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Mishkan Chicago puts an interactive spin on High Holiday ritualsJosh Flanderson September 10, 2020 at 1:30 pm

As a child, the High Holidays–Rosh Hashanah (the Jewish New Year) and Yom Kippur (the Day of Atonement)–were marked with reluctant trips to our family synagogue where the tone was somber and reflective. The gloomy music was as uncomfortable as the blue blazer I reserved only for services and bar mitzvahs. When I was not trying to decipher the purpose of the holiday through incomprehensible liturgy, I was making faces at friends or wandering out to the hallway to meet other wayward Jews, usually the parents of my friends who volunteered as ushers to avoid sitting through services. My once-radical synagogue, which had been on the front lines of the civil rights movement and hosted the likes of Martin Luther King Jr. during the 1960s, had become staid and boring. It offered little to my generation. Not surprisingly, many of my peers drifted away from temple.

While many synagogues struggle with how to bring a new, diverse generation together, a nationwide movement of spiritual communities is creating radically inclusive spaces for Jewish practice, finding new ways to engage people where they are, across the spectrum of identity, background, age, and belief. With the High Holidays starting on Friday, September 18, Mishkan Chicago, a Jewish spiritual community serving over 5,000 individuals annually, will present a unique and engaging High Holiday experience in response to the pandemic.

Rabbi Lizzi Heydemann founded Mishkan Chicago on a Shabbat in 2011 in a living room. Nine years later, they offer weekly Shabbat services, classes, small group gatherings, and holiday celebrations at locations across the city without being tethered to a single location like most synagogues. She notes that every generation of Jews in America brought a sense of revolution, from the turn-of-the-century immigrants creating Jewish community in a new country, to Jewish families in the suburbs creating social change in synagogues that in many ways mirrored churches in their structure and presentation, and now today with groups like Mishkan.

Today people are longing for “what serves the needs of the moment,” Rabbi Heydemann says, “the children and grandchildren of those renegade founders are now feeling like what was progressive and forward thinking two generations ago is now no longer as radical.” Questioning why people came to synagogues, how Mishkan can provide that, and how they can improve on that led them to create innovative gatherings that foster community and feed a spiritual need often absent in traditional settings. During the pandemic, they have held anti-racist book groups, weekly services, and other gatherings both spiritual and social to bring members from around Chicago, and even outside Chicago, together.

Realizing that the High Holidays no longer need to be about going to a synagogue, especially this year, Mishkan Chicago has brought together a team of performance and film artists, many who were (unsurprisingly) already connected with the organization, to produce a rare experience that merges the rituals of the holiday with music, film, and theater. They originally planned for services to take place at the Auditorium Theatre after they sold out the Vic Theatre for the past two years, but in the coronavirus era the High Holiday experience will instead be a combination of interactive streaming services online, as well as in-person experiences around Chicago.

The Mishkan team wanted to provide the experience they know people long for this time of year, while also repackaging it in a safe engaging way.This posed a challenge they were up for and excited to produce. “There are three basic dimensions of the High Holiday spiritual experience,” Rabbi Heydemann points out, “one is prayer (tefilah), one is introspection (teshuvah), and one is giving and being part of justice work (tzedakah).” They made sure that this new experience embodies all three of these important aspects.

Rebecca Stevens, Mishkan Chicago’s director of strategy and design, welcomed the challenge, noting that “limitations are the things that make you creative.” Stevens is a theater artist by trade, and after converting to Judaism found a natural fit with Rabbi Heydemann, who she says is the “collaborator I was born to work with.” Along with more than half a dozen other theater and visual artists at Mishkan, they have been working to produce what Stevens calls a “ritualized performance,” not unlike other Jewish holidays like the Passover Seder.

The services themselves will be livestreamed, featuring asynchronously recorded prayers and songs from over 200 community members as well as sermons, guest speakers of various faiths and Jewish denominations, family services, and interactive chats. In the spirit of the full accessibility that Mishkan Chicago champions, all services are closed-captioned.

For those longing for in-person celebrations, Mishkan will be holding a Selichot drive-in sing-along for members only at the Davis Theatre pop-up drive-in at Lincoln Yards on September 12, the Saturday night before High Holidays. Slightly inspired by Grease, the event (which begins at 6:30 PM) will feature singing in cars and food available for purchase from Ada Street restaurant. Also, on the afternoon of Saturday, September 19 at 5:30 PM, the traditional blowing of the shofar, or ram’s horn, will take place in five pop-up locations around Chicagoland. Creative social distancing, required masks, and hand sanitizer will ensure safety. Following the shofar blasts, participants will be invited to partake in Taslich, the symbolic casting off of past transgressions and bad mojo in preparation for the New Year. With High Holidays this joyous and spiritually engaging, Mishkan Chicago might just bring this wayward Jew back into the fold. v



For more information and registration, visit mishkanchicago.org.






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Mishkan Chicago puts an interactive spin on High Holiday ritualsJosh Flanderson September 10, 2020 at 1:30 pm Read More »

Bubba Wallace leaving Richard Petty MotorsportsAssociated Presson September 10, 2020 at 6:10 pm

CHARLOTTE, N.C. — Bubba Wallace is leaving Richard Petty Motorsports at the end of the season.

NASCAR’s only Black full-time driver informed RPM of his decision Thursday. He will finish the final nine races in Petty’s famed No. 43.

“This was not an easy decision as I have nothing but the utmost respect for Richard Petty and his family, but I believe it’s time for someone else to take over the reins of the No. 43,” Wallace said in a social media post.

Wallace thanked RPM for giving him the opportunity to start his Cup Series career, saying “I’ve grown so much as a driver and a person since joining them.” He added that he hopes to “finish the 2020 season on a high note.”

RPM says it will announce a new driver “in the near future.”

Wallace is in his third season driving for Petty. He has a career-best five top-10 finishes this season and is ranked a career-best 23rd in the Cup standings.

Wallace has taken an active role in pushing for racial inclusion and equality, helping spur NASCAR to ban the Confederate flag at its races earlier this year. He parlayed that into several sponsorship deals that have been negotiated in a way that Wallace could take them with him if he left RPM.

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Bubba Wallace leaving Richard Petty MotorsportsAssociated Presson September 10, 2020 at 6:10 pm Read More »

Red Stars’ Yuki Nagasato joins men’s soccer club in JapanAssociated Presson September 10, 2020 at 6:27 pm

ATSUGI, Japan — Women’s World Cup winner Yuki Nagasato is joining Japanese men’s club Hayabusa Eleven on loan from the Red Stars.

The men’s team plays in an amateur regional league that is several levels below the country’s top pro soccer league, the J-League.

Nagasato, who won the Women’s World Cup with Japan in 2011, joined Chicago in 2017 after playing in several other leagues. The Red Stars said in a statement that Nagasato’s loan will end prior to the 2021 NWSL preseason.

“I want to get the message out to the girls who are playing soccer with the boys that women can join the men’s team and challenge themselves,” Nagasato said Thursday.

Nagasato said she is looking forward to playing for a team in her hometown of Atsugi, which is located near Yokohama just southwest of Tokyo.

“Honestly speaking, I don’t know how well I will be able to play on the men’s team, but I will do my best to make the most of my experience,” she said. “My performance and conditioning are getting better as I get more experienced. This is good timing for me and I’m really looking forward to this challenge.”

Nagasato said she was influenced by American player Megan Rapinoe.

“It was very inspiring to hear the social message about gender inequality and other messages that Rapinoe was trying to deliver during the (2019) World Cup,” Nagasato said. “So I have been thinking about how I can do the same.”

It was her older brother Genki, a former J-League player who plays for Hayabusa, who helped his sister join the team.

“For over a decade she’s been telling me that her ultimate dream is to play in a men’s team,” Genki Nagasato said. “So, as an older brother, I wanted to help my sister achieve her dream.”

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Red Stars’ Yuki Nagasato joins men’s soccer club in JapanAssociated Presson September 10, 2020 at 6:27 pm Read More »

Jazz musicians turn an Old Town porch into a stageJamie Ludwigon September 10, 2020 at 11:00 am

Trumpeter Victor Garcia, guitarist Jack Macklin, and pianist Danny Bauer - MATTHEW GILSON FOR CHICAGO READER

Earlier this summer I was walking through a residential part of Lincoln Park south into Old Town when I heard . . . could it be . . . live music? It’d been so long since I’d been to a full-band concert (March 4, to be exact) that as I approached the sound I had visions of that old Looney Tunes bit where Bugs Bunny bursts from his tunnel thinking he’s on Miami Beach, then runs off whooping into what turns out to be the Sahara Desert.

Thankfully, I wasn’t mistaken–I really was hearing a jazz band, playing on the porch of a cute white house. With drums, even. The sizable socially distanced crowd included plenty of dogs and a small circle pit up front (that is, a small child spinning in circles). The music was pretty good too, and best of all, it wasn’t a one-off block party: a sign hanging from the porch fence said the group played every evening, weather permitting.


Red Door Band by Danny Bauer and Jack Macklin
Front-porch concerts continue every evening, weather permitting, until it gets too cold. Personnel vary from day to day. 5-7 PM or so, Eugenie Street west of Wells, free, all ages


The mastermind of the series is pianist, vocalist, composer, and arranger Danny Bauer. He moved here last August and spent the next several months traveling, shuttling between Chicago and Columbus, Ohio, where he led a band called Safety Squad. He finally committed to Chicago full-time in February, and you know what happened next. Pandemic. Venue closures. Lockdown. Isolation.

The lineup of the Red Door Band shifts constantly, but on September 5 it was Danny Bauer (purple shirt) and Jack Macklin (far left), the two core members, plus Tim Seisser (sunglasses), Zack Marks (green pants), and Victor Garcia (blue vest). - MATTHEW GILSON FOR CHICAGO READER

Like many musicians, Bauer was essentially unemployed by the time the shelter-in-place order went into effect in mid-March, so he started delivering for Instacart by day and practicing at night with his friend, guitarist Jack Macklin. Then during the last week in April, he fell and injured his tailbone.

Bauer couldn’t work a delivery job while his body healed, so he put on some dress clothes and asked grocery store managers if they wanted live music at their stores. None of them took him up on it, but when he got home he realized he had a stage right at his front door. As he set up his equipment on the porch, his next-door neighbors gave him a tip jar. “They pulled out a bucket for me and threw a twenty in,” Bauer says. “I played for like an hour and a half and I made, like, $40 or $50. And when I stood up after I was done, my back was completely healed. Like, all the pain was completely gone.”

Trumpeter Victor Garcia, pianist Danny Bauer, drummer Zack Marks, and guitarist Jack Macklin - MATTHEW GILSON FOR CHICAGO READER

The next miracle visited upon Bauer was a sort of musical Field of Dreams scenario: If you play it, they will come. He recruited Macklin, and by May the two had decided to make the porch shows a nightly thing. Word quickly spread, and months later the porch shows have become something of a phenomenon–they’re still going strong every evening from 5 to 7 PM. The ensemble includes a rotating cast of musicians in various formations: On a weekday night you might find Bauer and Macklin playing a chill set with one guest, while on a weekend they might cram five or six players onto the porch for something more robust. The performers have included a mix of emerging artists and established names in the local jazz scene, including bassist Matt Ulery, drummer Jon Deitemyer, vocalist Alyssa Allgood, saxophonist Greg Ward, and drummer Jonathan Marks.

That wealth of talent helps keep the concerts from becoming routine–from set to set, the musicians reliably come up with something unexpected. The weekend shows (when Bauer doesn’t have to worry as much about aggravating the neighbors) lean toward jazz fusion and challenging arrangements, but the band will occasionally throw in a familiar cover by Katy Perry or Marvin Gaye or one of Bauer’s original comedic songs. Jazz has a reputation for being a little impenetrable, but part of the point of these shows is to engage anyone who shows up.

You almost never see strollers at the Green Mill. - MATTHEW GILSON FOR CHICAGO READER

“I’ve always been able to get lots of people to come together, whether it was in high school getting people to do an after-school prank, or in college, getting bands together,” Bauer says. “It’s just always been something that’s been a part of me. I’ve just been like a community person my whole life. So it’s kind of manifested itself again in this.”

The audience might be a few dozen people on a Monday or Tuesday, but it often balloons to more than 200 on a weekend. And it’s not just neighbors: Bauer says he’s met people who’ve come from as far away as Evanston and Geneva just to catch their show. The people-watching can be just as fun as the music. The crowds range in age from toddlers to seniors, and might include families, small groups of friends, first dates, local musicians, and random joggers or other passersby. BYO drinks and snacks are always circulating, and it’s not unusual to see yuppies clamoring around take-out sushi trays or a Domino’s guy wading through the crowd because someone literally ordered “curbside delivery.” Bauer says fans have also sent pizzas to the band.

As the crowd spreads up and down both sides of the street, it gets harder for new arrivals to see much of anything, but plenty of people are happy just for opportunity to gather socially. - MATTHEW GILSON FOR CHICAGO READER

Occasionally the background chatter can be nearly as loud as the music, but Bauer says the musicians are totally cool with that. Some people are coming out because they’re serious jazz heads, while others are just looking for positivity, excitement, and something social to do during an isolated time–and they’re all equally welcome. “We’re so happy that there’s people who are just there to hang, and they probably don’t even really listen to a single note,” Bauer says. “I don’t care. I’m just happy to provide the space for them. And then there’s also the music lovers, and I’m happy to get both.”

In turn, the community the band has created have shown their appreciation, not just in enthusiasm for the music, but in sharing food and booze and opening their pocketbooks. Bauer says that on a really good night, each of the players might go home with a couple hundred dollars in tips.

A portion of the gathered crowd across the street on Saturday, September 5 - MATTHEW GILSON FOR CHICAGO READER

The porch concerts will continue until it gets too cold to play outside. After that, Bauer says he’ll turn his attention to recording some of the material he’s developed over the past year (he’s already posted the four-song EP Porch Power to Spotify). When warmer weather returns in 2021, Bauer thinks the concerts could return in some form, even if social-distancing rules have been relaxed by then. Assuming venues reopen (fingers crossed), the porch shows’ “happy hour” timing would still let musicians and fans make it to late-night club gigs.

Bauer has learned a lot from the experience–perhaps most important is that even when things seem bleak, the universe might still have a couple of blessings up its sleeve. Through the porch concerts, he’s found a creative outlet, a source of income, and a chance to connect with his neighbors and the city’s jazz community. “I’m so grateful,” he says. “I just wanted to play music more than anything else, and I didn’t let anything stop me.” v

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Jazz musicians turn an Old Town porch into a stageJamie Ludwigon September 10, 2020 at 11:00 am Read More »

Peter Berkow has spent five decades traversing at least that many genresSteve Krakowon September 10, 2020 at 11:00 am

sh_peter_berkow_web.jpg

Since 2004 Plastic Crimewave (aka Steve Krakow) has used the Secret History of Chicago Music to shine a light on worthy artists with Chicago ties who’ve been forgotten, underrated, or never noticed in the first place.


Most folks probably don’t know, but the University of Illinois at Urbana-Champaign was once a hotbed of strange and challenging music. When I was there in the early 90s (the school has always enrolled lots of Chicagoland students), that golden era was long gone–you could still find an active underground of grunge and punk bands, but folks mostly paid attention to cover acts and trendy rockers angling for major-label deals. Toxic frat culture and obsession with college football weren’t especially compatible with anything resembling exploratory music, I guess.

After I graduated, though, I found out that in the 1960s and ’70s the likes of John Cage (a visiting UIUC professor from ’67 till ’69) had worked with the school’s pioneering Experimental Music Studios, founded in 1958. Wildly innovative, electronics-augmented rock bands such as the Spoils of War hosted happenings in Urbana-Champaign, and a heady folk scene coalesced around the Red Herring coffeehouse (which is still there, though it’s now a vegetarian restaurant). The subject of this installment of the Secret History of Chicago Music embodies all these different threads: delightfully confounding, progressively minded musical enigma Peter Berkow.

Berkow was born in Chicago on August 17, 1950, but moved to Urbana at age eight. At 18, he made his first attempts as a songwriter, but a chance meeting a year later with a future-famous folkie changed his life. In 1969, Berkow was lugging around a guitar during class registration at the UIUC Armory (I remember this pre-Internet chore oh too well), and a fellow musician was doing the same–Dan Fogelberg, a year younger than Berkow. Fogelberg ended up teaching Berkow his first riffs, blues scales, and more (and gave him his first-ever joint).

At the time Berkow was living in a tiny room at the Red Herring, run by campus arts and activism organization the Channing-Murray Foundation, which is affiliated with the Unitarian Universalist church. Berkow had convinced a draft board that as a conscientious objector he’d do his alternative service at the coffeehouse (his adoptive father was also a minister at the church). The Red Herring had church services on its upper floor, and he convinced the owners to sell the pews and start hosting music.

Berkow helped book jazzier acts upstairs (Weather Report, Chick Corea, Herbie Hancock) and folkies downstairs (Steve Goodman, John Prine, Bob Gibson). Fogelberg and Berkow also jammed and performed at the space, which led to a series of folk LP anthologies. Both artists contributed mellow, spaced-out acoustic songs to the 1970 debut compilation, Folk Music From the Red Herring, and the lilting Berkow tracks “Spin the Globe” and “Entropy Blues” appeared on the two volumes of Folk and Music From the Red Herring compiled in fall 1971.

Berkow also began exploring stranger territory with a full band–inspired by UK psychedelic jazz-folk group Pentangle, in 1971 he had a short-lived and sadly unrecorded outfit called Quadrangle with Steve Reinwand of the Ship (later known as Billy Panda). Berkow would also help produce the Ship, and he pitched in to get them signed to Elektra Records. “My career as a producer all started in Urbana, Illinois,” he says. “I studied audio engineering at RoFran recording studios, and the owner gave me the key so I could experiment with multitrack recording late at night. Dan Fogelberg and I spent hours at RoFran studios, experimenting with overdubbed harmonies and guitar parts from midnight till dawn on many occasions. I also worked with the Ship and REO Speedwagon in that building.”

In 1972 and ’73, Berkow also apprenticed with producer Rick Jarrard, who was already well-known for his work with Harry Nilsson, Jose Feliciano, and the Jefferson Airplane and at the time was helping a young Michael McDonald get his career off the ground.

Berkow started work on his first “solo” LP in 1973. Credited to Peter Berkow & Friends, the often avant-garde album is called Thesis, and he did indeed compose it for his UIUC thesis. It features a huge cast of notable players: Fogelberg, guitarist Elliott Delman (of the Spoils of War and Mormos), harmonica masters Corky Siegel (of the Siegel-Schwall Band) and Peter Madcat Ruth (from Chris Brubeck’s New Heavenly Blue), percussionist Rocky Maffit (later of Mosaic and the band Champaign), and saxophonist Ron Dewar (leader of the Memphis Nighthawks and an ensemble player for experimental composer Salvatore Martirano). The music ranges from folky tunes to experimental, jazzy prog rock, but Berkow didn’t self-release it till 1975, shortly after he’d moved to California.

At California State University at Chico, Berkow began teaching a class in guitar performance, which became hugely popular despite initial resistance from the chair of the music department, who didn’t think guitar was a “real” instrument. He also recruited the rhythm section from the school’s jazz band (plus sax player Ylonda Nickell, who went on to have a solo career) to form the new Peter Berkow & Friends. “It was a dance band, blending jazz, funk, and satire,” Berkow says. “Influences ranged from Tower of Power to Frank Zappa, Tom Waits to James Brown.” PB&F self-released two challenging LPs, 1976’s Faculty Recital and 1977’s Live at Cabo’s, recorded at the Chico club where they were the house band from ’76 till ’80.

In 1979 Berkow recorded in San Francisco with producer Elliot Mazer, who’d worked with the likes of Neil Young and Linda Ronstadt. RSO Records, then home to the Bee Gees, paid for some of the sessions, but the company never followed through. Berkow eventually “liberated” the master tapes, as he puts it, and released some of the material via his independent Such a Deal label on the quirky 1979 LP Bootleg Demo.

Berkow also started an acoustic duo project called the Rhythm Rowdys with banjo player Gordy Ohliger, which in 1983 put out an album cheekily titled Greatest Hits. “We played New Year’s Eve 1982, just the two of us . . . to a roadhouse bar full of 200 drunken redneck farmers who lit strings of small firecrackers on the dance floor, hotfooting and dodging the explosions,” Berkow remembers. “We kept playing; they kept dancing. Everybody survived.” Later in ’82, when his daughter was born, Berkow began a hiatus from performing, working as a local news writer and music columnist for almost a decade.

Since then, Berkow has built an enviable offstage career, though he’s never quit gigging. He’s worked as a television and music producer since 1990, overseeing more than 200 shows for PBS (including around 40 concerts). That’s also around when he returned to the classroom, this time on a track that led to a job as a tenured professor–he started out teaching music and recording arts, but for decades now he’s taught journalism and writing instruction at Shasta College. He’s also created educational projects about writing, astronomy, and mass communications for PBS, McGraw-Hill, and others.

In 2003 Berkow began a long string of collaborations with Australian guitarist Tommy Emmanuel, but his most consistent musical partner these days is his keyboardist wife, Tricia. The pair’s most recent gigs, before the pandemic, also involved mandolin and violin player Joe Craven, a longtime favorite collaborator who’s also worked with Jerry Garcia and Dave Grisman.

When Berkow describes his duo with Tricia, he ends up simultaneously summarizing the musical diversity of his long career: “I’m not sure how to categorize what I do now?” he says. “Somewhere between Dan Hicks & the Hot Licks and Thelonious Monk (when Tricia is on piano). At my age, I prefer the acoustic stuff, though I do feel nostalgic for the experimental-rock days when I sounded closer to Zappa mixed with King Crimson.” v


The radio version of the Secret History of Chicago Music airs on Outside the Loop on WGN Radio 720 AM, Saturdays at 6 AM with host Mike Stephen. Past shows are archived here.


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Peter Berkow has spent five decades traversing at least that many genresSteve Krakowon September 10, 2020 at 11:00 am Read More »

Frank Leone’s hip-hop experiments make for a beautifully bizarre debut albumLeor Galilon September 10, 2020 at 1:00 pm

Rapper-producer Frank Leone grew up in the town of Monticello, just southwest of Champaign, and began taking music seriously after a chance meeting with Vic Mensa at a downstate Lupe Fiasco show in 2011. Since dropping his debut mixtape in 2015, he’s reworked his sound, moved to Los Angeles, and scrubbed the Web of large chunks of his catalog. His self-released new debut album, Don’t, is full of playful experimentation: He pitches his voice down till it oozes like molasses, and up till it squeaks and hiccups (“Don’t Want”). He builds entire tracks out of languid, subterranean-sounding lounge instrumentation (“Don’t Go,” “Don’t Need”). And sometimes he strays so far from rap’s established sonic vocabulary that he could give “real hip-hop” heads a migraine–on “Don’t Clip,” for instance, he croons in a pitched-up voice atop oceanside indie-rock guitar riffs and cooing background vocals. When people call music “genreless,” they’re often just talking about songs that borrow from so many genres they end up formless pop wallpaper, but Leone’s grab bag of styles cuts against that grain. Nothing on Don’t would recede pleasantly into the background of an ad–its sudden outbursts and unusual shifts feel emotionally purposeful, not calculatedly commercial. v

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Frank Leone’s hip-hop experiments make for a beautifully bizarre debut albumLeor Galilon September 10, 2020 at 1:00 pm Read More »

Chicago Bears: Bold predictions for the Lions gamePatrick Sheldonon September 10, 2020 at 11:00 am

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Chicago Bears: Bold predictions for the Lions gamePatrick Sheldonon September 10, 2020 at 11:00 am Read More »

Who deserves the Nobel Peace Prize more, Trump or Obama?Dennis Byrneon September 10, 2020 at 12:01 am

The Barbershop: Dennis Byrne, Proprietor

Who deserves the Nobel Peace Prize more, Trump or Obama?

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Who deserves the Nobel Peace Prize more, Trump or Obama?Dennis Byrneon September 10, 2020 at 12:01 am Read More »

Chicago Craft Beer Weekend, September 11-13Mark McDermotton September 10, 2020 at 3:40 am

The Beeronaut

Chicago Craft Beer Weekend, September 11-13

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Chicago Craft Beer Weekend, September 11-13Mark McDermotton September 10, 2020 at 3:40 am Read More »

Jacqueline Saper’s “From Miniskirt to Hijab” is a story for our timesTeme Ringon September 10, 2020 at 4:45 am

Dear Chicago Bookstores …

Jacqueline Saper’s “From Miniskirt to Hijab” is a story for our times

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Jacqueline Saper’s “From Miniskirt to Hijab” is a story for our timesTeme Ringon September 10, 2020 at 4:45 am Read More »