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NBA, referees agree to new CBA through ’28-29on September 15, 2022 at 7:12 pm

The NBA and the National Basketball Referees Association have entered into a new collective bargaining agreement.

The seven-year agreement, which was announced Thursday, starts with the 2022-23 season and stretches through 2028-29, according to a news release. The previous agreement expired at the end of the 2021-22 campaign.

The contract addressed salary, travel, pension and marketing issue rights and was ratified by the overwhelming majority of the NBA referees, the NBRA announced.

“We are pleased with the outcome of the negotiations,” NBRA executive board member and veteran official Marc Davis said. “The league has made clear that they value the contributions we make to the game’s integrity, and we look forward to a long and prosperous relationship together. We are all excited to start the new season.”

The league’s CBA with the players runs through the 2023-24 season, but both sides can agree in December to opt out following the 2022-23 season. If they do so, a new agreement would have to be in place before the 2023-24 season begins.

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Aaron Rodgers’ 22-5 Fatherhood Looks to Be Emancipated By the Bears

The Chicago Bears look to end Aaron Rodgers and the Packers reign over them.

It’s no secret that Aaron Rodgers has utilized his Discount Double Check celebration to a great extent when facing the Chicago Bears. Boasting a 22-5 record against the Bears, Rodgers will look to continue his domination come Sunday Night. However, this is arguably the worst core of receivers that Rodgers has had in recent memory, and no amount of magic mushrooms can fill the hole that Devonte Adams has obviously left within the Packers wide receiver room.

Boy, I hope Aaron Rodgers has figured out how to throw passes to himself because if not, Packers’ games are going to look a whole lot like playing fetch with my dog (miss you Lucy).

The Bears are coming off a thrilling win against Trey Lance and the 49er’s, where the defense was the star of the show in a game the Niner’s were favored by almost a full touchdown. Now, Trey Lance and Aaron Rodgers are on two different levels, but it is always a positive to see a defense keep a budding young star to 166 passing yards. Hopefully Roquan Smith and Chicago can bring that same energy and keep Rodgers and company from celebrations like this one:

“I STILL OWN YOU.” – Aaron Rodgers to Bears fans https://t.co/7S0cuzXJAG

Path of Victory for the Bears:

Being picked as 10 point underdogs, the professionals in Vegas aren’t giving Chicago a very well paved path, but they are giving a path nonetheless. To reach the ultimate end goal of a win, the Bears are going to have to keep some things steady while changing others from their Week 1 dub.

Make the Most of the Packers IL

The Packers are hurting right now, mentally and physically. 3 of the 5 starting offensive lineman for the Pack are listed as questionable as of Thursday, and even if they play on Sunday, they most likely won’t be 100%. This isn’t good for an aging Rodgers, as mobility is not what it used to be. These factors only add to the pain of not having a healthy Allen Lazard on the field, who would be one of Rodgers top receiving targets. Packers head coach Matt LeFluer acknowledged in last week’s post game interview that it was his fault running back Aaron Jones didn’t receive the carries they would have liked, so expect a heavy running game come Sunday night. 

Fields Needs to Figure It Out

There is no reason Justin Fields should be considered one of the bottom quarterbacks in the league, yet he is. The skill set this guy has should allow him to rival more mobile quarterbacks like Josh Allen, Lamar Jackson, and Russel Wilson. 8 completed passes for 121 yards might cut it against the 49er’s, but that number needs to be upped if the Bears want a chance at beating Green Bay. Justin Jefferson showed last week that this Packer defense has holes, with 184 receiving yards, and it is up to Fields to get the ball to his receivers to find those holes. 

Defense Keep It Up

The ability to get pressure on Rodgers is going to be the make or break to this game. The future Hall of Famer is already down after his first outing without game changer Devonte Adams, and is most likely feeling the woes of having to use a much less talented receiving core. If the defense can get to him early, and contain the two headed rushing attack of Jones and Dillion, the pressure could weigh enough on Rodgers to get him out of his rhythm. 

Aaron Rodgers and the Packers have owned the Bears, and with only 2 wins in the last 17 matchups, Chicago shouldn’t be too thrilled about heading into Cheese Head territory. However, this Green Bay team is not the powerhouse of years past, and Chicago just may have enough up their sleeve to reach the top of this uphill battle.

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Aaron Rodgers’ 22-5 Fatherhood Looks to Be Emancipated By the Bears

The Chicago Bears look to end Aaron Rodgers and the Packers reign over them.

It’s no secret that Aaron Rodgers has utilized his Discount Double Check celebration to a great extent when facing the Chicago Bears. Boasting a 22-5 record against the Bears, Rodgers will look to continue his domination come Sunday Night. However, this is arguably the worst core of receivers that Rodgers has had in recent memory, and no amount of magic mushrooms can fill the hole that Devonte Adams has obviously left within the Packers wide receiver room.

Boy, I hope Aaron Rodgers has figured out how to throw passes to himself because if not, Packers’ games are going to look a whole lot like playing fetch with my dog (miss you Lucy).

The Bears are coming off a thrilling win against Trey Lance and the 49er’s, where the defense was the star of the show in a game the Niner’s were favored by almost a full touchdown. Now, Trey Lance and Aaron Rodgers are on two different levels, but it is always a positive to see a defense keep a budding young star to 166 passing yards. Hopefully Roquan Smith and Chicago can bring that same energy and keep Rodgers and company from celebrations like this one:

“I STILL OWN YOU.” – Aaron Rodgers to Bears fans https://t.co/7S0cuzXJAG

Path of Victory for the Bears:

Being picked as 10 point underdogs, the professionals in Vegas aren’t giving Chicago a very well paved path, but they are giving a path nonetheless. To reach the ultimate end goal of a win, the Bears are going to have to keep some things steady while changing others from their Week 1 dub.

Make the Most of the Packers IL

The Packers are hurting right now, mentally and physically. 3 of the 5 starting offensive lineman for the Pack are listed as questionable as of Thursday, and even if they play on Sunday, they most likely won’t be 100%. This isn’t good for an aging Rodgers, as mobility is not what it used to be. These factors only add to the pain of not having a healthy Allen Lazard on the field, who would be one of Rodgers top receiving targets. Packers head coach Matt LeFluer acknowledged in last week’s post game interview that it was his fault running back Aaron Jones didn’t receive the carries they would have liked, so expect a heavy running game come Sunday night. 

Fields Needs to Figure It Out

There is no reason Justin Fields should be considered one of the bottom quarterbacks in the league, yet he is. The skill set this guy has should allow him to rival more mobile quarterbacks like Josh Allen, Lamar Jackson, and Russel Wilson. 8 completed passes for 121 yards might cut it against the 49er’s, but that number needs to be upped if the Bears want a chance at beating Green Bay. Justin Jefferson showed last week that this Packer defense has holes, with 184 receiving yards, and it is up to Fields to get the ball to his receivers to find those holes. 

Defense Keep It Up

The ability to get pressure on Rodgers is going to be the make or break to this game. The future Hall of Famer is already down after his first outing without game changer Devonte Adams, and is most likely feeling the woes of having to use a much less talented receiving core. If the defense can get to him early, and contain the two headed rushing attack of Jones and Dillion, the pressure could weigh enough on Rodgers to get him out of his rhythm. 

Aaron Rodgers and the Packers have owned the Bears, and with only 2 wins in the last 17 matchups, Chicago shouldn’t be too thrilled about heading into Cheese Head territory. However, this Green Bay team is not the powerhouse of years past, and Chicago just may have enough up their sleeve to reach the top of this uphill battle.

For More Great Chicago Sports Content

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Get this week’s issue in print

Distribution map

The Chicago Reader is published in print every other week and distributed free to the 1,100 locations on this map (which can also be opened in a separate window or tab). Copies are available free of charge—while supplies last.

This week’s issue

The latest print issue is the issue of September 15, 2022, the Fall Theater & Arts Preview special issue. Distribution began this morning, Wednesday, September 14, and will continue through tomorrow night, Thursday, September 15.

Download a free PDF of the print issue.

Many Reader boxes including downtown and transit line locations will be restocked on the Wednesday following each issue date.

Next issue

The next print issue will be the issue of September 29.

Never miss a copy! Paid print subscriptions are available for 12 issues, 26 issues, and for 52 issues from the Reader Store.

Chicago Reader 2022 print issue dates

The Chicago Reader is published in print every other week. Issues are dated Thursday. Distribution usually happens Wednesday morning through Thursday night of the issue date. Upcoming print issue dates through December 2022 are:

9/29/202210/13/202210/27/202211/10/202211/24/202212/8/202212/22/2022

Download the full 2022 editorial calendar is here (PDF).

See our information page for advertising opportunities.

2023 print issue dates

The first print issue in 2023 will be published three weeks after the 12/22/2022 issue, the final issue of 2022. The print issue dates through June 2023 are:

1/12/20231/26/20232/9/20232/23/20233/9/20233/23/20234/6/20234/20/20235/4/20235/18/20236/1/20236/15/20236/29/2023

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Get this week’s issue in print Read More »

Get this week’s issue in print

Distribution map

The Chicago Reader is published in print every other week and distributed free to the 1,100 locations on this map (which can also be opened in a separate window or tab). Copies are available free of charge—while supplies last.

This week’s issue

The latest print issue is the issue of September 15, 2022, the Fall Theater & Arts Preview special issue. Distribution began this morning, Wednesday, September 14, and will continue through tomorrow night, Thursday, September 15.

Download a free PDF of the print issue.

Many Reader boxes including downtown and transit line locations will be restocked on the Wednesday following each issue date.

Next issue

The next print issue will be the issue of September 29.

Never miss a copy! Paid print subscriptions are available for 12 issues, 26 issues, and for 52 issues from the Reader Store.

Chicago Reader 2022 print issue dates

The Chicago Reader is published in print every other week. Issues are dated Thursday. Distribution usually happens Wednesday morning through Thursday night of the issue date. Upcoming print issue dates through December 2022 are:

9/29/202210/13/202210/27/202211/10/202211/24/202212/8/202212/22/2022

Download the full 2022 editorial calendar is here (PDF).

See our information page for advertising opportunities.

2023 print issue dates

The first print issue in 2023 will be published three weeks after the 12/22/2022 issue, the final issue of 2022. The print issue dates through June 2023 are:

1/12/20231/26/20232/9/20232/23/20233/9/20233/23/20234/6/20234/20/20235/4/20235/18/20236/1/20236/15/20236/29/2023

Related


[PRESS RELEASE] Baim stepping down as Reader publisher end of 2022


Chicago Reader hires social justice reporter

Debbie-Marie Brown fills this position made possible by grant funding from the Field Foundation.


[PRESS RELEASE] Lawyers for Social Justice Reception

Benefitting The Reader Institute for Community Journalism,
Publisher of the Chicago Reader

Read More

Get this week’s issue in print Read More »

Get this week’s issue in printChicago Readeron September 15, 2022 at 5:39 pm

Distribution map

The Chicago Reader is published in print every other week and distributed free to the 1,100 locations on this map (which can also be opened in a separate window or tab). Copies are available free of charge—while supplies last.

This week’s issue

The latest print issue is the issue of September 15, 2022, the Fall Theater & Arts Preview special issue. Distribution began this morning, Wednesday, September 14, and will continue through tomorrow night, Thursday, September 15.

Download a free PDF of the print issue.

Many Reader boxes including downtown and transit line locations will be restocked on the Wednesday following each issue date.

Next issue

The next print issue will be the issue of September 29.

Never miss a copy! Paid print subscriptions are available for 12 issues, 26 issues, and for 52 issues from the Reader Store.

Chicago Reader 2022 print issue dates

The Chicago Reader is published in print every other week. Issues are dated Thursday. Distribution usually happens Wednesday morning through Thursday night of the issue date. Upcoming print issue dates through December 2022 are:

9/29/202210/13/202210/27/202211/10/202211/24/202212/8/202212/22/2022

Download the full 2022 editorial calendar is here (PDF).

See our information page for advertising opportunities.

2023 print issue dates

The first print issue in 2023 will be published three weeks after the 12/22/2022 issue, the final issue of 2022. The print issue dates through June 2023 are:

1/12/20231/26/20232/9/20232/23/20233/9/20233/23/20234/6/20234/20/20235/4/20235/18/20236/1/20236/15/20236/29/2023

Related


[PRESS RELEASE] Baim stepping down as Reader publisher end of 2022


Chicago Reader hires social justice reporter

Debbie-Marie Brown fills this position made possible by grant funding from the Field Foundation.


[PRESS RELEASE] Lawyers for Social Justice Reception

Benefitting The Reader Institute for Community Journalism,
Publisher of the Chicago Reader

Read More

Get this week’s issue in printChicago Readeron September 15, 2022 at 5:39 pm Read More »

Embracing analog

Since its inception in 2011, the Chicago Film Society has remained one of the most valuable arts institutions in the city. The organization is run by a small but impassioned group of cinephiles whose love for the medium has allowed for numerous screenings on analog film. They’re also behind one of the most exciting Chicago film events of the year: Celluloid Now, an ambitious nine-program extravaganza running from September 15 to 18. With dozens of short films playing at three different venues, Celluloid Now will showcase artists who are “pushing analog filmmaking in bold and exciting new directions.”

Such language hints at the type of films that define much of the programming: avant-garde experiments, nonnarrative curios, dazzling formal exercises. Nowadays, it’s easy for the average person to be completely unfamiliar with such films’ existences—they’ll appear in a small shorts program at the Chicago International Film Festival, or be presented on the Criterion Channel for the more daring viewer. There’s an inherent cordoning off of such works from the general population that keeps the scene needlessly niche, and CFS is hoping to bring more people into the immediate, awe-inspiring pleasures that such films provide. “I want everyone to feel the enjoyment of being able to go out again and seeing some truly wild works,” says CFS archivist, programmer, and poster designer Tavi Veraldi.

Julian Antos, executive director of CFS, explains that his goal for Celluloid Now was to keep the event as inclusive as possible. “I really feel like there’s something everyone can enjoy in each of these programs,” he explains. “So many of these films are very direct and personal that it’s hard not to have a very human connection to them.” Take a few of the works that appear in the first program, which is titled “35mm: Industry Standard” and takes place at the Gene Siskel Film Center on September 15. There’s Jessica Dunn Rovinelli’s Marriage Story (2020), which uses dramatic reds, spoken poetry, and sex to capture how intimacy delivers both ecstasy and domestic comforts. Alexandre Larose’s brouillard – passage #14 (2013) features 39 overlapping shots of a walk taken from the director’s family cottage to a lake, and the result is a hypnotic reproduction of a memory. Even Rainer Kohlberger’s keep that dream burning (2017), one of the more abstract films here, will provide dazzling sensory overload as flickers and TV-like static transform into a stirring, grandiose epic.

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Each of the nine programs in Celluloid Now has an overarching theme. The second, for example, is titled “16mm Visions”—it takes place on September 16 at Constellation. Traditionally a music venue, the space will allow for cello accompaniment during Kioto Aoki’s dance film 6018Dance (2022). Also on the docket: a new 16mm preservation of Caroline and Frank Mouris’s Impasse (1978), which has simple but lively percussion to match its playful animations; Sasha Waters’s Burn Out the Day (2014), which provides a ruminative examination of a home burned to the ground alongside stately instrumentation; and Vicky Smith’s not (a) part (2019), whose flaring black-and-white splotches are made more invigorating because of the sparse but bracing soundtrack. In this program especially, it’s obvious how much sound can enhance the power of images.

Rebecca Lyon, who is a projectionist and programmer with CFS, notes that the weekly screenings they hold often include films that don’t make their way into traditional programming, such as educational films and trailers. “I think we’ve taken a similar approach here,” she says of Celluloid Now. “We’re screening more well-known filmmakers alongside first-timers.” One can see that in the must-see ninth program, “2x16mm: Double the Fun,” which will take place at the Chicago Cultural Center on Sunday, September 18. There will be four double-projection 16mm films, including a restoration of Razor Blades (1968) from avant-garde extraordinaire Paul Sharits. The film’s flashing images and colors will remind viewers of the enduring strength of scintillating juxtapositions. Also present is Hangjun Lee’s Why Does the Wind Blow (2012), which is taken from the Korean filmmaker’s archive of educational films, and Daïchi Saïto’s Never a Foot Too Far, Even (2012), which is the only film on the program where its projections will overlap instead of appear side by side.

Celluloid NowThe Chicago Film SocietyHosted at the Chicago Cultural Center, Gene Siskel Film Center, and Constellation; September 15-18; free-$15; celluloidnow.org

“Everybody loves to talk about Paul Thomas Anderson and Quentin Tarantino as analog standard-bearers,” explains CFS projectionist and programmer Cameron Worden. “But there are analog film artists working worldwide, most with significantly smaller budgets.” Indeed, Celluloid Now is lifting up independent artists from around the world, and those attending will witness how varied and thrilling the offering is. Austrian filmmaker Antoinette Zwirchmayr’s two films at the event, Oceano Mare (2020) and At the edge of the curtain (2022), possess an acute understanding of space, staging, and color to be seductively beguiling. Typefilm an armory show (2021) seesBrazilian artist João Reynaldo typing onto 16mm film with a typewriter, constructing something akin to concrete poetry. And Tetsuya Maruyama’s ANTFILM (2021) forgoes the camera altogether, using dead ants and Super-8 film to create an awe-inspiring spectacle.

Seven of the nine programs at Celluloid Now will take place at the Cultural Center, and Worden emphasizes how crucial this is to the bold vision they have for the event. Beyond offering these programs for free, this venue allows them to “try out some nontraditional formats for screenings, including a 20-minute shorts program and an ‘open mic’ where anybody who has a print of their work can show up and we’ll run it.” The former refers to the fifth program on Saturday, titled “A Miniature Screening of Miniature Films,” which focuses on 8mm films. The latter is a “celluloid open mic” which will take place on Sunday morning. Also welcome is a program later that afternoon where a “16mm projector dissection” will take place for anyone interested in learning the ins and outs of the machine. Test films will be shown during this educational program, though it should be noted that unannounced, secret films will also screen during programs one, two, four, and eight.

Lyon sums up the excitement and passion surrounding Celluloid Now neatly: “I really think our lives became significantly uglier when film stopped being the norm. So to have several days of screenings where people can just rest their eyes on all these beautiful prints feels really special to me.” If you’re looking to fall in love with film and its potential to inspire, look no further than Celluloid Now.

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Embracing analog Read More »

Reading house’s history from its used records

Chicagoans don’t need an excuse to talk about house music, but when the biggest pop star in the world drops a record indebted to house, you can expect more than just a conversation. Beyoncé’s Renaissance has effectively evangelized for this Chicago-born sound since the album came out in July, not least because she shaped it with help from major players in the genre’s history. Pop critic, dance-music historian, and Reader contributor Michaelangelo Matos has noted in the New York Times that Renaissance track “Cozy” obliquely references Adonis’s 1986 Trax Records heater “No Way Back” with its sly bass line, and it also includes contributions from two Chicago natives who built careers during later waves of house: Honey Dijon and Curtis Alan Jones (aka Green Velvet, fka Cajmere). 

“Cozy” got me thinking about the old house records I own—the ones from the early days of Chicago house, when the local scene was still putting down roots. When you buy house records in the city that birthed house, you’re often shopping in stores where the staff and customers include people who still shape that scene. 

Lakeview institution Gramaphone, for example, is owned by Michael Serafini—one of the resident DJs for Smart Bar’s queer house and disco weekly, Queen!, which celebrates its 40th anniversary with a blowout at Ravinia on Saturday, September 17. For decades, Gramaphone has been a destination for house heads from around the world. In the foreword for the graphic novel The Song of the Machine, Daft Punk’s Thomas Bangalter and Guy-Manuel de Homem-Christo write about meeting Chicago ghetto-house producers DJ Deeon and DJ Milton in an alley behind Gramaphone in 1996—a year before Daft Punk released their debut album, Homework, whose track “Teachers” shouts out Deeon and Milton.

“Southside Beat Down” from the 1995 DJ Milton EP Trax-4-Daze.

Digging through the stacks at Chicago shops, I’ve found records from Deeon and Milton, along with other vinyl released by Dance Mania, the label whose reputation those DJs helped boost onto the international stage. Original pressings of old Dance Mania 12-inches can sell for hundreds of dollars through Discogs, but I’ve picked up used copies without even needing to raid my grocery budget—if you’re willing to settle for a record that’s too beat up for collectors to care about, you can score some great deals. Several of the 12-inches I’ve bought were previously owned by local producers and DJs, which I know because they wrote their names on the hub labels.

The wear and tear on these dance DJs’ records—a colored circle sticker on one side, an entire hub label blacked out in Sharpie—devalues them on the resale market. But I like knowing that their previous owners cared about them enough to put a mark on them. These records were made to be played, and played for other people—and I love the idea that some of the vinyl I own could’ve been used in a local DJ’s set during the halcyon days of house, when neighborhood parties at churches and recreation centers were an integral part of the culture citywide. 

Well-used copies of DJ Milton’s 1995 EP Trax-4-Daze, the 1987 single “G.T.B.” by Pierre’s Pfantasy Club, and Julian “Jumpin” Perez’s 1987 12-inch “Jack Me Till I Scream” Credit: Kirk Williamson for Chicago Reader

This practice didn’t start with house music, of course. DJs were marking up records long before Frankie Knuckles made the Warehouse a hub for Black gay nightlife in the late 1970s. In the late 50s, Clement “Coxsone” Dodd held the upper hand for years in Kingston’s pre-reggae sound clashes with help from a defaced copy of “Later for the Gator,” a smoldering 1950 R&B single by Florida saxophonist Willis Jackson that became his number one selection. According to Lloyd Bradley’s book Bass Culture: When Reggae Was King, Dodd removed all trace of the song’s title and origin from its label, instead calling it “Coxsone Hop,” which gave him a monopoly on the popular tune—till someone in Coxsone’s camp spilled the beans to his archrival, Duke Reid, who tracked down his own copy. 

In the 1970s, DJs in New York City shaped the sound of hip-hop by messing around with their favorite bits on the records they owned. Grandmaster Flash developed a method of writing directly on the grooves of a record that allowed him to find the break he wanted in no time at all. “I would mark the record with a grease pencil or a crayon, where the break lived, and all the intersecting points,” he told Vulture in 2014. “So when I wanted to repeat a break all I had to do is just watch how many times the intersecting line passed the tone arm.”

Mr Lee’s poppy 1987 Trax single “Come to House,” with its hub label mysteriously marked “M M M” Credit: Kirk Williamson for Chicago Reader

House DJs didn’t tend to build songs out of looped breaks, though—they’ve always been more likely to play a track through. None of the 12-inch house singles I’ve bought has marks on its grooves, just on its labels or sleeve. The 12-inch was de rigueur in dance by the time house music began being released on vinyl in 1984, and modest independent labels such as Trax and DJ International rode the homemade sound to outsize success. In May 1976, Salsoul had released the first commercial “giant single,” Double Exposure’s “Ten Per Cent,” which gave a single song nearly ten minutes to unwind across an entire side of an LP-size record. This format suited house music just fine, and it also allowed everyday record buyers easy access to versions of songs typically only heard in nightclubs. 

Of the house records I’ve found that were marked up by DJs, most simply bear the names of their previous owners, though decoding them can be tricky. In 2008, in a 5 magazine oral-history project dedicated to producer and DJ Armando Gallop, house pioneer Farley “Jackmaster” Funk described one way such markings can be deceptive. He’d left some of his old vinyl in Gallop’s basement, and Gallop added his own stamp. “He’d color ’em up and tell me they’re not mine!” Funk said. “‘Look at this little spot right there—that’s my record! What are you doin’?’ . . . He didn’t have records from way back then! But I didn’t mind though.”

The 1987 single “G.T.B.” by Pierre’s Pfantasy Club

The marginalia on the used dance vinyl in my collection are frequently at least that hard to interpret. Did my copy of the sultry 1987 single “G.T.B.” by Pierre’s Pfantasy Club previously belong to Chosen Few member Mike Dunn, or did someone else Sharpie the name “DUNN” in capital letters on the record’s B side? Who was the person named Julien who got Julian “Jumpin” Perez of the Hot Mix 5 (who’s currently running for 26th Ward alderman) to sign the sleeve of a copy of Perez’s 1987 single “Jack Me Till I Scream”? Why did Phillip Jackson—or the person who rubber-stamped Jackson’s name on a copy of DJ Milton’s 1995 EP Trax-4-Daze—underline the title of the bubbly, bass-forward cut “Southside Beat Down” and draw four stars above it? 

Some of the names scrawled on these 12-inches, such as “DJ Chris,” are so common that an online search brings up a uselessly huge pool of results. In other cases, I can’t tell what the letters on a hub label are supposed to mean; if you wrote “M M M” on a copy of Mr Lee’s poppy 1987 Trax single “Come to House,” please get in touch. 

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I did figure out which DJs had owned at least some of my used records, or I think I did. Unfortunately, almost none of them responded when I reached out. Aurora-based DJ Tito “Latino” actually replied—I’d asked him about a few records marked “DJ Mister Tito”—but he just told me I had the wrong guy. Tito “Latino” had previously spun under a different name, but it was “Tito Jumpin Jimenez.”

One of several records in the author’s collection marked with “DJ Mister Tito” or “DJ Tito” or some similar variation: the 1990 12-inch “Dance to the Drummer’s Beat” by CZR featuring Rappalot Credit: Kirk Williamson for Chicago Reader

During my search I swung by Signal Records, the shop that Blake Karlson (former label head of Chicago Research) opened in Avondale this summer. I found a cache of used 12-inches with marked-up hub labels in the shop’s two-dollar bins, and eventually tracked down a DJ who’d previously owned a few of them: Jerry Lange Jr., aka Jackmaster Jay of the Chicago Cutting Crew. 

In the mid-80s, Lange found his way to DJing through breaking. “I tried that and I sucked,” he says. “I saw that movie Beat Street in ’84, and they had everything in it. I’m like, ‘Oh, let me try the DJ part of it.’” 

House music had already spread beyond nightclubs by that point, in part because the Hot Mix 5 had debuted on WBMX in 1981. Lange got familiar with the crew through the daily Hot Lunch show, and he found other kids in his neighborhood interested in dance music. When he started buying records, he originally sought out Italo disco. “The Italo records were more expensive, because they’re imported,” Lange says. “The Chicago ones, you could get for four bucks a copy, so I started buying more of that stuff.”

Three of Jackmaster Jay’s old records: K Joy’s “My Phone” from 1986; Fast Eddie’s collaboration with Tyree and Chic, “The Whop,” from 1987; and Denise Motto’s “Tell Jack (Jack the House),” also from 1987 Credit: Kirk Williamson for Chicago Reader

Lange was a teen who couldn’t drive and didn’t have much cash, but he still had record-shopping options in the 1980s. He grew up near a flea market on Cicero and Division where he found vinyl, and he took public transit to more conventional stores such as Disco City in Logan Square and Importes, Etc. in Printer’s Row, which was partly responsible for giving house music its name. 

Lange had a turntable at home, and he found a couple friends who could supply the other necessary equipment to properly DJ a party—a mixer and a second turntable. He began building a reputation by spinning neighborhood house parties, and in 1987 he joined the Chicago Cutting Crew. The following year he won first place in a mobile DJ competition as part of the tenth annual Great Battle of the DJs at Navy Pier. “Right around that time frame, around 1988, I was doing parties all the time,” he says. On Facebook a friend of his has posted a scan of a flyer from a February 1989 blowout at the A.C. Club that also featured the Hot Mix 5’s Ralphi Rosario and Mickey Oliver. 

Jackmaster Jay owned a copy of K Joy’s 1986 single “My Phone.”

I have three of Jackmaster Jay’s old records, all from that critical era in his DJ career. K Joy’s “My Phone” came out in 1986, and Denise Motto’s “Tell Jack (Jack the House)” and Fast Eddie’s collaboration with Tyree and Chic, “The Whop,” both landed in 1987. 

“Just having a new track meant a lot to me at the time,” Lange says. He frequently spun sets with other DJs, so he wrote his name on his records for strictly practical reasons. “You don’t want no one stealing your copy,” he says. “Most of the times, when we had a partner, each had one copy of the same record, and some guys were not taking care of their records, so they just throw them around—whereas I marked mine, I took care of mine.” He’d mark his preferred side with a big “A,” then put a “B” on the flip side—which is why the A side of “The Whop” has two “Bs” in Sharpie. 

Lange stopped DJing regularly in 1992. “I was getting older,” he says. “My parents were like, ‘Are you gonna stick with this as a profession, or are you gonna start working?’ I didn’t see myself going further with the DJ thing at that moment.” He’s kept collecting records, though, sometimes replacing 12-inches he already owns with better copies and selling or donating his originals. “Any records I buy now, I don’t mark them,” he says. “Because they’re staying at my house.”

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Donations, violations, and fees

As the last days of summer creep closer to Riot Fest descending onto the front yards of west-siders, records the Reader reviewed help reveal where the infamous music festival’s money is spent: on permit fees, fines for damaging park grounds, and political donations to influential alderpersons. 

According to contracts obtained through a Freedom of Information Act (FOIA) request to the Chicago Park District, Riot Fest has paid an average of $248,000 in permit fees every year since moving to Douglass Park in 2015. It has also paid tens of thousands of dollars some years in “violations” for wear and tear sustained by the park during the festival, which brings about 45,000 daily visitors to the park during its three-day run.

At a park district board meeting on Wednesday, officials proposed amending park district code to require board approval on all future large-scale events of 10,000 people or more. This comes as Douglass Park residents continue to demand the removal of Riot Fest and other music festivals, which they say damage the park, limit public use, and disrupt hospital quiet zones.

According to the contract language, in 2015 and 2016 the park district initially charged Riot Fest  flat fees of more than $2 million per year that were then reduced by “discounts” of about 90 percent. The records we obtained show that in 2015 Riot Fest only paid $233,508 of $2.35 million after the park district applied multiple discounts through an “approved partnership” and “approved agreement.”

A spokesperson for the Chicago Park District said the agreement discount, which is a negotiated rate, was “incorrectly identified” as a partnership discount in the 2015 Riot Fest contract and that no additional discounts were provided because of the clerical error.

The following year Riot Fest received discounts on permit fees through an “approved agreement” for a fee reduction of 91 percent. Records show Riot Fest paid just $212,079 of $2.4 million in permit fees in 2016.

The park district apparently changed how it structured event contracts after that. Riot Fest has not received a discount since 2016, but the district significantly reduced the upfront permit fees, according to the contracts. In 2017, the permit fee dropped to $225,000. Since then, fees have slightly increased each year.  

A spokesperson for the Chicago Park District did not respond to questions about why the Riot Fest permit fees were reduced or why the fees were different each year.

The contracts also show that since 2015, the park district has charged Riot Fest tens of thousands of dollars in “violation or damage” fees. A spokesperson for the park district said such fees are for restoring park grounds that are torn up during the festival. The spokesperson did not respond to questions about why the district continued to approve permits for Riot Fest despite the repeated violations. 

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According to special event permit applications, events like Riot Fest are required to pay their permit fees in full 30 days prior to the event, but payment for this year’s permit was not submitted until three days before the event, according to a spokesperson for the festival. 

In a statement to the Reader, a Riot Fest representative said that the festival “paid all permit fees and repair costs that have been assessed over the years in full.” 

Since moving to Douglass Park seven years ago, Riot Fest has been the target of complaints from residents who say the large music festivals commandeer the park and hardly invest into the surrounding communities. 

“Douglass Park and the surrounding area in North Lawndale is already a community that has seen grave divestment for decades now,” said Anton Adkins, whose family has been living across the street from Douglass Park for over 50 years. “To have such festivals within our community that the community itself does not profit from, and benefit from in any way, is harmful to the people of North Lawndale.”

Now, with three large music festivals occupying Douglass Park including Riot Fest, Lyrical Lemonade’s Summer Smash, and Heatwave, residents lose public access to the park for a quarter of the summer, according to a Chicago Park District spokesperson. 

“Nothing has been repaired in seven years,” said Denise Ferguson, a longtime resident of Douglass Park. “We didn’t get new sidewalks, we didn’t get new walking trails, we didn’t even get working bathrooms or access to drinking water in our park. None of that is there.”

Special events as large as Riot Fest are only eligible for a discount on permit fees if the host organization is a nonprofit or if 100 percent of the event proceeds solely benefit a nonprofit organization. Nonprofit organizations can receive at maximum a 75 percent discount on permit fees depending on annual income levels.

Riot Fest applied for a permit as a private company each year and never requested a nonprofit discount, according to the permit application submitted by independent contractor Scott Fisher, whose Special Event Services Group provided equipment for Riot Fest until recently

In a statement to the Reader, a spokesperson for the park district said “fees for all large scale events permitted on Park District property are negotiated between the District and the event organizers based on a number of considerations including, size of event, event features and park location.” 

Ticket sales for this year’s three-day festival range between $109.98 for a one-day general admission ticket to $1,999.98 for an “ultimate” three-day pass—a jump from 2018 ticket prices, when it was possible to buy a three-day ticket for less than $100.  

With 45,000 daily attendees and ticket prices of hundreds to thousands of dollars, back-of-the-envelope math shows Riot Fest likely makes millions in ticket sales each year. 

“Someone is making a lot of money and it’s benefiting someone, but none of that is coming back to us,” Ferguson said. 

Over the years, Riot Fest has given tens of thousands of dollars to political action committees tied to Alderperson George Cardenas (12th) and former Alderperson Michael Scott Jr. (24th), whose wards include Douglass Park.

 The 2015 and 2016 permit contracts include letters to the Department of Cultural Affairs and Special Events from Cardenas expressing support for the music festival. In recent years, community groups based in Pilsen have also written letters of support for Riot Fest including Economic Strategies Development Corporation (ESDC), ABC-Pilsen, and Ballet Folklórico Xochitl. 

A handful of vendors contracted by Riot Fest also gave tens of thousands of dollars to PACs tied to Cardenas and Scott over the years. 

All Around Amusement Inc., which provided carnival rides during the festival, has donated over $12,000 to PACs tied to Cardenas since 2010. Special Event Services Group has donated $2,000 to the committee Friends of George A. Cardenas. Technotrix Inc., which Cardenas mentioned in one of his letters, donated $1,000 to the committee. 

In 2015, Riot Fest formed a charitable foundation with the purpose of promoting the arts while supporting causes “that effect positive change in our neighborhoods.” According to its 2015 tax returns available on ProPublica’s nonprofit database, the Riot Fest foundation donated less than $9,000 in concert tickets to local organizations and raised about $6,700 for school programs.

The park district proposal that would require board approval for large-scale events will be open to public feedback for 45 days.

“I hope that going forward, Douglass Park will see better days,” Adkins said.


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A recent community meeting provided few answers.


Youth soccer coach Ernie Alvarez recounts his days in Douglass Park.

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Donations, violations, and fees Read More »

Embracing analog

Since its inception in 2011, the Chicago Film Society has remained one of the most valuable arts institutions in the city. The organization is run by a small but impassioned group of cinephiles whose love for the medium has allowed for numerous screenings on analog film. They’re also behind one of the most exciting Chicago film events of the year: Celluloid Now, an ambitious nine-program extravaganza running from September 15 to 18. With dozens of short films playing at three different venues, Celluloid Now will showcase artists who are “pushing analog filmmaking in bold and exciting new directions.”

Such language hints at the type of films that define much of the programming: avant-garde experiments, nonnarrative curios, dazzling formal exercises. Nowadays, it’s easy for the average person to be completely unfamiliar with such films’ existences—they’ll appear in a small shorts program at the Chicago International Film Festival, or be presented on the Criterion Channel for the more daring viewer. There’s an inherent cordoning off of such works from the general population that keeps the scene needlessly niche, and CFS is hoping to bring more people into the immediate, awe-inspiring pleasures that such films provide. “I want everyone to feel the enjoyment of being able to go out again and seeing some truly wild works,” says CFS archivist, programmer, and poster designer Tavi Veraldi.

Julian Antos, executive director of CFS, explains that his goal for Celluloid Now was to keep the event as inclusive as possible. “I really feel like there’s something everyone can enjoy in each of these programs,” he explains. “So many of these films are very direct and personal that it’s hard not to have a very human connection to them.” Take a few of the works that appear in the first program, which is titled “35mm: Industry Standard” and takes place at the Gene Siskel Film Center on September 15. There’s Jessica Dunn Rovinelli’s Marriage Story (2020), which uses dramatic reds, spoken poetry, and sex to capture how intimacy delivers both ecstasy and domestic comforts. Alexandre Larose’s brouillard – passage #14 (2013) features 39 overlapping shots of a walk taken from the director’s family cottage to a lake, and the result is a hypnotic reproduction of a memory. Even Rainer Kohlberger’s keep that dream burning (2017), one of the more abstract films here, will provide dazzling sensory overload as flickers and TV-like static transform into a stirring, grandiose epic.

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Each of the nine programs in Celluloid Now has an overarching theme. The second, for example, is titled “16mm Visions”—it takes place on September 16 at Constellation. Traditionally a music venue, the space will allow for cello accompaniment during Kioto Aoki’s dance film 6018Dance (2022). Also on the docket: a new 16mm preservation of Caroline and Frank Mouris’s Impasse (1978), which has simple but lively percussion to match its playful animations; Sasha Waters’s Burn Out the Day (2014), which provides a ruminative examination of a home burned to the ground alongside stately instrumentation; and Vicky Smith’s not (a) part (2019), whose flaring black-and-white splotches are made more invigorating because of the sparse but bracing soundtrack. In this program especially, it’s obvious how much sound can enhance the power of images.

Rebecca Lyon, who is a projectionist and programmer with CFS, notes that the weekly screenings they hold often include films that don’t make their way into traditional programming, such as educational films and trailers. “I think we’ve taken a similar approach here,” she says of Celluloid Now. “We’re screening more well-known filmmakers alongside first-timers.” One can see that in the must-see ninth program, “2x16mm: Double the Fun,” which will take place at the Chicago Cultural Center on Sunday, September 18. There will be four double-projection 16mm films, including a restoration of Razor Blades (1968) from avant-garde extraordinaire Paul Sharits. The film’s flashing images and colors will remind viewers of the enduring strength of scintillating juxtapositions. Also present is Hangjun Lee’s Why Does the Wind Blow (2012), which is taken from the Korean filmmaker’s archive of educational films, and Daïchi Saïto’s Never a Foot Too Far, Even (2012), which is the only film on the program where its projections will overlap instead of appear side by side.

Celluloid NowThe Chicago Film SocietyHosted at the Chicago Cultural Center, Gene Siskel Film Center, and Constellation; September 15-18; free-$15; celluloidnow.org

“Everybody loves to talk about Paul Thomas Anderson and Quentin Tarantino as analog standard-bearers,” explains CFS projectionist and programmer Cameron Worden. “But there are analog film artists working worldwide, most with significantly smaller budgets.” Indeed, Celluloid Now is lifting up independent artists from around the world, and those attending will witness how varied and thrilling the offering is. Austrian filmmaker Antoinette Zwirchmayr’s two films at the event, Oceano Mare (2020) and At the edge of the curtain (2022), possess an acute understanding of space, staging, and color to be seductively beguiling. Typefilm an armory show (2021) seesBrazilian artist João Reynaldo typing onto 16mm film with a typewriter, constructing something akin to concrete poetry. And Tetsuya Maruyama’s ANTFILM (2021) forgoes the camera altogether, using dead ants and Super-8 film to create an awe-inspiring spectacle.

Seven of the nine programs at Celluloid Now will take place at the Cultural Center, and Worden emphasizes how crucial this is to the bold vision they have for the event. Beyond offering these programs for free, this venue allows them to “try out some nontraditional formats for screenings, including a 20-minute shorts program and an ‘open mic’ where anybody who has a print of their work can show up and we’ll run it.” The former refers to the fifth program on Saturday, titled “A Miniature Screening of Miniature Films,” which focuses on 8mm films. The latter is a “celluloid open mic” which will take place on Sunday morning. Also welcome is a program later that afternoon where a “16mm projector dissection” will take place for anyone interested in learning the ins and outs of the machine. Test films will be shown during this educational program, though it should be noted that unannounced, secret films will also screen during programs one, two, four, and eight.

Lyon sums up the excitement and passion surrounding Celluloid Now neatly: “I really think our lives became significantly uglier when film stopped being the norm. So to have several days of screenings where people can just rest their eyes on all these beautiful prints feels really special to me.” If you’re looking to fall in love with film and its potential to inspire, look no further than Celluloid Now.

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