The CHIRP Blog
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:
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.
SHAPERS – Little, 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
Girls – Album – So obsessed. Its like if Jan and Dean were homos.
Amen Dunes – Dia
Surfer Blood – Astro Coast
Eric Satie – Piano Music – When I want to pretend I am smarter then I am
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.
I first read about Big Star in Village Voice music critic Robert Christgau’s first Consumer Guide collection. But reading about Big Star and finding their records was a tricky proposition in 1981. Then one day, I found a copy of Radio City in a cutout rack at Rose Records. It was a great introduction — I was fixated for months on “O My Soul”, which took so many familiar ’60s rock elements, but rearranged them in new and exciting ways. Eventually, I came to love the other songs on the album. And that was all I heard by them for years, since Big Star didn’t have anything in print. Even when Radio City and #1 Record came out in CD, it was import only. But eventually I had all the albums, which are so distinctive, and have become part of the power pop canon. Big Star ran the gamut, from the teenage ecstasy of “In The Street” to the tender defiance of “Thirteen” to the blissful longing of “September Gurls” to the desperation that permeates the Third/Sister Lovers project, this was pop music that had strong emotional resonance.
Alas, things weren’t so easy for main man Alex Chilton. A teenage star with The Box Tops, his preternaturally mature soulful voice keyed hits like “The Letter”. But the band was controlled by the record company and producers. And he never made much money from the Tops. He began to explore his own sound, captured on Chilton’s 1970 album, which eventually came out in the ’90s. Finally, with the talented Chris Bell, Andy Hummel and reliable drummer Jody Stephens, Big Star was born. The name wasn’t intended to be ironic (thought that’s how it turned out) — they took it from a local supermarket chain.
Signed to the local label Ardent (an affiliate of Stax), there was no promotional muscle for the band’s music, and perhaps they weren’t quite as mainstream as, for example, The Raspberries. So the records didn’t sell. This took it’s toll. It took years for the cult to expand, and Chilton and Big Star were championed by artists like R.E.M.s Peter Buck, Teenage Fanclub, The Posies, and, most famously, The Replacements, in the classic song, “Alex Chilton”. From these ripples, more and more bands have shown the influence of Big Star.
Chilton’s death just two days ago, at age 59, is such a shame. I wonder if he’d realize just how many people he touched, as illustrated by scads of Facebook updates and tweets in his honor.
I only saw Chilton once, when Big Star (featuring Jon Auer and Ken Stringfellow of the Posies, with Stephens on drums) played Metro. It was an amazing night, as I saw the great local band Frisbie for the first time, and they raised the roof. Fortunately, Big Star was up to the task of following that set. And I started following Frisbie, which led to friendships and contacts that are why I’m now at CHIRP. So Chilton’s music has touched me on many levels.
The first song played on CHIRP, just two months before Chilton’s death, was Big Star’s “Thank You Friends”. It was the perfect song to kick CHIRP off, and typical of Chilton’s ability to capture feelings, both lyrically and melodically. We’ll all miss him, but we’ll always have him around.
In Chilton’s honor, please grab your iPod/MP3 player, hit shuffle and share the first 10 songs that come up.
- Parasites — You’re Gonna Miss Me (Retro Pop Remasters): I must have read a review of a Parasites album, which led me to picking up the band’s album Pair. Despite the ugly name, the Parasites are a sugar rush of punk-pop. Unlike bands of the Blink 182 stripe, Parasites are grounded more in classic pop with stronger vocals. They really get the balance right, with punky energy and strong swoony melodies. Maybe this would be better described at power X 2 pop.
- Blur — Colin Zeal (Modern Life Is Rubbish): On Blur’s second album, they were in the process of honing their Brit pop approach, with a character study of a middle class twit, in the tradition of Ray Davies and Andy Partridge. The verses in this song are static, but they set up the big hook. At the time, this sounded so good, but there were even better things to come.
- Radio Birdman — Murder City Nights (Radios Appear): Radio Birdman was strongly influenced by Detroit proto-punk (The MC5 and The Stooges) and surf rock, and came up with a sound that really defined Australian punk rock. There were some garage and R & B undercurrents, with fantastic guitar parts. Deniz Tek has a typically slashing guitar solo here. I was so happy to see them on their reunion tour, as Tek was a monster and the whole band ripped. One of my favorite songs on the band’s classic debut.
- Aimee Mann — Choice In The Matter (I’m With Stupid): Nick Hornby has wondered how Mann can marry such downbeat lyrics with such upbeat melodies. I don’t know, but it’s her greatest talent. On her second solo record, it sounds like she was reaching for a warm sound akin to Matthew Sweet’s Girlfriend album. Her later records got a bit prettier, but all the ingredients that led her to greater prominence as a solo act were all on this disc.
- Duke Ellington & His Famous Orchestra — Caravan (Highlights from the Centennial Edition): The music fits the title, as the band chugs along in rhythmic fashion, setting up a wonderful clarinet solo. The interplay between the drums and the piano is splendid, with a bass guitar also playing along. Then a violin solo gives an Eastern feel to the song. This just sounds so cool.
- M.I.A. — Galang (Arular): The song that really broke M.I.A. in the U.K. Her tracks almost always have bright and insistent rhythm tracks. There is so much going on and the rhythms are catchy unto themselves. M.I.A. isn’t really much of a rapper, but she has a ton of personality and her Sri Lankan/Brit accent adds to the third world meets first world sensibility that is the essence of her recordings. Both her official albums are essential.
- New Model Army — Ballad of Bodmin Pill (Thunder And Consolation): Musically, are punk in attitude, with hard guitars mixed with post-punky bass lines and music that sometimes is Clash-y and sometimes folk-y. Lead singer Justin Sullivan is articulate and passionate, railing against the injustices of the world. Like Midnight Oil, the band makes it go down easier with anthemic choruses. This is vital, as otherwise this would just be monochromatic hectoring. Instead, New Model Army provides a platform to channel anger. This is from my favorite album of theirs. It positively seethes.
- The Four Tops — Ain’t No Woman (Like The One I Got)(The Singles + More): A ’70s hit for the Tops. This has more of a Philly soul vibe. It’s a great song, but it doesn’t sound much like a Four Tops song until they finally let Levi Stubbs take the lead. And even then, it’s not typical. Good, but not typical.
- The Undertones — Listening In (The Undertones): The first two Undertones are about as good as punky pop has ever been. The songs are so tight and well constructed, with a combo of hooks in the chorus and the lead guitar figures. On top of that, Feargal Sharkey’s warble is quintessentially teenage and the rhythm guitar tone is simply awesome. Not one of their best known songs, but it’s still great.
- The Grip Weeds — Every Minute (The Sound In You): This New York power pop group mixes it’s love for groups like The Who and The Move and big guitars with an affinity for folkier rock in the vein of The Byrds. So the drums pound and the melodies soar, while guitarist Kristen Pinell comes up with some amazing solos. This band makes good records, but really must be seen live — they are explosive.
As we head into spring, CHIRP Radio has been on the air for two months. We hope that you’re making the station a part of your life, tuning in to check out our wide-ranging mix of music, new and old, and our true commitment to the amazing, creative work being done right here in Chicago.
In fact, we know many of you are tuning in on a regular basis, because we’ve already seen listener numbers that are more than three times our pre-launch projections! We couldn’t be more pleased that our audience is bigger than we predicted, and growing every day. We appreciate your help in spreading the word, posting about CHIRP Radio on Facebook, Twitter, and via good old-fashioned email. However, when you’re a web-based station, that growing audience does have a cost — a very literal one.
CHIRP Radio pays per listener per hour for every person who tunes into the station. That means, with an audience three times the size we anticipated, our streaming fees are also three times the size of our estimates.
That’s why we’re inviting you to become a Year One member of CHIRP Radio today. You can join with a one-time gift, or you can become a sustaining member with a monthly contribution of as little as $5. And to show our appreciation, we have an array of limited-edition thank you gifts that will only be available until April 11th.
Just click here to join. Your support of CHIRP Radio is essential to keeping the station strong. We’re so happy you’ve found us; now we’re asking that you help us grow and strengthen the service by becoming a Year One member. We’ll always remember that you were here with us from the beginning!
This week, let’s pay tribute to a cornerstone of the Chicago music scene, Leonard Chess. Over 60 years ago, he and his brother Phil launched Chess Records, the label that launched the careers of Muddy Waters, Chuck Berry and Bo Diddley, among others, releasing some of the most vital records in blues and rock ‘n’ roll history. Sure, Leonard may have engaged in questionable business practices, but the list of honest record executives starts (and may end) with Corey Rusk (NOTE: this is an exaggeration). But Chess is simply a seminal label that changed the face of music — and it happened here in Chicago. So pay tribute to Leonard and the Chess roster by grabbing your iPod/MP3 player, hitting shuffle and sharing the first 10 tunes that come up.
- Nada Surf — Blonde on Blonde (Let Go): This Anglophile band managed to shake their novelty one-hit wonder status and make some really good albums in the vein of The Bends-era Radiohead. Unlike their British contemporaries, such as Coldplay and Keane, Nada Surf is not about overkill. Indeed, there’s a distinct measure of ’80s college radio rock in their sound, meaning that even when the band ups the drama, they don’t go over the top. This is a low key mid-tempo tune that reminds me a little bit of The House Of Love.
- Simon & Garfunkel — The Dangling Conversation (Parsley, Sage, Rosemary and Thyme): What’s amazing about S & G is how their many hits, for the most part, only reveal a few aspects of Paul Simon’s amazing songwriting talents. The duo added a pop lushness to folk-rock and combined with Simon’s acute lyrics and sense of grandeur, this made for some of the best music of the ’60s. Since they were such a major pop act, I think they aren’t considered with the more conventional rock acts of the period. This is a shame. Their music may have been softer, but Simon is right up there with Ray Davies when it comes to observational songwriting.
- Ohio Players — Sweet Sticky Thing (): While best know for their funk hits “Fire” and “Love Rollercoaster”, the Ohio Players had their softer moments too. This is a mid-tempo number that appears to have been an attempt to ape The Isley Brothers’ loverman shtick. It’s not as good as the Isleys, but it has such a winning soft vibe and some cool saxophone work.
- Slow Jets — Dreams Come Out (Remain in Ether): A Baltimore band who followed down the path blazed by bands like The Embarrassment. This is off-kilter indie rock, catchy but not straightforward. This song has a bit of a Pere Ubu touch with spacey keyboard noises and tones augmenting the guitar based song. Good song.
- Ross — LaughCream (Supersonic Spacewalk): Ross is a Spanish power pop artist with a wavering command of the English language. His songs are laden with guitars and sweeping harmony vocals. This song has a bit of an Electric Light Orchestra vibe with some psychedelic pop tricks.
- The Cars — Moving In Stereo (The Cars): A great nocturnal driving track from one of the great debut albums of the ’70s. The Cars were considered a new wave band when they began, and with their wide variety of influences, including the Velvet Underground and Roxy Music, that was as a good a spot for them as anywhere. This is such a great piece of mood music, with Greg Hawkes’ gloomy keyboards and Elliot Easton’s atmospheric guitar work. And producer Roy Thomas Baker should get credit for the mechanistic drum sound, which fits the rest of the track so well.
- Kid Creole & The Coconuts — Things We Said Today (To Travel Sideways): A nifty take on the well known Beatles song. Kid Creole finds a way to fit the tune into his patented supper club funk/salsa mix, while not messing with the classic haunting melody.
- Supergrass — Cheapskate (In It For The Money): While the first Supergrass album is probably the favorite of most fans, its on the brilliant second album where Gaz Coombes’ songwriting fully flourished. Indeed, when this came up, I had to check which album it was off of, since the band has generally been so consistent from this point forward. This song has a great R & B rhythm base and is a fine example of how good pop-rock songwriting often involves building up tension in the verses and then releasing it with a wide open melody in the chorus.
- Merle Haggard — I Made the Prison Band (Branded Man): Has anyone done a compilation of Merle Haggard songs about being in prison, committing a crime or getting out of prison? It would cover at least two CDs. During the late ’60s, Haggard was bursting with great honky-tonk tunes, especially on this fantastic album.
- Real Cool Killers — Something’s Wrong (The Violence Inherent In The System): French band rocking out on a track from a stellar compilation of European bands put together by Steve Gardner, who used to publish the Noise For Heroes fanzine and later wrote for The Big Takeover. The songs on this compilation are inspired by the Stooges, New York Dolls, The Cramps among others. This song could be passed off as the work of some Aussie punk band of the early ’80s.
Initially, I purchased the Dum-Dum pops because I thought they’d be kind of a fun little treat for the kids once in a while. Never in my wildest dreams did I think I’d come to curse the existence of that little cartoon drum figure and the insulin-spiking, fruit-ish flavored globs of pure evil on a stick that he peddles. Dum-Dum pops, almost at the bottom of the candy hierarchy in my humble estimation (they rank just above Laffy Taffy/Now ‘N’ Laters, and those weird British licorice things that look like black spots of tar surrounded by day-glo pink, yellow, or orange fondant. Yuck.), have become my kids’ junk food obsession du jour.
Frankly, I’d rather eat a nearly-petrified peanut butter drop from my grandmother’s purse than a Dum-Dum pop. It’s not that they’re gross, it’s just that they’re so boring. It’s like they’re trick candy. You think it’s a delicious treat, but NOOOOOOOOO. It’s really furniture polish or LSD or crystallized goat innerds. Dum-Dums are suspicious. I don’t trust them. People give them out at the bank, for Chrissakes! And yet I bought them for my children. Such are the lengths a mom will go to to keep her kids quiet for 10 seconds.
Given my distaste for Dum-Dums, I never thought my kids would take to them more than cookies, cupcakes, marshmallows, or another type of mass-produced confectionary treat. Yet, as I type this, there’s a huge jar of them up high on a shelf in my kitchen with two little kids dancing a pagan jig beneath it, clamoring for the sugary goodness that only the Dum-Dums in question can deliver.
When I ask my daughter what she wants for breakfast each morning, the response it always the same: “lollipops!” When I tell her that lollipops are not a breakfast food and she can, instead, choose from cereal, eggs, fruit, waffles, yogurt, toast or a muffin, she shifts into Linda Blair mode and screams as though I’ve burnt up her favorite toy in the furnace. I always turn my head away slightly to avoid the pea soup that I’m certain she’ll spew at any second. Seriously. It’s frightening how quick the transformation can be from happy, compliant toddler to twisted demonic banshee hell-bent on destruction due to the utterance of a simple word: No. Yikes!
Her brother has a slightly more devious approach. Instead of getting upset at being denied the sugary snack for breakfast, he will seemingly shrug it off and walk away. Does he wait patiently at the table for toast and jam? Does he go to the refrigerator and grab some yogurt? Does he pick a banana out of the fruit bowl on the island in our kitchen? Oh, no. Instead, he attempts to scale the shelving unit on which the lollipop jar rests. Or he pulls the drawers out from under the counter, climbs up them onto said counter, and attempts a 10’ standing long jump across the kitchen to the shelving unit in the hope that he may land somewhere in the vicinity of the lollipops. I would applaud and encourage his feats of athleticism if I weren’t so scared that he’ll break his neck, or worse, the shelving unit. Those things can be pricey!
Seriously, though, I feel like a drug dealer. I’ve unintentionally gotten my kids hooked on the white stuff: Pure, unadulterated sugar. I’m sure pediatric endocrinologists and dentists alike approve of my innocent blunder. It’s seemingly innocuous mistakes like mine that keep them in business. But I curse the day I ever put that brightly colored bag of treats into my grocery cart. Fortunately, my kids haven’t stopped eating their vegetables and they always leave room for dinner, but still. The lollipop obsession is annoying and I’d love to put a stop to it. I know I can’t do this without creating a mutinous environment in my house, so I’m taking aim elsewhere. The lollipops can stay, for now, but other junk has got to go!
In an effort to cut down on the amount of processed and pre-packaged foods my kids eat, I’ve decided to start making much of my own bread, waffles, crackers, etc. I know what you’re thinking: “But, Nicole, that’s just more work for you!” Yes. Yes, it is. However, having received an amazing bread maker for my 32nd birthday (thanks, Sweetie!), it’s not as bad as it sounds. The bread machine has turned the tedious job of making bread at home to something so easy, even my 3-year-olds can do it—as long as Mommy’s around to do the measuring and push the buttons on the machine. My advice? If you have the means, I highly recommend picking one up. It is so choice. (Full points to anyone who gets that reference.)
Likewise, I picked up a cheap waffle maker from Walgreen’s (of all places!) last week. It was ten bucks and I’ve already used three times. The recipe it came with produced heavy, terrible waffles, that I could probably sell to the IOC for use in a gold medal hockey game. But a Google search remedied that. I found a much more suitable recipe in about 5 minutes thanks to the magic of the interwebs. Subsequent uses have yielded light, fluffy, TASTY waffles better than pretty much any others I’ve eaten. All this from relatively inexpensive kitchen machinery and ingredients I already had in my pantry. Sweet.
So how do the kids like the change thus far? Frankly, they love it. They get to help make their own food by putting pre-measured ingredients into the bread machine, helping me stir the waffle batter (the best part being when they get to lick the spoon, of course) and using their great-grandmother’s heavy rolling pin to flatten the cracker dough. I tried letting them sprinkle salt and sesame seeds on the crackers, but that devolved into a ridiculous food fight that was damn near impossible to clean up—the dog is still shaking out the occasional seed from her fur. So, as with every other parenting aspect, it’s all about trial and error.
And none of this even takes into consideration how much more the kids like what they eat. As anyone who’s ever made bread at home can tell you, it tastes significantly better than what you can buy at the store. It doesn’t last as long from a hardening- and mold-growing perspective, but smaller loaves mean fresher loaves. Plus, the kids feel a sense of pride at having contributed to making their own food. They’re starting to understand it and see the connection between what’s on the shelf and what goes into their tummies. As a parent, that’s pretty cool to see. (As an aside, I feel the need to give Michelle Obama some serious props for bringing this issue to the national stage via her organic garden. Any time people get the chance to take a direct hand in the production of their own food, they will benefit. Yay, Michelle!)
I realize that this effort is not something that everyone is willing or able to undertake. Not everyone has the time or energy to make much of their own food. But, as any of my friends or family members can tell you, I’m a total control freak who distrusts industrialized food products, so the production of food at home is ideal for me. I control what goes into the food, so I know it’s good. Now that I make the waffles my kids eat, I don’t worry what hydrogenated oils, high fructose corn syrup, and/or preservatives are doing to their little systems. Likewise, the bread I make doesn’t have any ingredients you’d need an advanced degree in Chemistry to identify.
All of this makes me sleep much better at night and keeps me from begrudging my kids their lollipops. Yes, I wish they’d get as excited for fruit and veggies as they do for candy, but I’m not living in the Twilight Zone here. I know that will never happen as long as humans are hard-wired to crave sugar- and fat-laden foods. But it is nice to think that I might be imparting some small appreciation of good, healthy food to my kids. And isn’t that one of the best things I can do as a parent? Give my kids good food, nurture their innate self-confidence and curiosity and then turn them loose on the world to discover, learn, and grow? Yup. That pretty much sums it up. And if Dum-Dum pops are part of that experience, I can live with it. There are worse things. Like Velveeta. Seriously. Processed “cheese food” that requires no refrigeration? What? Who decided THAT was a good idea? Frightening.
*This title was stolen directly from “Intergalactic” by Beastie Boys.