Chicago Bears: Predicting offensive, defensive leaders vs LionsVincent Pariseon September 12, 2020 at 2:00 pm



When the Chicago Bears take the field on Sunday to face the Detroit Lions, all eyes will be on quarterback Mitchell Trubisky. After winning the quarterback competition over Nick Foles in training camp, expectations are incredibly high for the fourth-year signal-caller. But is it possible he is walking into a lose-lose situation in Week 1? More on that in a minute.
Despite high expectations, Trubisky has an opportunity to ease into the 2020 season a bit, as his first two opponents were both near the bottom of the league in passing defense.
This weekend, just about the time when–minus the virus–we would have been plopping our posteriors into cushy new seats installed over the summer at the Lyric Opera House and settling in for a double bill of love gone tragically but so operatically wrong (Cavalleria rusticana and Pagliacci), Lyric is inviting us to boot up the laptop for something cheerier.
For the Love of Lyric is a multigenre, online concert conceived and led by soprano Renee Fleming. It’ll be streaming for the public at 6 PM local time Sunday, with Fleming joined (virtually) by Chicago-based Grammy winner Heather Headley, Ryan Opera Center alumna J’Nai Bridges, sopranos Ailyn Perez and Julia Bullock, and bass Soloman Howard. It’s free, on the Lyric’s YouTube and Facebook pages
The one-hour program includes Headley’s rendition of “Shadowland,” from her Broadway role as Nala in The Lion King; Bullock and Fleming in a long-distance duet; Howard’s rendition of the rousing “Lift Every Voice and Sing,” and Bridges with the Chicago Children’s Choir. The sure-to-be-majestic closer is Aaron Copland’s “The Promise of Living” from The Tender Land, performed by members of Lyric’s Ryan Opera Center. Music director and pianist Doug Peck will accompany parts of the program that were filmed on the Lyric stage, an empty house in the background.
To hear opera with even the best of piano accompaniment is to realize how much the orchestra brings to it; we’ll be reminded that we’re missing the Lyric Opera Orchestra, along with the sterling acoustics inside the opera house and the thrill of in-the-flesh performance. Still, until we can put our butts in those new seats . . . v
On their debut album, Cliff, Chicago duo Big Branch combine warm vocal melodies with kitchen-sink instrumentals inspired by the dusty samples of underground rap. The record’s ramshackle sound recalls Beck circa “Loser” or Dubya-era TV on the Radio, a hybrid style the group calls “hop ‘n’ roll.” Vocalist Jamal Semaan and guitarist and producer Rob Lorts originally went by the name Grimms & Blacknight, and they wrote the songs on Cliff during a 2016 DIY tour. After coming home to financial hardship and health problems, they revitalized themselves with a new band name and a more guitar-heavy sound. Big Branch recorded Cliff with producer Brian Deck, who also contributes percussion–it shares the foreground with Lorts’s guitar playing, such as the wiry lines that supplement the chorus on “Something Out There.” Semaan’s conversational vocals sound great paired with harmonies from Ohmme’s Macie Stewart, who guests on a couple tracks on vocals and violin–they’re especially good together on lead single “Spit It Out,” where the singers plead for more direct communication even as they prepare to wince at the unfiltered truth. But the front man hasn’t abandoned rap. Midway through “Bubblegum,” Semaan drops into an unexpected rhythmic pocket amid a cacophony of overlapping guitars and cymbals. The song doesn’t employ traditional drum-kit patterns–instead Semaan’s voice provides the rhythmic bedrock, anchoring the layers of instrumentation. It’s a sophisticated gambit that was worth all of the time Big Branch spent in flux. v
In a recent interview with the Yale Center for Faith & Culture’s podcast For the Life of the World, pianist Julian Reid described the way mourning informed the thematic underpinnings of The Eternal Boombox, a new self-released EP by his Chicago-based band, the JuJu Exchange. The members of this jazz combo also draw upon their experiences outside jazz: Reid is assistant music director for Kelley Chapel United Methodist Church in Decatur, Georgia; his drummer brother, Everett, studied jazz and performing arts technology at the University of Michigan; and producer and trumpeter Nico Segal is a crucial member of Chance the Rapper’s band, the Social Experiment. Each of the five songs on The Eternal Boombox corresponds with a stage of grief from the Kubler-Ross model: denial, anger, bargaining, depression, and acceptance. The second track, “Avalanche,” is definitely the “anger” track, with ice-sheet synth melodies and a rush of crunching electronic percussion fit for drum ‘n’ bass. As Reid told For the Life of the World, “Music cultivates in me–and cultivates in my colleagues–a sensibility of having a sense of self and being connected to a greater whole.” That sensibility guides the JuJu Exchange as they blend genres throughout The Eternal Boombox, and it propels them through the darkest shades of grief. On the fourth track, “And So On . . . ,” they evoke depression with a small symphony, and Reid’s flamboyant gospel-flecked piano pierces a despondent string passage like a sunbeam cutting through fog. v