a fancy box set whose many delights include a 48-page hardcover art book, an LP, two CDs, and four art prints, all hand-numbered and signed by Brown. The art book (which comes with the two CDs) is also available separately, and it comes with liner notes by Brown and two exclusive studio recordings. For those without such deep pockets, it’ll also be released on 180-gram red vinyl and as a Digipak CD—but I gotta admit, I want it all!

Arthur Brown’s Long Long Road is out 6/24 via Bandcamp.

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Psych-rock icon Arthur Brown celebrates his 80th birthday with a new albumSteve Krakowon June 24, 2022 at 11:00 am Read More »

Psych-rock icon Arthur Brown celebrates his 80th birthday with a new album

If I were forced to subscribe to any wild theory circulating on the Internet right now (we won’t say the c-word), it wouldn’t be about lizard people, a flat Earth, anything “secretly staged by crisis actors,” organized religions, or UFOs. It would be that a God of Hellfire lives and flourishes here on this planet as a for-real deity. This divinely blazing being is widely recognized under the human name Arthur Brown, but to me he’s an effortless pioneer, a visionary, and yes, even an otherworldly lord of the highest order. With his glass-breaking operatic voice, the flamboyantly experimental singer-songwriter broke out of London’s late-60s rock scene with the Crazy World of Arthur Brown, a manic, Screamin’ Jay Hawkins-inspired R&B group best known for their 1968 single “Fire” (in various forms or lineups, they’ve continued to make records on and off ever since). Brown later explored more varied sounds, including futuristic electronics with his 70s band Kingdom Come and avant-garde synth music on the 1982 solo LP Requiem—neither of which the world has caught up with yet. I can be pretty cynical about new releases by even the most beloved legacy artist, but from the get-go, heads will recognize Brown’s new album, Long Long Road, as an epic future classic. Opener “Gas Tanks” (a term on the minds of everyone hemorrhaging petrol money) starts with a collage of electronic swells, birdsong, and other mysterious sounds, then gives way to a pounding organ-led groove of Hellfire God proportions. This righteous cut evokes vintage Brown and puts his proggy tendencies on brilliant display: flute parts, tricky pin-drop changes, and of course his unearthly falsetto vocals. The track blends into the mellow and irreverent spoken word of “Coffin Confessions,” which segues into the Hammond B3 gospel glory of “Going Down.” 

Long Long Road feels like a concept album: the tracks all flow into each other, and together they seem to hint at a theme of aging and roads traveled. Brown is entering the final phase of his career, after all—this LP comes out on June 24, his 80th birthday. The downer “Once I Had Illusions (Part 1)” treats a snaking guitar line with swirling backward effects, while the acoustic-guitar number “I Like Games” betrays an abstract but rootsy Captain Beefheart influence that shows off the versatility of Brown’s voice, which veers into low ’n’ gritty blooz tones. The variety continues on the jazzy, vibes-accented “Shining Brightness,” which is dense with trippy sonic details and chunky fuzz guitar. The album’s title track and first single, “Long Long Road,” is ironically my least favorite here. It feels like a commercial ballad with chart aspirations, and it just doesn’t fit Brown’s talents or this album—especially considering that it precedes the ominous, progressive closing track, “Once I Had Illusions (Part 2).” It runs past six minutes, with dark, ruminative lyrics (“Sometimes I feel there’s no blood in my veins”) and an approach to the blues that’s not quite like anything we’ve heard before—no mean feat.

Long Long Road is a definite must-have for every Brown fan; the main conundrum is deciding between formats. The release will arrive as a fancy box set whose many delights include a 48-page hardcover art book, an LP, two CDs, and four art prints, all hand-numbered and signed by Brown. The art book (which comes with the two CDs) is also available separately, and it comes with liner notes by Brown and two exclusive studio recordings. For those without such deep pockets, it’ll also be released on 180-gram red vinyl and as a Digipak CD—but I gotta admit, I want it all!

Arthur Brown’s Long Long Road is out 6/24 via Bandcamp.

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Chicago Bulls’ pick of Dalen Terry has a lot to do with Lonzo BallRyan Heckmanon June 24, 2022 at 11:00 am

Leading up to the 2022 NBA Draft, it was anyone’s guess as to what the Chicago Bulls were going to do.

Owning the no. 18 pick, there have been plenty of rumors about the Bulls trading the pick, along with guard Coby White. There have also been a load of rumors about the Bulls trading for both Rudy Gobert and John Collins.

But, the Bulls kept the pick and went with Arizona point guard Dalen Terry.

The pick came as a little bit of a surprise when many fans wanted a big man, but in the end, it makes a whole lot of sense when you take into consideration the situation of starting point guard Lonzo Ball.

The Chicago Bulls drafting point guard Dalen Terry has much to do with point guard Lonzo Ball.

Look at the immediate facts, first of all. Ball’s health has been in question for quite some time, and some have started to become worried about his knee. Ball has attempted to ramp up his conditioning multiple times since his surgery, and each time it has caused a setback with his recovery.

Drafting Terry is absolutely insurance for Ball, first and foremost. The Bulls must be legitimately concerned about the immediate future of Ball. Should he miss the start of the season, Chicago will go with second-year pro Ayo Dosunmu and have Terry coming off the bench.

This likely also means that Coby White is as good as gone, as the Bulls have been trying to trade him for a little while now.

Back to Lonzo and Terry, though.

Looking at the scouting report for Terry, one can see a whole lot of similarities between he and Lonzo. Terry stands 6-foot-7 and comes in as the known “glue guy” for his Arizona Wildcats. If you asked someone what Lonzo meant to the Bulls last season, one could argue he was absolutely the “glue guy,” because once he went out, the Bulls came completely undone.

Terry is a stout defender and can guard multiple positions. If he had to, Terry could guard positions 1-4. He is a phenomenal athlete and brings a good amount of energy on both ends of the floor. He’s a guy who always looks to get his teammates involved and can facilitate well.

Last year, Terry averaged 8.0 points, 4.8 rebounds, 3.9 assists and 1.2 steals per game. He truly did everything for the Wildcats, and comes to the Bulls as someone who could step in and play a very similar role as Lonzo.

The athletic profile and intangibles are eerily similar to Ball, but Terry is an even better athlete. While many wanted size, Terry ended up being a smart, safe pick and he could prove to be a very big part of this team, especially if Ball does not return anytime soon.

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Chicago Bulls’ pick of Dalen Terry has a lot to do with Lonzo BallRyan Heckmanon June 24, 2022 at 11:00 am Read More »