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Adjust your feminist lens with Hood Feminismon March 17, 2020 at 8:30 pm

Hood feminism is unabashedly angry, a little asshole-like, proactive, and, sometimes, it’s illegal–but in her latest release writer Mikki Kendall argues that hood feminism is necessary for all women to win.

In Hood Feminism (Viking), Kendall, a Chicago native from the south side, asks readers to reconsider what they’ve been taught feminism is and what they’ve done to show up for women–women of color, that is. A collection of essays ranging from personal accounts of the army veteran’s childhood, with peers forced to participate in illegal activities for survival, to analytical pieces about the assumptions made about Black moms suffering from not-so-uncommon poverty in America, Kendall forces so-called feminists to reckon with who their feminism is really for.

Gentrification is a hot-button issue, reaching across cultural conversations as rural and suburban people move to parts of cities that had been long abandoned–but what’s not been as largely discussed is that gentrifiers are often young white women. The book’s chapter “Housing” frames affordable housing issues in a way no “feminist” could deny. A place to live that doesn’t break your bank is the centerpiece of most people’s livelihood, a livelihood that includes having a job, physical safety, and, quite frankly, peace of mind. Given that young white women are the more common gentrifiers, it’s clear many feminists blatantly ignore affordable housing as a feminist issue. Especially with a pay gap that affects women of color to varying degrees more than white women, housing becomes even more of an issue for women of color because they tend to spend more of their income on housing than white men and women.

It’s a reminder that being a “girlboss” and “leaning in” aren’t priorities to all women, for good reason. Some are still trying to find a stable workplace while others are trying to handle more important matters, like feeding their families, without a job at all.

Yet, from police brutality to the stereotypes pitted against women of color–like the Sassy Latina and the Strong Black Woman–to how poverty affects how kids are educated, Kendall does more than just lay out the facts. She puts every issue in perspective, contrasting how the current women’s equality landscape looks with a focus on poor and working-class women, and shows how a strong revamping could create what women of all races, ages, and income need: equity.

Every anecdotal piece in the book reaffirms that despite some folks’ efforts to exclude certain needs and people, hood feminism is real feminism, and Kendall is a real feminist, too. One of the most jarring reveals is when she delves into the backlash from her viral 2011 Salon piece, “Abortion saved my life.” Along with harassment from pro-lifers (many followers of former suburban Oak Lawn nurse Jill Stanek), she was met with demands, rather than support, from mainstream feminists.

“They wanted me to speak at rallies, to testify, to give them copies of my medical records,” Kendall writes. “Amid the lawyers and activists reaching out, no one seemed to care that I was scared, that my family was being threatened, or that I couldn’t expect the same support from the police that they took for granted. I was supported by the hood. By the people who put my safety and sanity above whether I was a candidate to testify before Congress.”

The support she received reminded me of the radical love I feel when friends and peers ask, “How can I support you?” when I express hardships rather than silently shying away or ignoring my distress altogether, because, at the core, feminists should have each other’s backs, and not just when they need something from you. As Kendall said on her recent appearance on The Daily Show, “Bootstraps are stupid. No one can pull themselves up by their bootstraps.” Empathy, if anything, is the bare minimum everyone deserves.

Two years after publishing her piece in Salon, Kendall created the #SolidarityisforWhiteWomen hashtag on Twitter in response to white feminists showing limited support for women of color online, but today, the hashtag is still relevant. It’s easy to tweet, or even say, you stand with “insert group of people.” What’s difficult is self-evaluating how you show up for low-income women of color at work, in educational spaces, and even at your local grocery store, and taking action. We all play a part in lifting the next woman up–Kendall’s Hood Feminism shows us where to begin. v






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Teddy Roosevelt: The Man in the Arena reminds us what a leader looks likeon March 17, 2020 at 9:45 pm

By the time I had the opportunity to see Derek Evans’s 75-minute solo biographical lecture enactment, Teddy Roosevelt: The Man in the Arena, this past Sunday afternoon, it was one of a single-digit number of theatrical productions not yet canceled or postponed in Chicago due to COVID-19. The other holdouts included another one-performer play, shows with drastically reduced house sizes, or productions making on-the-fly preparations to stream digitally.

A latex-glove-wearing Saint at the Greenhouse took tickets without tearing them (to avoid back-and-forth contact); another politely gestured toward a stack of programs a few feet away. To the audience of about a dozen in the upstairs mainstage space, all spaced mindfully apart, Evans warmly performed his most recent iteration (he pulls from three or four hours of written content emphasizing different periods in Roosevelt’s life) as the mustachioed Bull Moose, here focusing on his self-determined rise to the presidency. Even if only for an hour or so, it was comforting to focus on tales of a ballbuster in the White House who threw his weight around on behalf of the common good; a chapter on Roosevelt’s father pressuring wealthy investors with brute sentimental pressure to fund a hospital is particularly moving.

How would I have felt about Teddy if I had experienced it under normal circumstances? Hell if I know. I was just grateful, frankly, to be in the company of an audience, however spare, for what could very well be the last time in a while. v






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Teddy Roosevelt: The Man in the Arena reminds us what a leader looks likeon March 17, 2020 at 9:45 pm Read More »

Five Encounters on a Site Called Craigslist is introspective and interactiveon March 17, 2020 at 10:00 pm

A global pandemic isn’t the best time to be hooking up with random strangers, so if you’re looking for some vicarious erotic thrills, Pride Films And Plays’s Five Encounters on a Site Called Craigslist will satisfy your desire. It will also make you consider how casual hookups impact your emotional well-being as playwright Sam Ward recounts his personal experiences with the now-shuttered personals section of Craigslist. As a bisexual twentysomething coming to terms with his sexuality, Ward learns a lot about himself through this mixed bag of flings, and his script makes audience members a part of the action with a heavy amount of interaction.

Performed with inviting warmth by Eric Sorensen and sensitively directed by Jeremy Ohringer, Five Encounters is an intimate and engaging piece of interactive theater. A hit at the Edinburgh Festival Fringe 2017, the show offers an inventive approach to the confessional one-man show, but its success relies on the willingness of audience volunteers to participate. Volunteers get a name tag before the show so you won’t be asked to interact if you don’t want to, although there is a moment when Sorensen asks everyone to write something personal on a note card.

As one of the few shows currently running in the city, [see note at end of this review], Five Encounters delivers a satisfying hour of introspection that is more active than the usual solo fare. The timing is unfortunate for a show built on audience interaction, but Sorensen and Ohringer do commendable work creating an atmosphere that encourages viewers to open up and share some of themselves in the process. v






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Five Encounters on a Site Called Craigslist is introspective and interactiveon March 17, 2020 at 10:00 pm Read More »

The Two Character Play gets the context it deserves.on March 17, 2020 at 11:00 pm

“Having the necessary arrogance to assume that a failed production of a play is not necessarily a failed play, I have prepared this new version for publication and subsequent reappearance on other stages. . . . As for my depression over the failed production, I believe it is temporary,” wrote Tennessee Williams in his foreword to Out Cry, his published revision of The Two Character Play, which opened to critical rejection in London in 1967, wrecked his relationship with his literary agent in Chicago in 1971, and lasted all of ten days on Broadway in 1973. A decade in the drafting and continually revised for years after its premiere, The Two Character Play has never had the context it deserves–until now. Theatre l’Acadie, which declares its mission to focus on the “lesser known” and “rejected” works of Louisiana talents, presents Williams’s play (directed by Kaitlin Eve Romero) to arresting effect in a moment defined by claustrophobia, confinement, and mass anxiety about going to the grocery store.

Felice (Daniel Westheimer) and Clare (Emily Daigle) are sibling actors on tour, trapped somewhere between a play that never seems to be fully written and the memory of a shared trauma. The torment of their uncertainty is the main attraction– like Waiting for Godot on the barren waste of a black-box stage, the two bicker and cling, fretting about the dark reality of debts and the darker reality of dreams. Daigle’s performance as a woman on the razor’s edge between ruin and revelation is exceptional. v






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PHOTOS: Chicago public spaces emptied in the age of coronaviruson March 17, 2020 at 9:14 pm

ChicagoNow Staff Blog

PHOTOS: Chicago public spaces emptied in the age of coronavirus

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PHOTOS: Chicago public spaces emptied in the age of coronaviruson March 17, 2020 at 9:14 pm Read More »

PHOTOS: Commuters use public transportation during coronavirus crisison March 17, 2020 at 9:26 pm

ChicagoNow Staff Blog

PHOTOS: Commuters use public transportation during coronavirus crisis

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PHOTOS: Commuters use public transportation during coronavirus crisison March 17, 2020 at 9:26 pm Read More »

The Coronavirus Threat the Media Have Overlookedon March 17, 2020 at 10:53 pm

The Amused Curmudgeon

The Coronavirus Threat the Media Have Overlooked

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The Coronavirus Threat the Media Have Overlookedon March 17, 2020 at 10:53 pm Read More »

Covid-19 Diary — March 17, 2020— The Day the Restaurants Closed — First Death in Illinois– Who Wants to Get My Mail?on March 17, 2020 at 11:50 pm

Life is a TV Dinner

Covid-19 Diary — March 17, 2020— The Day the Restaurants Closed — First Death in Illinois– Who Wants to Get My Mail?

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Covid-19 Diary — March 17, 2020— The Day the Restaurants Closed — First Death in Illinois– Who Wants to Get My Mail?on March 17, 2020 at 11:50 pm Read More »

Internal Spiritual Knowledge being discovered by Individuals. Psychic Medium Edward Shanahan discusses it.on March 18, 2020 at 2:52 am

Chicago Paranormal and Spiritual

Internal Spiritual Knowledge being discovered by Individuals. Psychic Medium Edward Shanahan discusses it.

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Internal Spiritual Knowledge being discovered by Individuals. Psychic Medium Edward Shanahan discusses it.on March 18, 2020 at 2:52 am Read More »

What’s the deal with hoarding toilet paperon March 18, 2020 at 9:01 am

I’ve Got The Hippy Shakes

What’s the deal with hoarding toilet paper

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What’s the deal with hoarding toilet paperon March 18, 2020 at 9:01 am Read More »