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Nicole Oppenheim - Ear Candy writesMidwestern Housewife - Let The Wild Rumpus Begin!

I take my camera with me wherever I go. You never know when something noteworthy will reveal itself and I like to be prepared. (Oh, and before you ask, no, I was not a Girl Scout.) For instance, yesterday while running some errands, I noticed an excellent juxtaposition of storefronts. In a strip mall up here in Rogers Park, there’s a very large candy store right next to a dentist’s office. Cause and effect? That’s probably overstating it, but there has to be some kind of cosmic symbiosis at play here. And, like every Gen Xer, I appreciate irony above all else, so I snapped a quick photo.

Generally, this photo-snapping habit is enough to quench my thirst for irony and humor in everyday life, but there have been a few times when I’ve wished for a video camera to record entire events in real time. This past Saturday was one of those rare times when I wished to all that’s holy I’d had a video camera on me. The resulting film would have been an instant classic (a term that is not thrown around lightly here at CHIRP). There was drama. There was action. There was comedy. There was even real vomit! It was a three-year-old’s birthday party and it was fantastic. Never before have I been so happy not to have been involved in any way with the success or failure of an event. I was a guest, as were my three-year-old twins and my husband; but truthfully, we were peripheral actors in a carnivalesque scene of absolute mayhem.

First, a little background: My kids attend preschool in the Gold Coast. Ironically, my husband and I chose this particular preschool for our kids not because it was posh and all the moms/nannies dropped their kids off in Lexus SUVs; no, we chose it because it was the cheapest we could find. (And for the record, I drop my kids off in a hand-me-down Ford with a huge dent in the front, a peeling bumper, and a semi-functional defrost system). Posh Preschool is even cheaper than the preschool classes offered by our neighborhood Chicago Public school—no joke! Oh, and the quality of education my kids receive at Posh is amazing. For what we pay, comparatively speaking, it kind of feels like stealing. (Win!)

So my kids attend Posh with other toddlers who will, no doubt, grow up to attend private schools around the city and then go on to become international ambassadors, brain surgeons, and multi-billionaire real estate developers—or so said schools would have you believe. Knowing that this road-to-achievement mindset is shared by school administrators and most of the parents of my kids’ classmates, it gives me so much joy to attend early birthday parties where these little would-be rocket scientists and diplomats behave like complete barbarians. Throwing tantrums, throwing shoes, in one case throwing smaller siblings…nothing is out of bounds for toddlers jacked up on sugar and adrenaline.

My son is usually freaked out by birthday parties, with good reason given the attendees, so he tends to hang out with me. My daughter, on the other hand, is content to find something to play with (at this last party, it was fairy wings and a magic wand) and will watch the wanton destruction from the sidelines with a friend or two. This is not to say that they abstain from barbaric behavior the whole time, comporting themselves with the utmost in proper etiquette. Quite the opposite. Yesterday, Squeaky and another girl rolled a third child headfirst down a slide and giggled maniacally all the while. The third child, understandably, was in tears. Winchie, who despises sitting in a circle for reading time, exacted his revenge on the unsuspecting leader of Birthday Story Time by hurling a large metal watering can full of fake flowers in her general direction and roaring at her like a monster. And while I quickly stepped in to curtail this kind of behavior in my children, I also enjoyed getting a glimpse of their completely unhindered ids at play.

Enter the wish for a video camera. When my kids are all grown up and have the obligatory white collar desk jobs that modern middle-class education prepares them for, there won’t be any opportunity for them to let their ids run free and participate in a truly wild rumpus Maurice Sendak-style. Instead, they’ll bottle it all up inside and release it in the form of mid life crises. At least, that’s my theory. How else does one explain old men with combovers buying up the world’s supply of virility substitutes—oops, I mean sports cars—and marrying bubble-brained bimbettes like it’s a perfectly natural thing? It’s funny, sure, but also kind of sad.

So I want a video of kids being kids because it’s such honest behavior. They’re too little to subscribe to the rules of society that further schooling and class consciousness will put upon them. It’s so great to watch them roar their little hearts out over the injustice of that kid over there getting a cupcake first and getting to see them stomp their little feet with righteous indignation over having to wait for a turn on the slide. I mean, really. Don’t we all want to get the first cupcake and be the first one down the slide? And when that doesn’t happen, don’t we want to scream and stomp our feet, too?

It would be so great to capture, just for a minute, the essence of all these little developing people. And before you run for your tinfoil hats or accuse me of stealing the plot of Dr. Strangelove, here’s what I’m getting at: One day, the little people engaging in birthday party shenanigans will be all grown up and messed up just like their parents. But they’ll still be the same basic person inside. Temperaments generally don’t change with age, barring unfortunate accidents and/or abuse of some kind. So here would be this little recording of a room full of toddlers just having a great time running, pushing other kids, screaming, chasing, pounding fists, eating too much cake, and generally behaving like the little primates they are. No lame posturing, no inhibitions, no affected ideological philosophies, nothing fake. Seeing how little people navigate the world in this state is one of the best parts of parenting. (Well, that, and getting to re-watch your favorite cartoons while eating ludicrous amounts of Rice Krispie treats). It’s nice to be reminded that we all start out on pretty much the same level and while we’re all destined for different things, there once was a time when even the seemingly all-powerful CEO of Amalgamated Conglomo Widgets R Us picked her nose and cried for her mommy when another kid stole her favorite My Little Pony toy.

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Categorized: Midwestern Housewife

Topics: midwestern housewife

Mike Bennett writesiPod/MP3 Friday Shuffle — Happy Birthday Serge Gainsbourg Edition

Let’s pay tribute to a French legend and the father of someone who we’ve played a fair amount of at CHIRP Radio (his daughter, Charlotte). Serge Gainsbourg is the poster child for post-war French decadence, his pop songs drenched in sex, cigarettes and copious amounts of alcohol (and come to think of it, copious amounts of sex). He evolved as an artist, making increasingly outrageous statements about many aspects of life, while steeping himself in controversy after controversy — the biggest, perhaps, being his duet with a young Charlotte, “Lemon Incest”. Many have tried, but no one can equal the sleazy cool of Monsieur Gainsbourg. So let’s pay tribute to Serge. Grab your iPod/MP3 player, hit shuffle, and share the first 10 tunes that come up.

  1. Sparks — Saccharin and the War (Sparks): One of two songs on the original Halfnelson demos that made the band’s first album (with Halfnelson changing its name to Sparks a few months after their first album’s release). Producer Todd Rundgren captured the demo’s wiggy twee psychedelia on this bizarre song about women and weight loss that must have made sense to Ron Mael at the time he wrote it.
  2. The Lilac Time — She Still Loves You (Paradise Circus): Stephen Duffy was an original member of Duran Duran who left to form the synth-poppy Tin Tin. After that well dried up, he did u-turn and put out pastoral pop music as The Lilac Time (and he obviously tired of double names). His songs have an elegant air with precise vocals that remind me a bit of Al Stewart. Really good folk pop.
  3. James Brown — I Got You (I Feel Good)(50th Anniversary Collection): Hmm…a classic JB tune. But one that has been done to death in commercials and soundtracks of movies that aren’t so hot. Granted, they only play the first 40 seconds usually. Nevertheless, this is a great song that I’m tired of hearing. Maybe this will have to be taken off the iPod.
  4. *Paul Revere & The Raiders — Just Like Me (Just Like Me): A classic Paul Revere garage rock tune. Songs like this had to have been influential on Tommy Boyce & Bobby Hart, as this sounds like the template for the garagier songs that duo penned for The Monkees. Mark Lindsey does a great job building up from his measured singing in the verses to more passion and frenzy as the chorus builds.
  5. Roger Miller — Train Of Life (King of the Road: The Genius of Roger Miller): The ’60s revival on my shuffle continues. This is a wonderful country blues about a guy who is worried that he’s sitting on the sidelines while life passes him by. This has characteristically sharply observed lyrics, a great economy of language, and Miller’s singing has rarely been better. This builds on the great work of Hank Williams.
  6. The Morells — I’m a Hog For You Baby (The Morells): A slice of roadhouse R & B from the great Springfield, Missouri bar band led by Lou Whitney and D. Clinton Thompson. When The Morells originally dissolved, Whitney and Thompson formed The Skeletons, who were a little less roots rock then the Morells. About 10 years ago, they revived The Morells, and the new stuff came a bit closer to The Skeletons’ sound. Regardless, this is simple fun rock ‘n’ roll.
  7. Rod Argent & Chris White — Unhappy Girl (Into the Afterlife): A demo recording by two-fifths of The Zombies, from a cool compilation that collects the immediate post-Zombies work of Argent, White and Colin Blunstone. This song sounds like an outtake from the Odyessey and Oracle sessions — a classic moody mid-tempo ’60s pop song.
  8. Roger Miller — When Two Worlds Collide (King of the Road: The Genius of Roger Miller): This is a tender ballad from Miller. Miller posits that opposites attract is not a truism. The lyrics on this song are so simple and say all they need to say, with the weepy music taking care of the rest.
  9. Bonzo Dog Doo-Dah Band — Alley Oop (Gorilla): A bonus track from a reissue of a classic album from the comedic British band. This is a cover of the old Hollywood Argyles’ hit, with Viv Stanshall practically narrating the lyrics in his veddy proper English. A band made for Dr. Demento.
  10. Chuck Berry — Back in the U.S.A. (Gold): This oldies laden shuffle ends with a classic Chuck Berry song. Berry’s genius lay in his ability to: 1) rev up 12-bar blues into a pop context, while learning lessons from country and jump blues (especially the influence of Louis Jordan), helping create rock ‘n’ roll, and, 2) his amazing skill as a lyricist. Berry loved iconic images and notions, as exemplified on this celebration of America that looks at it from a contemporary teenage pop culture context. He simultaneously fueled and chronicled the post-war rise of youth culture, and because of that, his influence is still felt to this day, albeit indirectly.

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Categorized: Friday MP3 Shuffle

Topics: ipod

Mike Bennett writesiPod/MP3 Friday Shuffle — Happy Birthday Diana Ross Edition

The Queen of Motown, the voice behind dozens upon dozens of classic hits fronting the Supremes, and an accomplished solo artist celebrates a birthday today. So let’s all raise a sonic toast to Diana Ross, by grabbing your iPod/MP3 player, hitting shuffle and sharing the first 10 tunes that come up.

  1. The Monochrome Set — Martians Go Home (Tomorrow Will Be Too Long): The Monochrome Set were on the poppier side of the post-punk spectrum, playing cool tunes with circular rhythms. This might appeal to fans of early XTC, Orange Juice and Josef K.  This is a short, peppy tune with a number of tempos crammed into just over 2 minutes.
  2. The Castaways — Liar Liar (Nuggets: Original Artyfacts of the Psychedelic Era):  A great organ fueled garage rock tune.  This is definitely a song that is two parts R & B and one part psychedelia.  The playing is just tight enough to be good, but amateur enough to give it a real charm.  Debbie Harry did a swell cover of this song.  I’m sure it was an influence on early Blondie.
  3. Johnny Cash — I Still Miss Someone (The Legend): Not one of Johnny’s best know songs, but this is in his classic style.  His drawling vocal, the twanging guitar, the light shuffle rhythm and bluesy song.  Great stuff.
  4. Ted Nugent — Cat Scratch Fever (Cat Scratch Fever): Sweaty Teddy’s sole Top 40 hit on an album that was streamlined for maximum 1977 radio play.  Or was it 1978?  Yes, I know Nugent is a right wing cartoon now, but he used to be a mainstream cartoon, playing catch blues based rock with a sense of humor.  And he’s a pretty good guitarist.
  5. Solomon Burke — Stepchild (Don’t Give Up On Me): Burke’s “comeback” album merely had better known songwriters providing material on an album that has excellent production.  Burke never retired and his voice weathered just enough that it really had never sounded better.  This is a simple blues song and his phrasing is so fantastic.  There’s no one quite like him.
  6. The Beach Boys — Good To My Baby (Today!/Summer Days (And Summer Nights!!)):  Prime pre-Pet Sounds Beach Boys, where Brian Wilson’s increasing sophistication is evident in the number of different musically ideas in this song, the great backing vocal arrangements and the sublime percussive resolution to the chorus.  It turns a big hook into a monolithic hook.
  7. Bob Dylan — On The Road Again (Bringing It All Back Home):  From Dylan’s early electric phase, this is a pretty silly song about getting away from home.  People who criticize Beck for the lack of substance to his lyrics should listen to this song and you can see that Beck took this “let’s see what I can rhyme” approach to its logical conclusion.
  8. Urge Overkill — The Candidate (The Supersonic Storybook): One of the best songs from this Chicago alt-rock band.  The song subverts ’70s hard rock with a subtle funkiness and infuses that with a strong sense of drama.  The song is surprising melodic and poignant.  The video is well worth checking out — it was directing by a college pal of mine, Paul Andresen, and my first college radio music director, the late, great Ken Krause, is briefly featured as a bartender in a scene that was shot at the bar Crash Palace, which is where Delilah’s is now located.
  9. The Pillbugs — The Cat Who Dropped the Bomb (The 3-Dimensional In-Popcycle Dream):  This Ohio band has been cranking out fantastic psychedelic pop for years.  This might be their best album, which touches on everyone from The Beatles to Electric Light Orchestra to bands to obscure for the Nuggets collections.  Most of their songs, but for the modern recording techniques, could pass for authentic ’60s songs.
  10. XTC — The Man Who Sailed Around His Soul (Skylarking):  A fantastic Andy Partridge composition from the album most folks deem the band’s high water mark.  This is the first XTC song to have a real pronounced jazz influence — it’s got finger snapping cool, awesome percussion and cool keyboard and wind instrument accompaniments.  Indeed, Todd Rundgren outdid himself in the arrangement, giving this song a full soundscape for all of its spectacular faux drama.

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Categorized: Friday MP3 Shuffle

Topics: ipod

Erik Roldan writesWOXY will be missed

Sometime on Monday, March 23rd WOXY’s front page splashed the sad news. “Due to current economic realities and the lack of ongoing funding for WOXY’s operations, we’ve been forced to suspend our live broadcasts as of March 23rd.” The initial shock was quickly tempered by remembering that WOXY has had its fair share of trouble over the last six years. Since 2004 the internet-only radio station has been sold three times, each sale followed by uncertainty and finally saved by private investors. WOXY, as a mid-sized media outlet struggling with the changing landscape of distribution, is just one of many companies constantly needing to reevaluate its model in order to sustain itself.

Founded in 1983 by Doug and Linda Balogh, 97.7FM benefited from a powerful signal (3,000 watts according to Programming Director Mike Taylor) and its proximity to college campuses in Cincinnati, Ohio. Around 1998, it began its slow journey into cyber space, streaming its programming as an experiment. Finally nearing retirement age, after years of refusing generous offers, Doug and Linda Balogh sold the broadcast license in 2004. The terms of the sale made sure to keep “97X,” the station’s vast musical library and its tagline “The Future of Rock ‘N Roll.” The mom and pop owners hinted at their hope of radio by keeping the brand and within a short time, WOXY was saved by an anonymous source, what business culture refers to as “angel investors.” The sale and new ownership prompted a move to Oxford, Ohio and with that, it became an internet only radio station with live DJ’s hand-picking the music and hosting the air shifts. Not only was this a radical move for an established institution, it was further cemented into the media history books by its success. With a considerably smaller budget than other, larger webcasts, 97X is considered on par with household names like KEXP and The Current. “KEXP and The Current have six times the budget that we do. We never had the equity, resources or access of stations like that but we are still equated with them,” says Taylor, who has been an employee of WOXY for 20 years.

Two years later in 2006, over objections from the staff, WOXY moved to a subscription based model, where listeners would pay in order to listen. This was an attempt to offset increasing budget deficits and operating costs, but the switch proved temporary. “The online audience was tremendous at first, and it peaked eight or nine months after the switch. Unfortunately, I saw a steady decline in listener numbers from then on,” says Taylor. He says the falling numbers only got worse, “Subscription drove away the majority of the listeners.” That happened in early 2006, by August the pay-to-stream idea had failed. Once again WOXY had to close its doors and its future was uncertain.

The late 2000’s not only saw the beginnings of an embrace of online media by historical outlets, but witnessed internet upstarts taking risks. Lala.com, a streaming music subscription service, itself just coming out of its invite-only beta testing, purchased WOXY in September 2006. It could have been seen as an early adopting strategy by an edgy company further moving the music industry in the right direction, however, the reality was not that great. “There was an attempt at starting a blog, but the efforts were not as strong as they should have been,” says Taylor. Meanwhile, the frontline DJ’s and programmers strove to integrate new media into their product, but their bosses were hesitant. “The problem was not the product, but the delivery. A solely online identity with live DJ’s – I don’t know if there’s an audience for that. Online listening to anything that is not Pandora, is skewed older, while cutting edge music skews younger. WOXY, which cuts that difference…there is a disconnect there.” Taylor, being a broadcast veteran continues, “There has to be a larger scope with additional content, a one-stop place, and DJ’s hand picking music for a stream, I’m not sure if there is an audience for that. “

Still, a brand with a loyal audience, strong name recognition and a deep library of music should be able to thrive. Joe Long, a DJ at WOXY for three and a half years, loves the idea of curating for his listeners and thinks WOXY’s live, subjective format takes a little longer to warm up to, but is rewarding. “With the growth of technology and blogs for example, music is readily available to the consumer and allows them many options. People can listen to almost anything they want, whenever and wherever they choose. Because of this, in order to stand, you have to gain peoples trust with your recommendations and with your voice. Once you do that, they will be back for more.” Ali McDonald, a club DJ and former WOXY listener, confirms that. “I listened to it during the day while I worked at my computer. The music was consistently good. At the time my other primary online music source was the WFMU stream but my interest in listening to WFMU would change depending on which show was on. I knew with WOXY, however, that I could listen at any time.” No longer able to listen at work, McDonald as found other ways to find new music. “These days, I learn about music primarily from blogs and recommendations from friends. I really like it when websites compile their new music into an embedded music player, like RCRD LBL and Pitchfork.” It’s this time gap, the amount of seconds it takes to click out of one window and on to the next to get to what you want, that all media is struggling to fight. It literally takes a couple of seconds, but that difference is what will make or break any new company. Currently, Pitchfork uses Lala.com as its embedded music player for all its album reviews.

The most recent purchase of WOXY by Future Sounds Inc, was intentional in its attempt at bringing a throw-back distribution model like live, human-curated radio to younger audiences. Lala.com, while saving 97X from evaporating, did not force any changes or help WOXY succeed. Link exchanges to purchase music heard on the station directly seemed to be the only tangible difference, and in early 2009, Future Sounds, Inc . purchased the company. However, this transaction was done with the intent on making huge relocation and repositioning changes. Based in Los Angeles, Future Sounds manages bands and promotes events. John Mascarenhas is currently in charge of handling business between FSI and WOXY. “Future Sounds is a media company whose prime focus is giving small and unsigned acts mass distribution. We had a radio show [on WOXY] that focused on those acts.” The established partnership and vision to expand WOXY’s audience made making changes an easy decision. “The goal was to move WOXY to a stronger market where they could have more access to touring artists, the ability to sponsor/present more shows, create more original content (lounge acts) that could then be syndicated across the web. Austin was a perfect fit because the local music scene is dominated by ‘indie’ music and you have two major festivals (SxSW and ACL) annually that bring great artists directly to our doorstep….not to mention a robust local music scene that does not get the coverage it deserves.”

A move from Ohio to Texas was ambitious, but Joe Long thinks it’s still a good idea. “When we moved to Austin the city really embraced us. We moved into a great space in a great location and had our sights set on taking everything up a notch. Nothing changed about what we did, except we had two more competent full timers to help make it happen. The intentions were excellent but in the end it was the lack of funding that held us back.”

Despite the setbacks of starting over three times and facing flash changes in the music industry, WOXY and radio still have their devoted followers. Zachary Hersche is 23 years old and made a mini-documentary about WOXY in 2007 (video embedded at the end of the article). “There is a whole lot to like about WOXY. The DJs love what they are doing and I have been turned onto band’s I have never heard before because WOXY played it. I think radio still matters to a lot of people. Radio stations are realizing they need to take advantage of technology and are finding new ways to advertise besides audio commercials. Radio, newspapers, magazines, and TV stations all do it. WOXY is different though. They do their job because they love it. They are playing the music they love, unlike corporate radio that only cares about money, not the music they play.”

The latest bout of dead air could be just another one of the company’s temporary closures. The staff I spoke to all allude to current negotiations being made and they all have a hopeful attitude. Mike Taylor, despite being exhausted by all the changes, wants to see something happen. “I would never count this place out. In my opinion, the structure of what we do needs to change. The brand is strong, admired and loved but can’t continue to exist the way we’ve been doing business. The recent owners had good ideas but didn’t have the plan or the resources to enact that plan.” In our conversation, Taylor inquires about CHIRP, and when I confirm we are all volunteers, he seems validated. “I wouldn’t do this without getting paid and my colleagues wouldn’t. I’m compensated for a well crafted, well done product, and it’s our owner’s responsibility to get it out there.” Macscarenhas from Future Sounds, Inc., confirms this, “WOXY will be back on the air soon…there are too many people that love the station whom are already working on our behalf to make that a reality.”

In the meantime, a cursory search on Twitter.com for #woxy finds many results, from people lamenting its current state to those promoting their own streaming broadcast. What you won’t see is a public that will settle for inconvenience. An all encompassing, one-stop place for music and information has yet to bubble to the top, but we are trying. When looking for music to spin, Ali McDonald, aka DJ Reaganomix, isn’t going to wait. “One of my favorite things about internet based radio stations as opposed to traditional radio stations that stream online is that DJs don’t talk as much, and so it’s less talk more rock.” If the audience won’t wait, then the eventual king of its distribution shouldn’t either. Here’s to counting the seconds.

WOXY DOC from Zachary Herche on Vimeo.

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Categorized: Post Mix

Topics: industry, interview

Erik Roldan writesPavement Group - Chicago’s Theatre Punks (an Interview with Pavement Group’s Artistic Director)

David Perez is a Mexican-American living, breathing and loving theatre life in Chicago. Since 2006, Perez, along with several friends and collaborators, have been growing their company, Pavement Group with the intention of doing something different. As Artistic Director, Perez has used alternative loft spaces and stages, tackled sex, friendship and punk music for larger and larger audiences. In fact, the exposure has been so good that for their 2008 presentation of Lipstick Traces at the AV-aerie, opening night was shut down by the police and the run had to be completed speakeasy-style, with large signs on the front door that read “CANCELLED” and a suspicious looking person directing you to go around the back. Such is life in Chicago when you are trailblazing punk-rock theatre for independent-minded folks, I suppose. I emailed David to ask him a few questions about their current production punkplay, his love of music and being different in a city full of thespians. punkplay is a Steppenwolf Visiting Company Initiative and runs through Sunday April 25, 2010 in the Garage Theatre. On Saturday, March 27th people who attend punkplay are invited to a post-curtain celebration in the theatre with cast members, complimentary food, beverages and CHIRP DJ Mike Gibson spinning his picks of the best in punk, post-punk and hardcore.

Tickets are available at steppenwolf.org or by calling the box office at (312) 335-1650. Read on for the interview…

Erik Roldan: What is punk about theatre?

David Perez: Theatre at its best forces an audience to reorganize themselves around their taste and humanity. Good theatre can enrage you, revolt you, and inspire you to participate in your humanity. A good piece of music unlocks a conversation with yourself, and I think theatre is the same. I get the same rush reading a great play as I did the first time I heard Pixies “Doolittle.” And then there is the assumed vow of poverty. Really, we are all broke.

ER: punkplay is Pavement Group’s 2nd play about punk rock. Why have you chosen to tackle this subject again?

DP: Well firstly – we wanted a play that was in direct (or indirect) conversation with Lipstick Traces – a companion piece of sorts. We are fascinated and curious about culture and how we augment it – replicate it – assign it in ways to activate our lives. I think “punk” and music in general serve as a great point of entry into our generation’s humanity. As a demographic raised by TV – especially MTV, music serves as a way to anchor ourselves in memory and identity. While Lipstick Traces argued punk as an impulse and a vehicle into finding some sort of genuine interaction with the world around us, punkplay argues the genre as an identity system – a tarnished relic of what used to be – a total negation of the purity of the movement. The play is almost anti-punk in the way it warns us about the frailty of trying to assign our selves identity with fashion. The play tells us to go out into the world and be the people who we are supposed to be. Very punk. While both plays use punk as a point of entry, Lipstick Traces explores the intellectual implications of the movement, punkplay ponders the deeply personal and emotional territory.

ER: What is Pavement Group doing in Chicago that is different from other theater companies?

DP: This is an awesome question…and one we ask ourselves a ton. We founded on the new plays platform, but the second prong of our mission, the one I feel that gives us our unique brand, is that we speak directly to a non-theatre audience. I mean, you are reading this interview on the CHIRP website – not exactly the main line theatre environment. Our audience is comprised of folks who see two plays a year – and they are Pavement Group plays. Our core demographic usually uses their spending power on live music etc. We are proud to be changing peoples minds about the form.

ER: You’re still a relatively young company, and yet you’ve already partnered with About Face Theater and Steppenwolf. Tell me about your experience so far in Chicago and what your plans are for the future.

DP: Well were really fucking lucky. Steppenwolf has given us a tremendous opportunity this year, and given the PG founders are former Steppenwolf apprentices, were pretty happy to see this dream come true. AFT under the brilliant leadership of Bonnie Metzgar has really taken on the mission to engage the theatre community in ferocious conversation with the XYZ Festival, which we were thrilled to be a part of.

We are also lucky enough to be part of the unofficial league of itinerant theatre companies. Our friendship/sharing of resources with Sinnerman Ensemble, Theater 7, and 13 Pocket have really given us hope and pride in this community.

We are proud to be a Chicago Theatre. Lets not mince words: Fuck New York. Chicago is where the energy is put into the work, not into the orbiting egos around the work. We are lucky enough to be part of a collective pool of energy that supports and encourages discourse, regardless if your haircut and lack of a trust fund.

The future … well … let just say stay tuned. We have some very exciting news we want to share, but can’t just yet.

ER: Tell me your last 7 music downloads/purchases. What is your current favorite jam and why?

DP: The rest:

  1. Pavement – Quarantine The Past – Well, lets get real – I am huge Pavement fan so I of course just bought Matador’s Greatest Hits Comp. Awesome. Huge pavement dork. Clearly I am stupid-excited about Pitchfork.
  2. SHAPERSLittle, Big – I am biased, as the folks in the band our friends, but this album is my favorite purchase of the year. Seriously … progressive and haunting. Features members of May Or May Not, and The Hood Internet. This album irritates my coworkers because I play it so much
  3. Girls – Album – So obsessed. Its like if Jan and Dean were homos.
  4. Amen Dunes – Dia
  5. Surfer Blood – Astro Coast
  6. Eric Satie – Piano Music – When I want to pretend I am smarter then I am
  7. Lotus Plaza – The Floodlight Collective

As for a jam. Totally not new, but I can not stop listening to Band of Horses “The Great Salt Lake.” I am a sucker for some nostalgia-anthemic-lonely boy music. I also am a Seattle transplant, and was a huge fan of their previous incarnation (Carissa’s Wierd). Life is all about changes for me right now…so anything that is unearthing the past and moving boldly into the future has a place on my ipod.

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Categorized: Interviews

Topics: interview

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