Pantry to Plate

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Chicago Cubs outfielder Jason Heyward has been activated from the COVID-19 injured list and is slated to start in right field against the Milwaukee Brewers on Wednesday.

Heyward was placed on the injured list on May 17. The five-time Gold Glove winner is batting .208 with four RBIs in 27 games this season.

In corresponding roster moves, the Cubs placed left-hander Drew Smyly on the 15-day injured list with a right oblique strain, sent outfielder Nelson Velazquez to Triple-A Iowa and activated right-hander Michael Rucker (turf toe).

Smyly is 2-5 with a 3.80 ERA and 34 strikeouts in nine starts for the Cubs this season.

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The 2022 NBA Finals begin Thursday with Stephen Curry and the Golden State Warriors taking on Jayson Tatum and the Boston Celtics. Judging by the ticket prices, there is a lot of excitement for this matchup.

According to VividSeats, a ticket resale marketplace, Game 1 of the finals (9 p.m. ET on ABC) is the most expensive average ticket price for any event at Chase Center since its opening in 2019.

The current average price sold for the first game of the series is $873, which is over $300 more per ticket than when the Los Angeles Lakers visited the Warriors in February — and these finals tickets are $300 more expensive than a Metallica concert, played in September, 2019, which had an average price of $542.

On the Warriors’ team website, linked to Ticketmaster, the only tickets available are resale tickets. They range from $590 to $6,900.

Finals tickets are typically more expensive than most other rounds in the playoffs and regular season games, so it’s also no surprise that game one is the most expensive ticket sold on VividSeats in the NBA so far this season. That same Lakers-Warriors game from February is No. 2 at $543 with Game 2 of the Western Conference Finals between the Dallas Mavericks and Warriors game two on May 20, coming in at third with an average ticket price of $418.

The Warriors have also been a part of the top-five games with the most expensive average ticket this season.

It will be difficult to compare the game one prices to the most expensive tickets from any NBA finals game, since the prices will likely go up as the series continues. The most expensive average ticket price from VividSeats since 2010 came in 2019, game five of the Warriors-Raptors series with a price of $1,550.

The Warriors, who moved into the Chase Center in San Francisco in 2019, have three of the top five games with the most expensive average ticket price for the NBA Finals since 2010. Golden State was in the finals played in five consecutive finals from 2015-2019 and won three NBA titles. Those series were played at Oracle Arena in Oakland.

The lowest price listed for Game 2 at Golden State is $749, according to Ticketmaster.

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Among the assets gathered in the James Harden blockbuster trade, the Brooklyn Nets are deferring acquisition of the Philadelphia 76ers‘ 2022 first-round pick at No. 23 to the 2023 NBA draft, sources told ESPN.

Brooklyn informed the league office of the team’s decision on Wednesday, hours ahead of a midnight deadline, sources said.

Deferring the pick allows the Nets to keep flexibility over an extended period on using that pick in trades – and gives them a roll of the dice that the pick could land higher on the draft board next year based upon the success of the Sixers’ coming season.

The Nets traded Harden and Paul Millsap to the Sixers for Ben Simmons, Seth Curry, Andre Drummond and the unprotected 2022 first-round pick and top-8 protected 2027 first-round pick at the February trade deadline.

The Sixers will pick No. 23 on June 23rd in the draft and can use the pick in trades beginning on draft night. The Sixers won’t be able to trade another pick for seven years, because of conditions owed to teams on several picks, including their 2025 first-round pick (top-6 protected to Oklahoma City), and 2027 first-round pick (top eight protected to Brooklyn).

The Nets’ 2022 first-round pick is owed to the Houston Rockets for the Harden trade.

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In the past year or so, whenever a friend has asked me to recommend music, I’ve pointed them at Chicago multi-instrumentalist Jonn Wallen, who creates omnidirectional experimental electronic albums under the name Oui Ennui. A self-described hermit, he’d already spent decades making music largely in private and for his own satisfaction when COVID-19 hit. After Wallen contracted the virus in April 2020, though, he completely shifted his approach. As he told Reader editor Jamie Ludwig last year, he decided to release an album per month straight to Bandcamp, often on Bandcamp Fridays (monthly promotions when the site passes along its usual portion of sales revenue to artists and labels). It hasn’t been easy for Wallen. “I had long-haul COVID, and there were several times throughout my process of releasing an album every month where I thought that I wasn’t going to make it for the next one,” he told Ludwig. “I felt like shit for 13 or 14 months in a row.” 

Despite the physical and psychological challenges of long COVID, Wallen has kept the spigot open on this firehose of music. The cinematic and ambient Abyss, You Are My Mother, which came out on May 6, is his 31st release in the past two years. (All his albums come with detailed, almost diaristic liner notes, in case you’re looking for even more material from him.) Wallen pulls off daring stylistic leaps from album to album, so that his ever-expanding catalog is basically a one-man boutique record shop—there’s not exactly something for everyone, but if you like music that’s designed to envelop you, you’ll find plenty. I’d recommend beginning with L’esprit de L’escalier, a February 2021 collection of liquid house tracks tinged with psychedelia; the September; the September 2021 archival drop Reverse!, whose freewheeling, sun-bleached soul Wallen recorded with vocalist Clarence Spencer in 2006 under the name Cotton & Hate; and October 2020’s Message From the Daoui, a celestial jazz-rap collaboration with clarinetist, keyboardist, and vocalist Angel Bat Dawid. Wallen has the unusual ability to simultaneously overwhelm me with the volume of his output and soothe me with whichever one of those albums I’m listening to at the moment—which is lucky, because they just keep coming.

Oui Ennui Part of day one of Do Division, which runs Fri 6/3 through Sun 6/5. On the East Stage, Nnamdï headlines; Cadence Weapon and Oui Ennui open. On the West Stage, Oso Oso headlines; Carriers and Kate Stephenson open. Fri 6/3, 5:45 PM (gates at 5 PM), Do Division Street Fest, Division between Damen and Leavitt, $10 donation, all ages

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In the past year or so, whenever a friend has asked me to recommend music, I’ve pointed them at Chicago multi-instrumentalist Jonn Wallen, who creates omnidirectional experimental electronic albums under the name Oui Ennui. A self-described hermit, he’d already spent decades making music largely in private and for his own satisfaction when COVID-19 hit. After Wallen contracted the virus in April 2020, though, he completely shifted his approach. As he told Reader editor Jamie Ludwig last year, he decided to release an album per month straight to Bandcamp, often on Bandcamp Fridays (monthly promotions when the site passes along its usual portion of sales revenue to artists and labels). It hasn’t been easy for Wallen. “I had long-haul COVID, and there were several times throughout my process of releasing an album every month where I thought that I wasn’t going to make it for the next one,” he told Ludwig. “I felt like shit for 13 or 14 months in a row.” 

Despite the physical and psychological challenges of long COVID, Wallen has kept the spigot open on this firehose of music. The cinematic and ambient Abyss, You Are My Mother, which came out on May 6, is his 31st release in the past two years. (All his albums come with detailed, almost diaristic liner notes, in case you’re looking for even more material from him.) Wallen pulls off daring stylistic leaps from album to album, so that his ever-expanding catalog is basically a one-man boutique record shop—there’s not exactly something for everyone, but if you like music that’s designed to envelop you, you’ll find plenty. I’d recommend beginning with L’esprit de L’escalier, a February 2021 collection of liquid house tracks tinged with psychedelia; the September; the September 2021 archival drop Reverse!, whose freewheeling, sun-bleached soul Wallen recorded with vocalist Clarence Spencer in 2006 under the name Cotton & Hate; and October 2020’s Message From the Daoui, a celestial jazz-rap collaboration with clarinetist, keyboardist, and vocalist Angel Bat Dawid. Wallen has the unusual ability to simultaneously overwhelm me with the volume of his output and soothe me with whichever one of those albums I’m listening to at the moment—which is lucky, because they just keep coming.

Oui Ennui Part of day one of Do Division, which runs Fri 6/3 through Sun 6/5. On the East Stage, Nnamdï headlines; Cadence Weapon and Oui Ennui open. On the West Stage, Oso Oso headlines; Carriers and Kate Stephenson open. Fri 6/3, 5:45 PM (gates at 5 PM), Do Division Street Fest, Division between Damen and Leavitt, $10 donation, all ages

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Chicago’s nightlife is as diverse as its multitude of neighborhoods. From cozy taverns to luxury wine bars, you can find just about any atmosphere down a stroll on a single street. Check out our list of the best neighborhoods for bar hopping in Chicago to discover your new favorite night-out destination.

Wicker Park

Wicker Park contains an eclectic mix of bars and pubs clustered around Six Corners (where North, Damen, and Milwaukee avenues intersect). Kick off the night at Emporium Arcade Bar, a funky bar with decades of arcade games and various beers. Next, stop by a swanky speakeasy called The Violet Hour for a unique cocktail. Lastly, finish off the night with a drink at The Revel Room, a cozy bar with vintage decor and a room with book-lined walls.

Swing by the bars in Wrigleyville on a Cubs game day for a lively night out. Up and down Clark Street, you’ll find an array of Cubs-themed casual bars to catch a game, listen to live music, or just hang out. The neighborhood favorites include Sluggers (a sports bar with batting cages), The Cubby Bear, Gman Tavern, and Nisei Lounge (a classic dive bar with darts, pool tables, and a jukebox).

Logan Square

Logan Square is overflowing with intimate wine bars, chic new hotspots, laidback breweries, and vintage digs. Where do you even start? To soak in a warm summer evening, grab a table beside the garage door windows at Estero, or take a seat on the outdoor patios at Easy Does It or Parson’s Chicken & Fish. Head to a neighborhood favorite such as The Native, Spilt Milk Tavern, or Pilot Project Brewing for a great group environment. You can’t go wrong with a stroll down Milwaukee, Armitage, or Diversey in Logan Square.

Old Town

Old Town is a historic neighborhood brimming with taverns and pubs to peruse. Most bars are concentrated on Wells Street, like The Glunz Tavern, Woodie’s Flat, The VIG, Benchmark, The Rabbit Hole, and Declan’s Irish Pub. On North Avenue, check out Old Town Ale House, a neighborhood landmark full of character and covered in eccentric art. 

The neighborhood of Andersonville stays true to its Scandinavian roots with a flourishing bar scene. Take a stroll down Clark Street to discover the wide range of drinks and atmospheres that Andersonville offers. For all the craft beer enthusiasts, Hopleaf provides a decadent array of beers to sample (make sure you order a side of their loaded pommes frites). Simon’s Tavern is a classic neighborhood joint known for its glögg slushies (made from mulled wine) in the summertime.  

A neighborhood famous for its thriving restaurant scene also delivers when it comes to being a bustling nightlife spot. Get fancy with an intricate cocktail from The Darling, or go for a traditional dive bar experience at Richard’s Bar. Other neighborhood favorites include Trivoli Tavern, Fox Bar, Lone Wolf, Bandit, The Press Room, and Recess.

Lincoln Park

Along with a plethora of tasty food options, Lincoln Park’s collection of bars makes it an excellent neighborhood for bar hopping. Take a trip across the pond at Red Lion Pub, an English pub with a homey, literary atmosphere. For a high-end experience, soak in the expansive Lake Michigan views from The J. Parker rooftop. End the night with some friendly competition at Replay Lincoln Park, where you can play over 50 vintage arcade games and choose from a lengthy beer list.

River North

In the neighborhood of River North, you’ll find a more upscale ambiance for a fancy night out on the town. Most bars are clustered along Hubbard Street. Escape to an island-themed oasis at Three Dots and a Dash and try one of their trendy tiki cocktails. Catch a game at the sophisticated Theory sports bar on one of their plasma TVs. For a live music experience, check out the lineup at Bub City and grab some barbeque along with one of their whiskey drinks.    

Featured Image Credit: Lone Wolf Tavern

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The Uvalde school massacre put a somber hue on my mood going into 57 Blocks, Free Street Theater’s latest ensemble-created piece that takes a sharp look at public education. But by the end of the evening, which starts out at Free Street’s Pulaski Park home in Wicker Park, takes audiences on a bus down Ashland Avenue for—wait for it—57 blocks, and then ends up at the company’s Back of the Yards Storyfront space, I felt almost hopeful.

That’s no small feat, given the persistent problems laid out for us in the first half of the show. Using ten performer-writers under the co-direction of Katrina Dion, Marilyn Carteno, and Sebastian Olayo, and created over a two-year process with more than 30 participants (much of the development happening online, given the reality of the pandemic), 57 Blocks asks us to consider a lot of heavy history in the evolution of the schools-to-prison pipeline. (The students drew upon Eve L. Ewing’s Ghosts in the Schoolyard and Mariame Kaba’s We Do This ‘Til We Free Us as part of their research.) 

57 Blocks
Through 6/18: Thu 6/2, Wed-Thu 6/8-6/9, Mon 6/13, and Thu-Fri 6/16-6/17, 7:30 PM; also Sat 6/18, 2 PM (free child co-programming for kids 13 and younger); performances begin at Pulaski Park, 1419 W. Blackhawk, and conclude at the Storyfront, 4346 S. Ashland; bus transit provided between locations; 773-772-7248, 57blocks.eventbrite.com, free, but reservations limited; 14+.

At Pulaski Park, we’re invited into the Free Street space (set up to look like a school gymnasium in Eleanor Kahn’s design), given name tags, and paired up with ensemble members who take us into various parts of the theater to highlight aspects of how public education too often focuses on policing students, rather than fostering their creativity and imagination. Luz Chavez took me to a quiet corner to talk about the history of school uniforms (championed by the Clinton administration) as a means of control disguised as a form of erasing class distinctions. Instead, as Chavez’s personal stories make clear, uniforms tend to mean that Black and Brown students are punished more often for any deviation from the required outfit. She showed me a sketchbook with her designs and those of her friends for what their ideal uniform would look like, from classic chic to whimsical. It’s a pointed rejoinder to Clinton’s admonishment that “our young people will learn to evaluate themselves by what they are on the inside instead of what they’re wearing on the outside.” What’s wrong with the outside reflecting their inner selves?

In another room, we’re encouraged to pick up phone receivers and play tapes with statistics and stories about the ways that school “resource officers” also reify racist assumptions in policing students, rather than serving as, you know, resources. Frankie Kerin demonstrated the problems with the mayor-appointed school board by using a papier-mâché volcano; the “eruption” when the vinegar hit the baking soda illustrates the overwhelming power of Mayor Lightfoot and her predecessors in controlling the decisions that affect students like Kerin and his peers.

The overarching theme is that we need to absorb these lessons as a way of coming up with new ideas and opening “the portal” to new ways of thinking about education and criminal justice. If that sounds heavy-handed, be assured that there is a strong element of play here as well, which comes into focus on the bus ride to the Storyfront. Members of the ensemble sing, point out neighborhood highlights (including Swap-O-Rama), and engage us in thoughtful conversation about our own experiences with education, favorite parts of our neighborhoods, and what ideas we might have for creating healthier communities. 

The Storyfront space is where it all comes together. The small room is lit up with white paper lanterns that change color as the ensemble does indeed provide a “portal” through which to see a healthier and more just future. 57 Blocks gives us a personal point of entry to understanding why what we’re doing now in schools too often only serves to further alienate students from the process of becoming empathetic and imaginative lifelong learners at best, and criminalizes them at worst. But it also gives us some concrete ways to reach out in our own communities, and lets us know that it’s never too late to learn how to be a better member of the great ensemble that makes up our neighborhoods and our city. 

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