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

Reader senior writer Ben Joravsky riffs on the day’s stories with his celebrated humor, insight, and honesty, and interviews politicians, activists, journalists and other political know-it-alls. Presented by the Chicago Reader, the show is available by 4 p.m. Tuesdays through Fridays at chicagoreader.com/joravsky—or wherever you get your podcasts. Don’t miss Oh, What a Week!–the Friday feature in which Ben & producer Dennis (aka, Dr. D.) review the week’s top stories. Also, bonus interviews drop on Saturdays, Sundays and Mondays. 

Chicago Reader podcasts are recorded on Shure microphones. Learn more at Shure.com.

With support from our sponsors

Chicago Reader senior writer Ben Joravsky discusses the day’s stories with his celebrated humor, insight, and honesty on The Ben Joravsky Show.


A flexible position on free speech

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


Not a dream

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


False equivalence

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

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

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

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

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

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

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

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

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

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

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

Blackhawks’ 2022-23 schedule released: Hawks open at defending champion Avalanche

For the second time in three years, the Blackhawks will watch another team hoist a Stanley Cup banner to begin their season.

The Hawks will visit the Avalanche on Oct. 12 to open their 82-game 2022-23 regular season, per the NHL’s schedule release Wednesday.

In the pandemic-shortened 2020-21 season, the Hawks opened on the road against the Lightning, who were then the defending champions. The Hawks opened on the road against the Avalanche in 2021-22, too.

After subsequent road games against the Golden Knights on Oct. 13 and Sharks on Oct. 15, the Hawks will return to Chicago to host the Red Wings in their home opener Oct. 21. That begins a four-game homestand that also includes visits from the Kraken, Panthers and Oilers.

Notable games later in the season include hosting the Canadiens on Nov. 25 (Black Friday), hosting the Blue Jackets on Dec. 23 (entering the holiday break), visiting the Blue Jackets on Dec. 31 (New Year’s Eve) and hosting the Sharks on Jan. 1 (New Year’s Day). That Jan. 1 game begins a season-long seven-game homestand through Jan. 17.

The Hawks will enjoy a bye week at the end of January heading into All-Star Weekend in Florida from Feb. 3-5. On Feb. 28, they’ll make their first visit to the Coyotes’ new shared arena with Arizona State. In late March, they’ll have a season-long five-game road trip, visiting the Predators, Coyotes, Avalanche, Capitals and Wild.

Their season concludes with the home finale Apr. 13 against the Flyers.

The Hawks’ 2022 preseason schedule will be released later this July.

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ChicagoNow’s Best Posts of June 2022

ChicagoNow’s Best Posts of June 2022

Supreme Court. Photo courtesy of Chicago Tribune,

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

Chicago Weather Watch How hurricanes got their names

Chicago Weather Watch Strawberry honey super full summer moon

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

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

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

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

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

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

Looking for the Good One step at a time

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

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

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

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

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

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

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

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

Retired in Chicago Grumble and then move on

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

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

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ChicagoNow’s Best Posts of June 2022

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Chicago Bulls sign Andre Drummond to 2-year 6.6 million deal

ESPN source Adrian Wojnarowski reports on Thursday, June 30th, that the Bulls are signing Andre Drummond to a 2-year 6.6 million deal that includes a player option for the second year. Andre Drummond was traded from the 76ers to the Nets this season in a package that sent James Harden to the 76ers to pair up with Joel Embiid. Andre Drummond will bring needed center depth to the Bulls for this season as the Bulls look to remain healthy for a playoff push this year. The Bulls desperately needed a defensive big that could rebound the ball like Andre Drummond during this year’s playoff run. The Bulls now have more depth in the roster just in case injuries derail the Bulls during a playoff push. Andre Drummond can play along with Vucevic as he really struggled defensively all year and he was exposed during the playoffs. He can also be the Sub for Vucevic when the Bulls need a more defensive Center. Andre Drummond should be a good signing for the Bulls as his contract is relatively cheap compared to Mitchell Robinson who was offered 4 years 60 million compared to 2-year 6.6 million. The Bulls should be happy from a contract perspective that they didn’t have to spend a whole lot for a defensive center. I expect the Bulls to make more moves this off-season such as signing a veteran 3 and D wing while trying to find a trade for Coby White as he is looking more expendable. 

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Sam Thousand, Chicago soul Renaissance man

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

As told to Leor Galil

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

An episode of The Midnight Hour from early 2021

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sidewalk Chalk released An Orchid Is Born in 2017.

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

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

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

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

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

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

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

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

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


The Growing Concerns Poetry Collective ask all races to fight racism

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


Artist on Artist: Robert Glasper talks to Justin Dillard

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


An Unapologetic love letter to Chicago’s Black women activists

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

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

Read More

Sam Thousand, Chicago soul Renaissance man Read More »

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

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

As told to Leor Galil

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

An episode of The Midnight Hour from early 2021

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sidewalk Chalk released An Orchid Is Born in 2017.

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

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

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

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

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

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

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

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

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


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

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

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

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

Dan Abel, co-Founder of Pilot Project Brewing.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Moor Mother’s Jazz Codes needs little decoding

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