Chicago’s Best Places to Live: 2020 Editionon June 23, 2020 at 2:01 pm
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Recently, we discussed how the Chicago Bears are thin when it comes to depth at three key positions. One of them is running back, where the Bears currently have second-year starter David Montgomery, paired with Tarik Cohen as the only returning players from last season with legitimate experience at the position. Yes, there is fan-favorite Ryan Nall, but if the Bears were high on him, he likely would have gotten more than two touches last season.
Talent-wise, the team is more than set at the position. Montgomery is looking to have a breakout year, hopefully with an improved offensive line. Cohen, who had a down year in 2019, is hoping to get back to his 2018 form when he was one of the most exciting and dangerous weapons in the NFL.

When the Chicago Blackhawks face off against the Edmonton Oilers in a couple of weeks it is going to be something special. Of course, a few things need to happen in order for the National Hockey League’s “return to play” tournament to go but if it does, it will for sure be exciting. Out of all of the “play in” matchups, Chicago vs Edmonton is probably the most intriguing.
Of course, the key to defeating the Oilers is going to be slowing down Leon Draisaitl and Connor McDavid. If that happens, Duncan Keith is surely going to need to be a part of it. He has been a key core piece for this team for a very long time now and has done everything a defenseman would ever want to do in an NHL career.
I probably wasn’t the only one who raised an eyebrow when the Chicago Bears announced their signing of pass rusher Robert Quinn. On one hand, that was a lot of money to spend. On the other, this defense just got even better — and that’s frightening.
Throughout the offseason, players have obviously been unable to meet, work out and practice in person thus far. But, that hasn’t stopped Quinn from absorbing as much information as humanly possible.

As a former seventh-round pick of the Los Angeles Kings, the Chicago Blackhawks had to be thrilled when they acquired Dominik Kubalik in exchange for a fifth-round pick before the 2019-2020 season. The 24-year-old was just finishing up an impressive campaign in the National League, scoring 25 goals with 32 assists for 57 points in a 50-game sample size.
The left-winger was inserted on the third line to start and as he continued to pile up the goals, Jeremy Colliton moved him up to the top line alongside Jonathan Toews and Alex DeBrincat. He finished his first year in the NHL, leading all rookies with 30 goals while also accumulating 16 assists for 46 total points.

Not only is 2020 the Year of Chicago Music, it’s also the 35th year for the nonprofit Arts & Business Council of Chicago (A&BC), which provides business expertise and training to creatives and their organizations citywide. To celebrate, the A&BC has launched the #ChiMusic35 campaign at ChiMusic35.com, which includes a public poll to determine the consensus 35 greatest moments in Chicago music history as well as a raffle to benefit the A&BC’s work supporting creative communities struggling with the impact of COVID-19 in the city’s disinvested neighborhoods.
Another part of the campaign is this Reader collaboration: a series spotlighting important figures in Chicago music serving as #ChiMusic35 ambassadors. This week, we hear from visual artist, educator, and musician Damon Locks. Locks was a founding member of influential Chicago posthardcore band Trenchmouth, which split in 1996, and he still fronts the Eternals (where he plays alongside former Trenchmouth bandmate Wayne Montana). He’s been a vocalist with Exploding Star Orchestra, one of many hard-to-categorize groups led by cornetist and composer Rob Mazurek, and his latest album, 2019’s Where Future Unfolds, features a similarly ambitious group that he leads himself, the Black Monument Ensemble.
This interview was conducted by Ayana Contreras, who’s a DJ, a host and producer at WBEZ radio, and a columnist for DownBeat magazine.
Ayana Contreras: What’s your favorite Chicago music moment?
Damon Locks: The experiences in my list of [moments] were things that caused ripples that went on forever. So I’m not talking about when I saw Fred Anderson take apart Peter Brotzmann at the Empty Bottle, which was great. I’m talking about the emergence of Soul Train [which premiered in Chicago in 1970]. Even in Maryland, where I was from, we felt the effects of Soul Train when it expanded and became a nationwide show.
So I’m going to dig a little deeper with you. You said that you felt the ripples of Soul Train. Tell me about a way in which you felt those ripples.
Soul Train was kind of a beacon for fashion, movement, and culture. Every weekend, you would stand in front of the TV as a little kid and just watch it. You remember those giant TVs that were super huge? We’d stand in front of that TV and we would do the double bump or whatever. [It] was a way of finding out about new music. We’d practice the dance moves. You’d look at the costumes.
That was something that expressed a contemporary Black culture, but also was so affirming and representational. Every week you could turn on the television and there would be something that was expressing Black culture in this vibrant, Technicolor, surround-sound way.
Speaking of Chicago, what ultimately drew you here?
I was in New York, and I went to the School of Visual Arts. I was an illustration major. And at the time I wasn’t that happy in New York. It wasn’t what my imagination said it was going to be. There was a woman that I was interested in that came out to the Art Institute of Chicago, and I came to visit the Art Institute and I saw a whole school full of weirdos. And it was different than being in New York. It wasn’t organized.
So I was really attracted to that collection of weirdos, and I decided to come out here. Illinois was not a place that I thought I would go to. But once I got here, the experience of being able to make something without a lot of the baggage of New York seemed like a possibility. You could make connections and create something that wasn’t finished, in a way.
Yeah. I agree. Chicago is a place where you can will something into being while working through it if it’s got a few scraggly ends. So that leads me into my second question. What do you think it is about Chicago’s music and cultural scene that has made it so influential internationally?
I feel like in many ways, Chicago . . . they don’t keep their doors shut to you. If you’re putting in work, and if you ask for help, someone’s going to be like, “I have some resources. Why don’t you use these?” That has always been the case in Chicago for me. And I feel that musically, I feel that in the arts, I feel that on a bunch of different levels. v