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In 1928, directors Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov began a collective statement with a declaration: “Our cherished dreams of a sound cinema are being realized.” It was a transitional period for the medium, as feature films had recently incorporated synchronized audio, and the year prior saw the first part-talkie in Alan Crosland’s The Jazz Singer. Their excitement, however, was tempered. “Sound is a double-edged invention,” they suggested, wary of how straightforward implementations could “destroy the culture of montage.” Only the most thoughtful would ensure these new technologies led to innovation, and this radical change for film would be, as we now know, a permanent one. This evolution was something they may have seen as inevitable, as they noted that “the whole world now speaks of the ‘silent’ that has found its voice.”

The “voice” that those Soviet filmmakers referred to was, of course, actual voices or sounds. But there’s an unintentionally profound statement there regarding silence as having its full potential unlocked, that there exist far more possibilities for silence than we recognize. I’ve spent much of my life thinking about this and, as with most, it began with John Cage. While the American composer wrote a lot on sound and silence, the passage of time has reduced his words to basic ideas stemming from his most famous work, 4’33” (1952): There’s no such thing as true silence, the “extramusical” sounds we hear outside of a performance should be appreciated as music, silence should be considered as a true compositional and structural element, and so on.

These are perspective-shifting truths, and they certainly transformed how I engage with the world through my sense of hearing, but the music that has followed in the decades since has proven itself less revelatory than it initially appeared. Artists who are (self-)described as “post-Cage” are, in fact, regurgitating his ideas in slightly different contexts, and the results are largely inconsequential. Really, it’s works outside of this highbrow tradition of classical music (ironically referred to as “new music”) that surprise me most. One example: the 1970 LP The Best of Marcel Marceao, a long-form gag showcasing the greatest hits of a mime. Each side features 19 minutes of silence followed by a minute of uproarious applause. It’s funny in a way that most serious music isn’t.

Different contexts allow for different understandings of silence. This has never been more clear for me than when, after becoming a high school science teacher, I saw it manifesting in my classes every day. Silence can indicate critical thinking when I propose a challenging question, it can conjure up an awkward environment if someone’s joke doesn’t land, it can provide for tender moments of reflection when students accept they’re smarter than they ever realized. Silence is also a major pedagogical tool, as it can be an elegant maneuver to convey that everyone needs to be more attentive, that something important is about to happen.

I came to understand silence as instructive through the arts, and mostly appreciate it nowadays when watching avant-garde films. When you watch a silent experimental film, there’s no room for music to dictate anything. Consider the real miracle of sound as an artistic medium: it can be engaged with in a multitude of ways, but importantly, it’s one of few that people regularly interact with passively—think of podcasts you barely pay attention to, white noise machines you keep on when sleeping, or any music you comfortably leave playing in the background. What’s not considered in our passive engagement with music is that its inherent rhythms are so impactful that they can readily overwhelm filmic ones, which is why it’s such a travesty that countless avant-garde films are ruined by poor considerations of audio. Beyond the mere content of the music being dull, it’s how it usually functions: at their worst, experimental films utilize sound as cheap mood enhancer. Through an inability to trust the images to evoke emotions and ideas on their own, directors use music as a way to fill in cognitive blanks. These artists don’t trust the audience, or even themselves.

Ten more silent films to help you see:

– Fuses (Carolee Schneemann, 1967)
– Chant (Robert Fulton, 1973)
– V.W. Vitesse Women (Claudine Eizykman, 1974)
– Couleurs délicieuses sur fond bleu (Christian Lebrat, 1976)
– Splices for Sharits (Joseph Bernard, 1980)
– Midi (Teo Hernández, 1985)
– The Secret Garden (Phil Solomon, 1988)
– Bouquets 1-10 (Rose Lowder, 1995)
– Toccata (Hannes Schüpbach, 2002)
– At Sea (Peter B. Hutton, 2007)

This is why the most spellbinding avant-garde films often transcend the need for sound. Stan Brakhage, of course, is one of the most important in this regard. He understood how silence forced an acute awareness of his images: “I feel they need a silent attention,” he once said of his works. Indeed, in Window Water Baby Moving (1959), sheer joy and love are on full display as he captures his then-wife giving birth, and any emotions would’ve been stymied if audio was provided. Through extreme close-ups, rotations of his camera, and dazzling reflections of light on water, he constantly maneuvers in a tight interzone between visual abstraction and clarity. What occurs is a continual refocusing on these bodies, as if he’s reminding you that, yes, what you’re witnessing is actually extraordinary. More than anything, silence prevents what we’re seeing from diminishing into banalities.

One real power of silence comes in allowing films to be appreciated at their basest levels. It’s so often that it can lead to greater appreciation for light. There’s Brakhage’s own A Child’s Garden and the Serious Sea (1991), which transforms light-reflecting seafoam into mystical colors, or Jerome Hiler’s Words of Mercury (2011), whose glimmering blues and yellows conjure up a sense of the fantastical. A simple R-L pan in Larry Gottheim’s Doorway (1971) is bolstered by silence as it leads to a more expansive understanding of how much really exists in one’s surroundings. In Nathaniel Dorsky’s Threnody (2004), silence allows for a consideration of the contrast in rhythms we encounter in our everyday lives, be it the fading of light on specific textiles, the sway of flora in the wind, or the stillness of a cloudy evening sky. Silence, as people may understand it via meditation, is a way to be more attuned to the world around us.

Even filmmakers who’ve explored sound throughout their careers often find their creative peak when employing silence. Take Bastian Clevé, whose works have been soundtracked by legends such as Eberhard Weber, NEU!, and Klaus Schulze. His silent short film Tollhaus (1979) has rapid cuts that create such an irresistibly frenetic rhythm that every juxtaposition feels like a chance to see every image anew. Such edits would be far less disorienting with a soundtrack, as it would render the footage more seamless via music’s ability to establish an overarching atmosphere. Ute Aurand’s diaristic films are often made more sentimental through music and quotidian sounds, but her 2020 silent film Glimpses from a Visit to Orkney in Summer 1995 uses extreme close-ups of flowers to express the range of feelings defining her time with poet Margaret Tait. Silence makes each brilliant flash of color—every gold and emerald and turquoise—a pure conduit of exuberant emotion.

In the context of film, silence helps us appreciate the beauty and gift that is our sense of sight. We need to understand silence as infinite in its capabilities, that there may never be a point at which it fully “finds its voice” or stops teaching us. Just as there exists a difference between hearing and listening, there is a huge gulf between merely looking and intently watching. Silence, when used effectively, ushers us into the latter.

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Several decades after the metamorphic transition from silent to sound, a 1981 article in the New York Times observed that “a live musician is rarely seen at a movie except as a member of the audience.” 

That’s not untrue with regards to one Dennis Scott, who can often be found sitting in the first few rows of the main room at the historic Music Box Theatre. But unlike other audience members, he’s enjoying the movie after playing in between showtimes on the majestic theater organ affixed to the left of the screen, a sonic behemoth that for many is now an essential fixture of the experience.

The aforementioned Times article was about the dearth of live silent film accompaniment, a tradition lost to its heyday but which has since enjoyed periods of revival in limited exhibition venues. Scott has been the Music Box Theatre’s house organist since 1992; in 2011 he started a monthly silent cinema series that continues to this day.

“It was the music,” he says of his deep affection for the pastime. “I always just loved the music, and I loved the sound of a theater organ.”

Scott is one of several musicians in and around Chicago for whom live silent film accompaniment is a regular gig. Another in this cadre is Dave Drazin, who accompanies on the piano and has done so at the Gene Siskel Film Center for nearly 40 years, a job he landed quite fortuitously. 

“They were showing something—I don’t know what—but I just walked in, and there was a piano on the side. I asked the house manager if it would be alright if I played the piano for the movie, and he said he would ask the director. He came back and said OK. So I just played, and then the director said, ‘We need a guy like you.’”

A longtime hot jazz aficionado who studied music in college, Drazin has often utilized his predilection for extemporization, improvising scores on the spot. Jay Warren, president and cofounder of the Silent Film Society of Chicago, takes another tack, the traditional photoplay organist instead referring to his accompaniment as a “compiled score.” 

Warren relies on themes for different parts of the film, a tactic imparted by his “unofficial mentor” Gaylord Carter, a renowned organist, film accompanist, and composer who is credited with having helped revive public interest in silent cinema, leading to its initial renaissance.

“One thing we [learned] is not to overplay the film,” says Warren. “You want to be the background. You want to embrace the film; we don’t want to be the star of the show. You should forget about us.”

For Scott, who for many years worked in advertising and PR and thus knows how to captivate an audience, authenticity is key. He prides both himself and the theater on maintaining high standards of exhibition that honor the nuances of silent cinema.

“In this part of the country, [we do] the most authentic presentation of silent films, because we can do 35-millimeter. We can also do variable-speed 35-millimeter, which very, very few places can do. If a film is shot at 20 frames per second, we can show it at that speed.”

He’s especially proud of the organ itself, which he and his husband spent three and a half years restoring. Soundwise it’s digital, with all the effects viewers would have heard back in the 1920s; the console, however, is from 1929, like the Music Box itself. 

Scott, Drazin, and Warren are the most prolific working accompanists in Chicago, whose names you expect to see connected with a silent film screening; however, they aren’t the only ones. 

For example, Chicago-based musician Maxx McGathey has recently composed and performed original live scores for Robert Wiene’s 1924 film The Hands of Orlac and Alfred Hitchcock’s The Lodger (1927).

A few weekends ago, internationally celebrated musicians Min Xiao-Fen and Rez Abbasi accompanied the 1934 Chinese silent feature The Goddess for an event copresented by the Silent Film Society of Chicago at the Reva and David Logan Center for the Arts.

Comfort Film, a program of Logan Square’s Comfort Station, offers a yearly Silent Film and Loud Music series. Past pairings include Wiene’s The Cabinet of Dr. Caligari (1920), with music from Kassi Cork, Vince McAley, and Anthony Forgrase; F.W. Murnau’s Faust (1926), with music performed by Mexican rock band Los Black Dogs; and ​​Oscar Micheaux’s 1920 film Within Our Gates, accompanied by Paul Giallorenzo and Ben LaMar Gay.

“[It’s] a way to expose our younger audience to these classic films.” says Comfort Film programmer Raul Benitez. The limitations are none; participants are given free rein both in selecting the film and devising their accompaniment. “Every screening is a surprise,” he says. “We even had a band edit a film.”

Keyboardist Kassi Cork doesn’t consider herself especially well versed in silent cinema, but she was nevertheless drawn to the prospect. “There is a history of music performance, primarily organ and piano, for silent film accompaniment that has always intrigued me as a pianist,” she says. “I grew up in a town that still had an organist play before movie showings, and there has always been something magical about that.”

Though new to it, Cork’s process in imagining an accompaniment is similar to that of seasoned practitioners. “While watching the film I create an outline of the overall plot, including mood and ideas it might give me.”

As far and wide as silent film accompaniment reaches in Chicago, spanning melodies from the silent era to music not yet even conceived during that time, there’s one thing these musicians have in common: the film is the thing, the guiding force behind what they do. 

“People ask me if I look at the screen,” remarks Scott. “I say, I always look at the screen, that’s more or less my sheet music.”

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“Candyman. Candyman. Candyman. Candyman. Candyman.” The repetition is a summoning spell which repeats the past in the present. Horror is a sound you can’t stop saying.

Bernard Rose’s 1992 film Candyman repeats its summoning spell as an echo that turns words into sounds and back again. Set around the Chicago housing project of Cabrini-Green, the movie features protagonist Helen Lyle (Virginia Madsen), a white anthropologist studying urban legends. She becomes fascinated by the story of Candyman, a Black artist in the 1890s who painted the picture of a white woman, fell in love with her, and was duly murdered. His hand was cut off and replaced with a hook and his genitals smeared with honey and exposed to bees. 

Candyman supposedly haunts Cabrini-Green, which stands on the ground where he was killed. If you look in a mirror and say “Candyman” five times, he appears, whispering loving, terrifying promises. “I am the writing on the wall, the whisper in the classroom.” Tony Todd’s incredibly sensuous voice drips with honey and blood. To say his name is to summon forth a sweetness of sound and terror; the pain, as he says, is “exquisite.”

Philip Glass’s soundtrack for piano, pipe organ, and chorus mirrors the repetition in the summoning spell. His iconic minimalist iteration, sketching the same figure over and over like images in glass, forms a backdrop for the boxes of Cabrini-Green, stark identical apartments and identical apartments stacked. Glass’s insistent, stark hum collapses, at key moments, into the white noise buzz of massed bees, the carefully ordered divisions of space and sound pressed together into a single trauma crawling on the rib cage, an iron hook dragged through a honeycomb.

The most famous theme from the film is “Music Box,” in which Glass’s characteristic repetition mirrors the tinkling loop of a child’s toy. “Music Box” is introduced early in the film; it’s the background music for one of Helen’s interviews, in which an informant tells her the story of Candyman. 

Per the informant, a woman was babysitting when a lover came over. The babysitter tells him the story of Candyman, the story in the story culminating in the repetition of the name and the wet sounds of death. 

Glass’s music is a theme for the baby. But its maddening loop is also an auditory mirror of the loop of story which is also the loop of history. The past is a story repeating in the present. Horror is a sound you can’t stop saying.

Nia DaCosta’s 2021 Candyman sequel/reboot is scored by Robert Aiki Aubrey Lowe. His incidental music is influenced by Glass, holding up a kind of buzzing electric mirror to Glass’s crystalline compositions. 

Lowe does reproduce one piece from the original score, though. Glass’s “Music Box” theme is used in a scene that reprises and retells the events of the previous film. 

In a flashback sequence told through artist Kara Walker’s eerie shadow-puppet cutouts, we see Helen Lyle start to investigate Candyman and then go insane. She makes snow angels of blood and throws a child into a fire. 

Glass’s music tinkles and chimes as the words grind on, echoing the horror story campfire tale of the first movie. The story the shadow puppets tell here is garbled, though; in the “real” events of the first movie, Candyman, not Helen, was the murderer, and the baby lived. To reflect this, Lowe adds ambient hiss and echo. The music box fades toward white noise buzz, space and sound collapsing into a single trauma, a bloody hook dragged through a honeycomb.

The “Music Box” theme has a final, clearer rendering at the end credits of the 2021 film. By this point we’ve walked again through the razed, gentrified landscape of Cabrini-Green. The baby rescued in Candyman, artist Anthony McCoy (Yahya Abdul-Mateen II), has become ensnared in the story, learning to his sorrow that Candyman isn’t one ghost, but a genre, or a hive. A Black man who moves into a house in the wrong neighborhood; a Black boy executed for a crime he didn’t commit; a Black man accused of putting razor blades in candy—they all die and are born again as a story of death. Racist violence repeats in a predictable path, like a bee following a scent trail. 

Kara Walker’s puppets reprise each story in a ritual of dark and light as the music box repeats its unending theme. The movie is the music is a sound is a story is a word. Candyman. Candyman. Candyman. Candyman. Candyman. Horror is a sound you can’t stop saying.

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As a child I hated subtitles. The words constantly multiplying and changing on the bottom of TV screens distracted me from the scenes in shows and movies. Sometimes the white words overlaid on a black background moved at a quicker pace than what the characters onscreen were actually saying and spoiled what was to come. I’d rather the educators who screened educational specials at school turn the boxy 90s televisions off altogether.

Obviously, a distaste for captions spoke to my privilege as a nondisabled child who had an option to dislike them in the first place. But surprisingly, subtitles have grown on me as an adult. As a lover of many things Black, I love watching films created in other countries like Nigeria, South Africa, and even France (shout-out to Netflix’s Lupin). As my film and TV palate has expanded, I’ve learned of the innate multiculturalism of most Black folks in the African Diaspora (not just in America) that translates onscreen. It is quite common for scenes in these films to have characters who converse in Pidgin English (a mix of a local language and a version of English) or two other languages separate from English altogether. As much as body language is also a very communicative tool, missing even a few words can shift an understanding of what’s happening in a story. Subtitles help put the pieces of these conversations together.

Subtitles are also quite useful for those of us looking to become more confident in speaking another language. I am years from my high school days of studying French and even further from my days learning Spanish in grammar and middle school. Immersing myself in non-American entertainment has renewed my interest in remembering and enhancing my French-speaking skills; it’s also made me want to learn local languages like Bantu people’s Lingala, which isn’t as readily available to learn unless you are in community with Congolese or other Bantu people. Those once-pestering words on the bottom of television screens I now see as an opportunity to refresh and expand my communication.

As beneficial as they may be, subtitles have their faults. Late last year, conversations around Netflix’s Squid Game, one of the streaming service’s most viewed series, brought to light how poor transcriptions in the show completely shift the understanding non-Korean speakers likely have of the storyline. As a native English speaker, it’s a question I often ponder: Are the subtitles presented accurately capturing what’s being communicated onscreen? Still, I’d argue that turning on your subtitles here and there is a great start to expanding your knowledge of other parts of the world.

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The past several years have been an ongoing study in prevailing disquietude—this is especially true of the current moment, when the rights of people who can get pregnant are all too easily threatened. As the saying goes, prohibiting abortion doesn’t stop people from doing it but rather makes it unsafe and potentially fatal. Audrey Diwan’s poignant adaptation of writer Annie Ernaux’s memoir about undergoing an illegal abortion as a 20-something woman in 1963, when abortion was still illegal in France, lends compelling imagery to this truism; the French director spares little in her harrowing depiction of a young woman’s quest to terminate her pregnancy. Anne (Anamaria Vartolomei) hails from a working-class village, where her parents (Sandrine Bonnaire is notable as her mother) own a bar and wish better for their gifted daughter, who studies literature at a nearby university. Her future is jeopardized when she becomes pregnant; a disapproving doctor tricks her into taking medicine that only strengthens the embryo, and an attempt at aborting it herself proves futile. And that’s just the beginning. Anne contends not only with this physically torturous quagmire but also with suffering grades and isolation from her peers. Diwan charts her journey to the eventual abortionist’s makeshift clinic with aplomb, depicting the lengths people will go to in order to exert bodily autonomy. The no-holds-barred approach to the procedure and its aftermath is the kind of interpretation of real life that great cinema does best; one can only hope such empathy translates offscreen as well. R, 100 min.

Limited release in theaters

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Anaïs in Love is as magnetic as its protagonist. From the start, Anaïs (Anaïs Demoustier) is messy, flitting from one stressful situation to the next. Except she does it with admirable ease, whether explaining to her landlord why she’s behind on her rent or arriving too late to a date with her boyfriend. By the time she awkwardly encounters the much older man she’ll embark on an affair with, Anaïs seems to be treading dangerously close to manic pixie dream girl territory. But filmmaker Charline Bourgeois-Tacquet never lets her get there. Instead, Bourgeois-Tacquet offers a much more charming character whose nuance becomes more apparent when she falls in love with Emilie (Valeria Bruni Tedeschi), whose husband is the aforementioned man. Again, she’s messy, but the film embraces that in a way that honors the character, giving her room to grow autonomously and with an authenticity viewers won’t be able to shake. 98 min.

Wide release on VOD and limited release in theaters

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It’s never been easier to meet someone online. There are more singles than ever in the dating pool. Most are in search of a meaningful connection that could lead to a long-term commitment. Landing a real catch in a traditional setting feels like fishing in the Dead Sea: impossible. But dating apps and websites have softened the blow and made it possible to scope out your options from the safety and comfort of your own home. With life online becoming an omnipresent reality, it’s one of the best ways to date. The best part? They actually work.

Now, this isn’t true of all dating sites, and there are plenty to comb through. While it’s nice to have options, digging around for the top dating sites can feel like searching for a needle in a haystack. Additionally, veteran daters know that modern dating culture has become murky at best.

Which apps will introduce you to singles who are serious about commitment and not just another hookup? Tinder might be the big dog of swipe-based dating apps, but you likely won’t find anything beyond a hot make-out session or a one-night stand. While most dating sites attract a mix of serious and casual daters, some options generate more success for long-term relationships.

Here’s an overview of the best dating sites that will give you the best chance at finding a real partner. When it comes to love, these apps do their best to find you the perfect match. Whether it’s a particularly advanced matching algorithm, personality analysis, or select group of users, these apps do more for you than your average hookup app ever could.

RankSiteBest ForRating1.eHarmonyMeaningful connections5/52.MatchLasting relationships5/53.ZooskThose who love travel5/54.FriendFinderMix of casual and serious5/55.BumbleBest for women5/56.HingeBest for quick, serious matches5/57.OkCupidBest for progressive dating5/58.The LeagueBest for educated singles4.5/59.HappnBest for meeting someone in your social circle4.5/510.HERBest for femmes4.5/511.Silver SinglesBest for older daters4/512.Coffee Meets BagelBest for dating site newbies4/513.AdultFriendFinderBest for open-minded daters4/514.Plenty of FishBest for rural daters4/5

1.) eHarmony 

Ok, so eHarmony puts some cheesy ads out there that might deter you from trying it out, but if you’re tired of dating around, looking for a real connection and maybe just want to put a ring on it, you’re going to want to give it a second chance. Why? Well, eHarmony is allegedly responsible for around 4 percent of all marriages in the U.S. today. Wild, right?

So what gives eHarmony its secret sauce? We guess it has to do with the revamp of their model. Back in the day, eHarmony would put you through the wringer with a lengthy sign-up process and lame alienating questions. Today, the questionnaire is around 30 questions long and very practical. It’ll ask you how you feel about moving in with someone or how you feel about arguments.

It should be noted though that eHarmony hasn’t always been the most welcoming place for the LGBTQ+ community and some users believe that it’s truly a place for the heteronormative. They’ve been working on fixing this major issue, but it seems that it hasn’t yet been totally resolved.

Tip for using eHarmony to find a long-term relationship: Use eHarmony if you are genuinely ready for commitment. Don’t be afraid to set up dates quickly and emotionally open up earlier than you normally would.

2.) Match

Match.com is a dating site that was launched in 1995, and it has been helping daters find long-term relationships ever since. Match is comforting to a lot of people because it’s so familiar and has pretty much provided the blueprint for other dating sites. Not to mention, it has worked hard to perfect its strategy over the years. There’s even a guarantee that you’ll be dating someone within six months, and if you’re not, they’ll give you six months free of charge! That’s how confident they are.

There are two factors that make Match best for long-term partnerships.

Number one is their matching algorithm. When you sign up, you will be put through a rigorous personality quiz. While it can feel a little cumbersome, know that Match is only doing its job. You’ll be asked about your basic preferences along with some gushy romantic stuff (which is important in a relationship).

Number two is that, though it’s technically a free dating site, most users end up paying $20 per month. Yeah, it’s a lot. But love is an investment you should be making for yourself, right?

Tip for using Match to find a long-term relationship: Match is known for their intense matching algorithm, so take your time with the questionnaire and try to make your profile as detailed as possible.

3.) Zoosk

For some, travel is one of the most important aspects of a relationship. Zoosk takes the concept of online dating and allows users to connect internationally. But this isn’t one of those “fly me out to hookup” sites. Zoosk utilizes behavioral matching to facilitate genuine connections between folks who may live thousands of miles apart. If you want your first date to involve a plane, this app is for you.

Rather than dragging you through a tedious questionnaire, Zoosk synchs up your social media profiles to analyze your behavior. It’s a unique way to determine personality, but arguably more accurate given that it takes your actions into account.

Zoosk is a crowd favorite because it doesn’t try to distract you with any bells and whistles. It’s got a smooth, modern interface that makes international dating feel like a breeze.

Tip for using Zoosk to find a long-term relationship: Clean up your social media profile. Zoosk uses it to determine your matches. Your matches will likely be able to find your socials as well. If you come across as a player, you won’t land a serious relationship.

4.) Friend Finder

Friend Finder is one of the biggest dating communities on the Internet. It has the feel and ease of a social media platform but ultimately aims to set up romantic connections between singles. There’s a wide range of connections to be made on Friend Finder, from the flings to the wedding bells. You are more likely to meet someone who doesn’t want to commit right off the bat, but knows they want to meet someone special. Friend Finder also caters to all genders and sexualities, giving it a really warm and welcoming feel.

The users on Friend Finder tend to be in their 40s, but anyone who is 18+ is welcome to give it a shot. They also take your safety very seriously and run a tight ship as far as regulating profiles and banning fakes, catfish, and bots. You do feel like you’ve got a matchmaker on your side when you use Friend Finder to find a mate.

Because Friend Finder is more of a community than strictly a dating site, there are various ways to meet people and other ways to enjoy the site. For instance, you can take a look at their interest groups and forum pages to learn how users in the community are feeling about Friend Finder and dating in general.

Tip for using Friend Finder to find a long-term relationship: Treat this community like a social media platform rather than strictly a dating app. It will open up the possibilities for you by introducing you to more people!

5.) Bumble

There’s a lot we don’t love about Tinder. The platform allows ghosters and players to run rampant. That’s why Bumble is the perfect alternative for women seeking a serious relationship with a man.

Bumble is swipe-dating with a twist. It’s a free dating app that requires women to break the ice first. If the man doesn’t respond to the initial message within 24 hours, the match goes away. It’s one of the first dating apps to really hold daters accountable for their ability to follow through. Flakiness doesn’t survive on Bumble.

The women-message-first concept also combats those incessant creepy messages that ladies on dating apps are used to getting. While the profiles are limited and there’s no major questionnaire, the rules laid out by Bumble make it a great environment to start a long-term relationship. Oh, and there’s also an Astrology filter for the horoscope buffs.

Tip for using Bumble to find a long-term relationship: If you are a woman, reach out to all the men that you match with. Remember, they can’t get in touch with you. You need to make the first move before those matches disappear. You swiped right for a reason, right?

6.) Hinge

Many daters cite Hinge as their absolute favorite dating app. While Hinge has introduced a ton of successful couples to each other, the draw to Hinge has more to do with the fact that using the app is fun! The app was originally supposed to match you based on mutual friends you had through social media platforms. But it has evolved since then to be the ultimate icebreaker dating app.

Setting up a Hinge profile takes some time, but it’s entertaining. Once you pick your photos and basic preferences, you can choose through dozens of hilarious or serious prompts to add to the profile. One reads, “A life goal of mine is. . .” while another reads, “We’re the same type of weird if. . .” Hinge users can “heart” someone’s photo or their prompt answer. They can also comment on it, which makes initiating a conversation so much more interesting than on other dating apps.

With engaging profiles and an in-depth matching algorithm, Hinge is the cocktail party that sets the scene for long-term potential. The crowd is generally young, cool, and interested in dating. Its slogan is, “designed to be deleted,” which is kind of awesome!

Tip for using Hinge to find a long-term relationship: Add some humor to your profile by picking funny prompts. This will give your potential matches an icebreaker when they reach out to you.

7.) OKCupid

OKCupid is the woke dating app geared towards socially conscious millennials. It’s been around for a while, but in 2017, OKCupid saw a massive redesign both in aesthetics and operations. Now, it’s incredibly modern and perfect for the liberal-minded dater who is seeking a likeminded partner. With 12 gender identities and 20 sexual orientations to choose from, it’s not hard to see why.

The questionnaire helps to weed out folks who you wouldn’t get along with by asking questions like, “Is contraception morally wrong?” They also get into your sexual preferences and dealbreakers. That’s when the algorithm takes over. At first, it feels a bit like Tinder. That would make sense as the two are owned by the same company, but it takes the more in-depth serious approach that goes beyond swiping based on appearances.

One critique that OKCupid gets is the feature that allows you to message someone who you haven’t matched with yet. They won’t see that message unless you match. While it keeps creepy messages at bay, it also lends itself to a bunch of unanswered messages and a strange feeling of rejection.

Tip for using OKCupid to find a long-term relationship: Don’t bother using this application if you are ultra-conservative. You likely won’t find anyone who meshes with your views. Also, show more than you tell. In other words, pick profile photos that communicate who you are as a person.

8.) The League

If all the apps were personified, The League would be the most narcissistic. To get on the app in the first place, you must apply by submitting your LinkedIn profile, current job status, and what university you attended. So yeah, it’s a little full of itself. However, for people who think that education and job status is a dealbreaker, it’s a nice change of pace from the randomness that apps like Tinder supply.

The League allows you to be very picky with your preferences, even allowing you to select which races you prefer to see. That makes our stomachs turn a little. If you’re willing to ignore the cringeworthy-ness, The League is a pretty decent dating app. It has a high success rate, so we think it deserves a review.

Members span all age groups but tend to be on the younger side. There’s also no way for catfish to get onto this app. You must link both your Facebook and LinkedIn for approval. Unless a catfish is willing to go to extraordinary lengths to land someone, they aren’t going to slip through the cracks on these dating apps.

Tip for using The League to find a long-term relationship: The League tends to be a tough crowd and the app comes across as a little judgmental. You can ease the tension by sending a message to someone who you have something in common with. Perhaps you’ve been to their university, hometown, or have insight about their career choice.

9.) Happn

Some people believe in fate and others believe in the “Proximity Effect.” There’s a strong correlation between proximity and attraction, which Happn takes into account. Rather than setting you up with people who live in a five-mile radius from you, Happn actually matches you with someone you’ve crossed paths with in the past. It’s a neat concept in that it shows you and your match have similar habits and interests. It’s also the most convenient way to date.

We’ll be honest though, there aren’t a ton of people who use Happn, so there might be slim pickings. There have also been reports that the daters you’ve apparently “crossed paths with” are hogwash. This is coming from users who never stepped foot outside of their homes and were told they had a handful of missed connections. However, there are also folks who say the exact opposite.

Regardless of whether or not the proximity feature is a placebo, it sure makes for a nice icebreaker when you finally do go on that first date!

Tip for using Happn to find a long-term relationship: Don’t rely too heavily on the proximity feature. Try to get to know the people who you match with and then decide if you want to meet up with them!

10.) HER

Nearly all dating sites claim to be inclusive of all sexualities and genders; however, many people in the queer community don’t completely agree. Some sites just don’t feel all that welcoming or provide enough options, especially to queer women. Grindr was there for queer men, but what about the ladies? That’s where the app HER comes in. It’s a tailored dating site and community for women in the LGBTQ+ community.

According to their members (currently 4 million and counting), HER is a really fun space. Profiles can get quite detailed with the ability to put your diet preferences (like vegan) on your profile, along with your astrological sign and pronouns. There’s also an entire element of HER that doesn’t really have to do with dating but rather operates as a social media platform and shows you what queer events are going on in your area.

HER is great, but it’s not perfect. In the past, users have reported some glitches that make the user experience a bit frustrating and annoying. However, they are actively working to evolve their functionality in a positive way.

Tip for using HER to find a long-term relationship: HER is all about empowering women and LGBTQ+ dating. Mimic that energy by always shining a positive light while you are chatting with new friends or matches.

11.) Silver Singles

Dating over 50 can be quite a challenge. Many of these online dating apps focus so much energy on catering to millennials that they don’t take time to consider the older daters. Silver Singles is a dating app that’s exclusively for daters who are age 50 and above. Knowing that you’re in the company of others who are your age and looking for love can be really comforting.

Silver Singles takes matching seriously and uses a personality test to break users up into the Big Five personality traits, and then matches you accordingly. There’s an expectation on Silver Singles that the dating is taken seriously, so it’s not for the person looking for something casual. The users who are old enough to be completely over dating games that tend to be consumed by them see this as a benefit.

Tip for using Silver Singles to find a long-term relationship: Make it clear that you are seeking a long-term relationship. You can do this by posting it in your profile or by opening each chat by explaining what you want out of the app. The mature daters will appreciate the transparency.

12.) Coffee Meets Bagel

The concept behind this dating app was to set up a casual online dating experience. It’s likened to grabbing a cup of coffee with someone, but online. The vibe is meant to feel low-key, so that pressure doesn’t get in the way of your dating experience. A Reddit review actually noted that “Coffee Meets Bagel helped me find someone, which I never thought would happen because I am cripplingly introverted.” So, we know it works!

Other dating sites will throw a bunch of options at you, leaving you swiping through tons of photos or scrolling through an indefinite amount of prospects. While this can be nice, it also can deter you from really investing in one person and might make you feel overwhelmed. It’s not exactly the easiest way to make a real connection. That’s why CMB sends you seven options a day that are carefully selected based on their matching algorithm. These matches are called “bagels,” which frankly is a little strange. But hey, we’re not here to judge CMB on anything but their success rate as a dating app. To encourage followthrough, the bagels only last for a week. If you really like someone, you need to reach out.

Another reason why CMB works so well is that the algorithm takes your previous swipes into account when curating the next batch of fresh bagels for you. It learns your trends and preferences based on actual activity rather than just a questionnaire.

Tip for using Coffee Meets Bagel to find a long-term relationship: Give each “bagel” a chance. You might be used to apps that give you tons of options; however, there’s a reason why these bagels were suggested to you. Don’t be afraid to do a deep dive into each of their profiles!

13.) AdultFriendFinder

Ok, so AdultFriendFinder isn’t exactly great for finding your soulmate, but nothing is impossible! The reason it makes the list is that some people like to approach dating in a casual way before getting into anything super serious. Physical intimacy is an essential part of any relationship, and AdultFriendFinder has no problems in that department.

While millennials rely on Tinder to help them find friends-with-benefits, AdultFriendFinder caters to an online dating crowd that’s a tiny bit older. It’s sort of the Tinder for Gen X. Given that there are so many users on AdultFriendFinder, it’s nearly impossible to not find someone interested in talking to you. But be warned—AdultFriendFinder is not for the faint of heart. There’s no telling how raunchy your inbox will get.

AdultFriendFinder is an adult site, so that means explicit photos are welcome and encouraged. You won’t find that on other dating websites. In a time where isolation is more familiar than physical touch, it’s a nice change of pace.

Tip for using AdultFriendFinder to find a long-term relationship: Keep an open mind, sexually. AdultFriendFinder has a lot of raunchy undertones. By going in without judgment, you open yourself up to a world of dating potentials on this site.

14.) Plenty Of Fish

Plenty Of Fish is a popular free dating site, but they’ve been known to have just as many bots as they do genuine users, so that’s why it sits at the bottom. This doesn’t mean that POF doesn’t work. It has been known to foster a ton of successful relationships. There are even some celebs who have found love on POF. It simply might get annoying attempting to dodge the folks who aren’t real.

One of the best aspects of POF is the volume of users. They have so many. Bots aside, even if you live in a small town or rural area, you will find plenty of prospects. Most apps function best in urban cities, but POF does the job well anywhere. Another thing we love is that POF, and all features like unlimited messaging, is totally free.

Because there are so many daters on POF looking for all sorts of relationships, POF has implemented a pretty advanced search feature that allows you to whittle down the crowd. The quality of daters doesn’t seem to be as top-notch as some other apps on this list, but there are definitely some catches who make their way onto the site.

Tip for using Plenty Of Fish to find a long-term relationship: POF is known for having a ton of users. With that in mind, be selective with who you decide to reach out to. Too many options won’t help you land that soulmate you’re after.

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It’s tempting to call Adult. electroclash; the synth duo of Nicola Kuperus and Adam Lee Miller debuted in 1998, coinciding with the style’s peak, and they’ve collaborated with notable groups in the genre such as Fischerspooner and Ladytron. But while the Detroit-based husband-and-wife team share some traits with the genre—particularly the way they pair an arty rock ’n’ roll swagger with a frenetic mechanical pulse—Adult. don’t lean into the heat and hedonism of the dance floor the way electroclash pioneers such as Goldfrapp and Peaches do. Instead they exercise a chilly restraint. Across nine albums, they’ve explored austere themes—existential wanting, capitalist alienation, the inevitability of death—with hip-thrusting rhythms that feel more spastic than sexy. (To me, spasming in the club while thinking about death is sexy—but that’s a subject for another day.)

On Adult.’s latest release, February’s Becoming Undone (Dais), they channel grief and despondency that stem not only from the pandemic but also from the decline and death of Kuperus’s father. Her vocals have always echoed the flat wails of Los Microwaves’ Meg Brazill and the sultry, reverb-drenched moans of Throbbing Gristle’s Cosey Fanni Tutti, but on this album, she unleashes more snarls and yelps, which she layers like uneven bricks on tracks such as “Fools (We Are)” and “She’s Nice Looking.” Miller’s militant bass lines and machinelike flourishes root Adult.’s music more firmly in EBM and industrial than in the postpunk and new wave that inform electroclash. Their sound is aggressive in its lack of poptimism, navigating a tight line between rapturous darkness and bouncy recklessness without getting too playful. Whatever you want to call Adult.’s music, on Becoming Undone they show their staying power lies in their ability to guide you through a ritual danse macabre.

Adult. A small number of tickets will be available at the door, but this show is otherwise sold out. Kontravoid and Spike Hellis open. Fri 5/20, 10 PM, Empty Bottle, 1035 N. Western, $18, 21+

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No amount of cowboy bravado could pump life into director Naveen Chathappuram’s debut film. On paper, The Last Victim should be a knockout Western thriller fueled by high-speed chases, gruesome shootouts, and comfortably familiar stoicism, but despite its promise, the film is a tangled mess of lukewarm plotlines that fails to captivate. Filled with uninspired performances and listless dialogues, it only presents a single absorbing mystery: “What just happened?”

For fans of classic Westerns, The Last Victim’s central plot is commonplace for the genre. The film follows small-town Sheriff Herman Hickey (Ron Perlman) as he tracks down a group of outlaws led by the stone-faced antagonist, Jake (Ralph Ineson), who is responsible for the senselessly heinous massacre that opens the film. This proverbial Western plot is complicated when a professor (Ali Larter) and her husband (Tahmoh Penikett) cross paths with the outlaw gang. Suddenly caught in Jake’s unintelligibly brutal rampage, the movie begins to feel like a pointless game of cat and mouse until this violent carousel of pursuits finally comes to a stop. 

Tethered by the theme of revenge, this film attempts to expose the vulnerable underbelly of grief as the characters become enveloped by a horror-like game of survival. Instead, The Last Victim delivers a story with whiplash-inducing pacing and an ensemble of underdeveloped characters that will easily be forgotten. The film requires the audience to string together incoherent and fruitless plots that supposedly lead to the conclusion of some hidden motivation or mystery. This is simply asking too much. The movie holds some potential to foster a cult following, but overall, The Last Victim is a tepid action thriller that is carried almost exclusively by Perlman’s sonorous monologues, but even he seems bored. 103 min.

Wide release in theaters and on VOD

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Looking for some mid-month fun? Check out the following events and ideas.

FRI 5/13

Broken Nose Theatre continues its season with the Chicago premiere of Zoe Kazan’s dystopic drama After the Blast, directed by JD Caudill. In light of the leaked SCOTUS draft decision on Roe v. Wade, Kazan’s story about a couple forced to seek government approval in order to have a child feels especially timely. Anna (Kim Boler) and Oliver (Ruben Carrazana), like the rest of humankind, have been forced to live in underground bunkers after a global disaster. Anna’s depression counts against them in their bid to become parents—so Oliver brings a robot child named Arthur into their home as a companion for his wife, which opens up a can of worms about their relationship and the stress of, you know, living underground because the surface of Earth is uninhabitable. The show opens in previews tonight at 7:30 PM and has its official press opening on Sunday at 3 PM; performances continue at the Den (1331 N. Milwaukee) Thu-Sun through Sat 6/11. As with all Broken Nose shows, tickets are pay what you can, with reservations available at brokennosetheatre.com. (KR)

Chicago playwright Terry Guest writes often about the intersection of Blackness and queerness, as in his celebrated At the Wake of a Dead Drag Queen, presented by the Story Theatre in 2019. Reader critic Catey Sullivan noted in her review, “Guest explores the impact of trauma survived not just once or twice, but as a regular occurrence over decades, passed down through generations and carried in the very genetic makeup of African Americans.” Guest revisits those themes in The Magnolia Ballet, now in previews with About Face Theatre under the direction of Mikael Burke (who also directed Drag Queen). Ezekiel, a Black teenager in Georgia who is “haunted by the ghosts of racism, homophobia, and toxic masculinity” discovers some startling letters from his late grandfather that inspire him to “burn everything to the ground.” The southern gothic fable features poetry, dance, and spectacle, and stars Guest himself as Ezekiel, along with Wardell Julius Clark, Sheldon D. Brown, and Ben Sulzberger. Tonight’s preview performance is at 7:30 PM at the Den; press opening is next Friday and it runs through 6/11. Tickets are $5-$35 at aboutfacetheatre.com. (KR)

Night crawlers know that today is Friday the 13th, so snake your way over to Subterranean (2011 W. North), then head downstairs to experience Necro-Disko: an evening of decadent darkness deejayed by Club Music, Flores Negras, and Faith Betinis. For $7, you can dance among the similarly undead–that is, the ones 21 and up. The body count starts rising at 10 PM. For more information, check out Flores Negras Productions’s Facebook page. (MC)

Chicago, turn off your lights! The city sees its biggest annual migration of birds in May, including some endangered species, so we need to work together to make their trip safer. While the migration may have peaked this month, this is still the busiest week for traveling birds, so let’s give them the dark welcome they deserve. As the Chicago Tribune reports, Chicago’s skies are the most dangerous for birds in the United States. (Thank the planes heading to and from our busy national airports and our very tall skyscrapers covered in reflective surfaces!) To help our feathered friends, conservationists are asking Chicagoans to use as few lights as possible between 11 PM and 6 AM this week. Anyone want to go stargazing? (MC)

SAT 5/14

Once a month the Renaissance Collaborative hosts a walking tour through the former Wabash YMCA (​​3763 S. Wabash). When it opened in 1911, the Wabash Y was the first one to admit Black residents, helping it become a center for political, economic, and cultural progress for Black Chicagoans. In fact, Negro History Week started there in 1926—the event eventually evolved into Black History Month in the 1970s. Now the building is a historic landmark filled with ephemera documenting its rich history. From 10:30-11:30 AM today and most second Saturdays, Renaissance Collaborative will guide you through that storied past in vivid detail. The tour is free, but donations are encouraged. Don’t forget to register! (MC)

A&A Ballet offers a family-friendly dance concert, featuring the debut of their new version of The Carnival of the Animals, featuring the music of French composer Camille Saint-Saëns and choreography by A&A cofounding artistic director Alexei Kremnev (the other “A” in the company name is Anna Reznik). Kremnev’s take on The Firebird also receives a world premiere on the hour-long bill, accompanied by sand art animation created by Anastasia Antropova. (Braeden Barnes is credited with additional choreography.) The show is at 3 PM in the mainstage space at the Athenaeum (2936 N. Southport); tickets are $25-$55 at aacenterfordance.org. (KR)

What does the future of Chicago Art Department (CAD) hold? Only one way to find out . . . Starting at 7 PM, CAD hosts an anniversary fundraiser called the Crystal Ball at their space (1926 S. Halsted). For 18 years, CAD has provided exhibition space, professional resources, and community for social-practice artists. This evening will include a silent auction and raffle, immersive art installations, and artist interventions in keeping with the theme (hint: there will be some magic and tarot happening). DJ LOKari will be the night’s vibe curator, which includes performing with members of Black Monument Ensemble, led by CAD artist Damon Locks. There will also be an award ceremony to honor three people who exemplify “the magic of community.” Food and open bar are included. Tickets start at $100 ($65 for students and artists), but donations of any amount are welcome and appreciated. (MC)

Cerqua Rivera Dance Theatre (CRDT) has spent the spring developing new work inspired by west-side and south-side cultural organizations and icons, including photographer, historian, and scholar Carlos Flores and the Southside Jazz Coalition. That spirit of exploration is nothing new for the company, cofounded by Honduran-born choreographer Wilfredo Rivera and composer Joe Cerqua in 2007; their mission is “to fuse dance, music, and visual art to explore and celebrate contemporary society while exploring the intersection of heritage, culture, and identity.” Tonight, CRDT presents a selection from their repertoire at the Beverly Arts Center (2407 W. 111th); the show is at 7:30 PM and tickets are $36 at thebeverlyartscenter.com. (KR)

A recently made sizzle reel from Cerqua Rivera Dance Theatre

SUN 5/15

Chicagoans celebrate a good story and deft turn of phrase. It follows then that we’re the hometown of so many celebrated writers as well as an entire museum dedicated to their craft. The American Writers Museum (AWM) celebrates their fifth anniversary this year with the debut American Writers Festival, a free and open to the public two-day event. More than 75 authors, playwrights, and artists will offer their thoughts in a variety of panel discussions, book talks (some with opportunities for audience members to get their books autographed), and workshops. It all kicks off today at 10 AM and continues through Monday; the full schedule (available at the AWM website) lists events happening in four spaces within the Chicago Cultural Center (78 E. Washington), at the AWM itself (180 N. Michigan), and also online via the AWM’s YouTube channel. Some of today’s highlights include the keynote address from U.S. Poet Laureate Joy Harjo and Marie Arana, writer and literary director of the Library of Congress, at 10:15 AM in the Sidney R. Yates gallery at the Cultural Center, a conversation with Ashley C. Ford and Dr. Eve L. Ewing at 12:30 PM in the Cultural Center’s Preston Bradley Hall, and “Writing American Comedy,” a panel discussion including Peter Sagal, Karen Chee, Peter Gwinn, Alexandra Petri, and Cristela Alonzo (5:30 PM in the Yates gallery). (SCJ)

Step out of the heat and into “Neo-Tang,” a group show at Co-Prosperity Sphere (3219 S. Morgan). This is work made by adults who were raised guzzling the off-flavor sugar powders (Tang, Kool-Aid, Flavor-Aid, etc) that turned hydration into a uniquely trippy childhood experience. Taking this as a metaphor for growing up American, art in this show expands on the idea that Tang as a gateway drug normalizes certain attitudes—not only treating a life necessity like water as something that we need to pay to transform in order to enjoy but also doing it in the most nutritionally bereft, experience-altering way possible. (God, those sugar highs . . . ) “Neo-Tang” revels in the personal and cultural chaos wrought from this kind of artificiality. The gallery is open Saturdays and Sundays from noon-5 PM and Friday nights from 5-8 PM through the show’s closing on Sun 5/22. (MC)

Providing community radio to Chicago for 15 years means that you’ve accumulated a lot of recordings and CHIRP (107.1 on the FM dial and online at chirpradio.org) is ready to unload some of their treasures to you. The volunteer-driven station hosts a CD Blowout sale today on the back patio at Burning Bush Brewery (4014 N. Rockwell), with an indoor option depending on weather conditions. From 1-5 PM, enjoy libations from the bar and food from First Slice Pie Cafe while you shop CHIRP’s inventory of thousands of CDs. There will also be offerings on hand from Delmark Records and Mega Hugs Press. It’s free to attend and masks are requested. (SCJ)

The Chicago Coalition for Justice in Palestine is holding a national day of protest to honor the loss of Shireen Abu Akleh, a journalist for Al Jazeera who was shot in the head by Israeli troops while wearing a press vest. Abu Akleh was a venerated reporter who compassionately documented the injustices that impacted Palestinians. At the time of her murder, she was covering the illegal Israeli raids of refugee camps in Jenin. Her death is a visceral symbol of Israeli occupation in Palestine and the ongoing international fight for press freedom. At 2 PM, protestors will be meeting at the intersection of Ida B. Wells and Michigan, and they’re encouraged to bring “friends, flags, and keffiyehs.” (MC)

MON 5/16

Get those hips moving! Tonight and every third Monday of the month, El Caobo Internacional DJs Monday Mambo Mayhem, an evening celebrating dances like the mambo, salsa, bachata, and more. It starts with a free dance lesson from the University of Chicago’s Ballroom and Latin Dance Association at 7:15 PM, so there’s no excuse to show up and at least attempt to shake it a little. Open dancing continues at 8 PM and the event is limited to those 18 years old and up. It’s all at the Promontory in Hyde Park (5311 S. Lake Park Ave. West), and while there’s no cover—be sure to bring some cash for libations. (SCJ)

TUE 5/17

German artist Beate Axmann has been visiting Chicago in the last weeks on the occasion of her solo exhibition at the gallery at DANK Haus, the non-profit north side German American cultural center (4740 N. Western). For “Sichtverrückt (Lost and Found),” Axmann curated several public events and workshops to happen alongside her collection of new paintings. Tonight is a chance to see how artists work, as Axmann invited Evanston artist Joanna Pinsky to collaborate with her on a public collaborative piece, created in real time in the gallery. Visitors can drop into the gallery (on the first floor of the center) starting at 7 PM to see the two painters at work and take in the rest of the exhibition, which closes Fri 5/20. (SCJ)

If you’re anything like me, you’ve been through the full range of human emotions this spring so far, from laughing to crying to laughing again. So why should a Tuesday night be any different? The people at the Wicker Park branch of Innjoy seem to agree, and you can join in on the roller coaster of feelings with tonight’s “Laugh Now, Cry Later” event. Join hosts Tim Tootle and Aaron Chase at 8 PM for live comedy featuring a rotating roster of local performers. Stick around later for Taste of Emo Tuesdays, a chance to hear all the hits that kept you in black eyeliner moping around the bedroom, shouting “Why? Whyyyy?” at an indifferent world. The music portion is hosted by Krue and DJ Burr, and Innjoy offers $5 taco baskets on Tuesdays before 10 so you can stuff it all down if need be. Open to those 21 and up; see the hosts’s Facebook event for more information. (SCJ)

WED 5/18

The Aura House is a Black holistic health collective that centers Black women while providing spiritual tools and mental health skills. Tonight they’re facilitating a discussion-based workshop on adult female friendship at Soho House (113-125 N. Green). Inspired by readings on why maintaining adult female friendships can be challenging, the workshop will touch on different communication styles, the unique challenges of forging new friendships in adulthood, and what a strong friendship foundation looks like. It goes from 5-7 PM, and while free, registration is required. (MC)

The Ride of Silence is an annual event hosted during Bike Safety Month that was started to raise awareness of motorists, police, and city officials of the issues that cyclists face when moving on public roadways. The ride, held at the same time in cities all over the world, also functions as a tribute to cyclists who have been injured or killed in road incidents. Tonight, cyclists in Chicago will meet up at the Thompson Center (Randolph and LaSalle) to join together as a group for the ride, which celebrates its 20th anniversary in 2022. Riders will start off at 6 PM on a course through downtown passing the sites of recent cyclist fatalities. The route will cover less than 10 miles, and reconvene at the Thompson Center at the end. See the Chicago Cycling Club’s website for more. (SCJ)

THU 5/19

Looking to get more money from the music you created? At noon, Golden Dagger (2447 N. Halsted) is hosting a workshop on music licensing for songwriters taught by indie folk rocker Judson Claiborne. From how to register and enforce copyright to reviewing your licensing options, Claiborne will provide a basic understanding of this revenue stream. Only you can decide if and when licensing is for you! The workshop is $25 and only open to those 21 and older. Masks and proof of vaccination are expected. (MC)

Doc10, Chicago’s only documentary film festival, starts today and continues through Sun 5/22. New this year is a curated program of short documentaries as well as an industry panel about streaming and the “increasingly high-stakes nature” of producing online documentaries. In keeping with the name, there will also be ten feature-length documentaries, including The Janes, about the 1960s Chicago abortion collective of the same name, and The Territory, which documents the anti-colonial resistance movement of the Indigenous Uru-eu-wau-wau people of the Amazon. For a complete list of programming and ticketing information, check out Doc10’s website. (MC)

A trailer created for Tongues Untied (1989)

The filmmaker Marlon Riggs was an educator, poet, and gay rights activist whose independent documentary film Tongues Untied introduced many at-home viewers to the realities of gay Black men when it was aired as part of the PBS series P.O.V. in 1991. The broadcast set off a debate about defunding the arts, led by infamous conservative Republican senator Jesse Helms, marking an early 1990s reexamination of American values that reignited a mainstream interest in supporting both the art and lives of LGBTQ+ people of color and those living with HIV. Tonight’s “Ceremonies: a Selection of Short Films by Marlon Riggs” features three of Riggs’s works: Affirmations (ten minutes, 1990), Anthem (eight minutes, 1991), and Non, Je ne Regrette Rien (No Regret) (38 minutes, 1993), the latter created with five gay Black men living with HIV; in the film they discuss the added pressure and stigmas associated with their homosexuality and HIV status. It’s a program co-hosted by South Side Projections and the South Side Community Art Center. The screening is followed by a discussion led by Chicago artist zakkiyyah najeebah dumas-o’neal (who also works as the public programs and engagement manager at the art center) and Aymar Jean Christian, an associate professor of communication studies at Northwestern as well as cofounder of OTV Open Television. It’s free and starts at 6 PM tonight at South Side Community Art Center (3831 S. Michigan); an RSVP via Eventbrite is encouraged. (SCJ) 

Reader senior writer Leor Galil says that the Chicago band Gentle Heat “play no-nonsense indie rock that captures the allure of a towering blaze in the space of a single spark.” You can see if they light your fire tonight as they headline a concert at Hideout, the venerable bar and venue at 1354 W. Wabansia. This show is an all-local band affair; local band Discus will play before Gentle Heat (Galil praised their 2019 debut full-length album Something Has Happened) and the efficiently named Smut starts off the night with their take on loud and crunchy shoegaze. It all begins at 9:30 PM; advance tickets are $12 each and can be purchased through the Hideout’s website. This show is open to those 21 and up. (SCJ)

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