Current DJ: Doug Mosurock
Mark Renner A Fountain in the Cloister from Few Traces (RVNG Intl.) Buy Mark Renner Few Traces at Reckless Records Buy Mark Renner at iTunes Buy Mark Renner Few Traces at Amazon Add to Collection
"The Hideout is a regular guy bar for irregular folks who just don’t fit in, or just don’t want to fit in. We didn’t choose the name; it has been called the Hideout since it opened (legally) in 1934."
There are no outsiders inside The Hideout. The doors of the 100 year old public house built in two days by the hard-working remain open to all, no matter the instruments you clang together or rebellion held in your heart.
Here is the kind of place customers recommend bands, where children's plays are performed, musicians choose to hold their listening parties, and everyone dresses up as robots. The Hideout is music, art, performance, plays, poetry, rock and rebellion.
It's likely the secret to it's historical standing in Chicago is the longlived community platform residing within its walls.
Take a poke around The Hideout's calendar and interspersed between comedy shows, dance parties, and a flipping sweet flea market, are opportunities to support your community through events like the weekly Soup & Bread meal that contributes to local food pantries, or the monthly discussion hosted by women for women called The Girl Talk.
On February 27th The Girl Talk hosted an edition called Women at Work. The hosts, Jen Sabella and Erika Wozniak, asked three women questions related to fighting for their rights in the workplace and the reward of standing strongly together.
Esthela, a leader of the “Hands Off Pants On” campaign, spoke about her work as a housekeeper and the city ordinance win to ensure all hotel workers who work alone are equipped with panic buttons by July 1, 2018. Esthela was named Person of the Year by TIME Magazine as one of the “The Silence Breakers.” Erica Sanchez has been a Chicago Public Schools janitor and SEIU Local 1 member for the past 21 years. Over that time, Sanchez has been a steadfast leader within her union and its fight for economic, racial, immigrant and environmental justice, including the push for $15 and a union at Chicago’s airports. Pennie McCoach has worked at the Chicago Transit Authority for 17 years as a switchmen and she has actively been involved with her union, the Amalgamated Transit Union (ATU) for 14 years. She holds the position of 2nd Vice President of the ATU.
Check out the next sesson of The Girl Talk on Tuesday, March 27th at 6:30 PM. Meet your neighbors for dinner at this week's Soup & Bread on Wednesday, March 14th, at 5:30 PM. Bring on the pozole, the borscht, the harrira; the shorbit amas and the soupe joumou!
Hosts of The Girl Talk (far left, Jen Sabella and second from right, Erika Wozniak) talk about Women in the Workplace with Esthela, Pennie McCoach, and Erica Sanchez.
Welcome to The Fourth Wall, CHIRP's weekly e-conversation on cinema. This week's subject is the Netlix series Altered Carbon.
This edition is written by CHIRP Radio volunteers Kevin Fullam and Clarence Ewing.
In the Netflix series Altered Carbon (based on the Richard K. Morgan 2002 novel), highly trained killing specialist Takeshi Kovacs is shot to death in a hotel room for some reason. But it’s OK, because in his world, human consciousness can be downloaded and transferred between human bodies, which are lovingly referred to as “sleeves.”
Logan... pardon me, Kovacs...is revived hundreds of years after his “death” to solve a rich man’s murder, because rich people can pretty much do whatever they want to whomever they want.
Along with a motley collection of allies/cyperpunk sidekicks, Deckard... sorry, Kovacs...has to figure out who killed the rich man who’s not really dead (because science) in order to win the freedom to wander around moping about all the violence stuff he’s done in his many pasts.
by Kurt Conley
KMFDM and Pig
Ogden Street Music Club (652 S Ogden St)
It only seems right that this new series is propelled by my memory of music. During a recent cleaning spell in our new condo, I came across an old photo album filled with the concert tickets stubs I’d kept over the years. They span an era starting in the late '90s, when I first started going to shows in earnest, all the way up to the mid 2000s.
The only reason I don’t have more parallels the advent of online, print-at-home, and now mobile tickets, which lack that tactile quality. No waiting for them to come in the mail, putting them in a safe location until the show. As convenient as it is to have your tickets on one’s phone, I’m still nostalgic for that time.
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