Concerts

Chicago’s Oozing Wound change pace with their first grunge record

Lots of bands emerged from the lockdown era writing material with a darker tone than their pre-pandemic work. Local thrashers Oozing Wound take that to a new level with their brand-new LP, We Cater to Cowards (Thrill Jockey). Granted, they’ve never been purveyors of positivity—their catalog includes song titled “Everyone I Hate Should Be Killed,” “Surrounded by Fucking Idiots,” and “Everything Sucks and My Life Is a Lie”—but the vibe shift this time around is palpable. Gone are the snappy Dave Lombardo-style beats, the speedy solos, and the catchy scream-along choruses. Instead we get ten smeared, sludgy, grungy tracks of muddily rhythmic sonic misery. 

The last thing I expected from Oozing Wound was a slow record, but reinvention feels good from a band more than a decade into their career. The way they throw things back to behind-the-beat In Utero and Tad worship feels completely fresh and surprising. Even the boomy, natural reverb of Electrical Audio, where they tracked the record, recalls the sound of early-90s Steve Albini-recorded noise-rock classics. 

By the time the epic horn arrangement barges in on “Crypto Fash,” you’ll be completely engrossed with the band’s updated bag of tricks. And despite the unexpected turns and throwbacks, Oozing Wound weave elements of their classic sound into every track: Kyle Reynolds’s unrelenting drum fury, Kevin Cribbin’s monstrous fuzz bass, and Zack Weil’s dissonant shredding and ear-piercing shrieking. On We Cater to Cowards, Oozing Wound work out the pain and confusion of a hard few years with a new approach, and we’re lucky to have it. It’s complex, dirgy, and dark, and its twists and layers will keep you coming back for repeat listens.

Oozing Wound’s We Cater To Cowards is available through Bandcamp.

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Albert Herring balances indie aesthetic with traditional music

Benjamin Britten’s 1947 opera Albert Herring (set in 1900) has been a perennial production for Chicago Opera Theater. But the new mounting opening tonight at the Athenaeum, helmed by director Stephen Sposito, promises to infuse Britten’s story with what the company is calling an “indie-film vibe.”

Sposito—who was associate director for The Book of Mormon, resident director for the Broadway and touring productions of Wicked, anddirector of the national tour of Shrek the Musical—explains, “We’re still setting it at the turn of the century . . . but, visually, I tried to make it a little kooky.”

Dame Jane Glover, head of Chicago’s Music of the Baroque ensemble and a frequent interpreter of Britten, conducts, while the titular role is sung by Miles Mykkanen, who is performing in his fifth Britten opera. 

Albert Herring1/26-1/29: Thu 7:30 PM, Sat-Sun 3 PM, Athenaeum Center for Thought and Culture, 2936 N. Southport, chicagooperatheater.org, $25-$165

“He’s a composer I feel at home with,” Mykkanen said. “I’ve lived with his music since I was 17 or 18 and starting my training. The opportunity to sing Albert Herring has been at the back of my mind, and I’ve just been waiting for the chance to sing it.”   

Sposito was attracted to both Albert Herring’s “youthful, energetic story” and its “amazing” music.” 

“It’s highly complicated,” he explains. “It’s sort of like a play more than anything. There’s one big aria. It’s all this sort of interwoven, highly complicated music that feels almost like people talking.”

Based on a short story by Guy de Maupassant, it’s a slight tale on the surface. Albert, a shy and malleable young man in a small, English market town, is selected as the May King for the festival when none of the local young ladies are deemed morally upstanding enough to be queen for a day. A local prankster slips alcohol into Albert’s lemonade, causing him to humiliate himself at the ceremony and then run off in search of adventure elsewhere. Eventually, however, he returns—but with a little more starch in his spine.

Once Sposito set to work planning the opera, he was surprised at how complex Britten’s ideas and characters were. 

He says, “I’ve never directed an opera before. I mainly do musical theater and some plays. What a great challenge, and that’s kind of what the play is about: You don’t do one thing. You scare yourself a bit, break out of your box a bit, and try something that’s challenging.”

Sposito, at one point, told Mykkanen that Albert Herring’s evolution in the story “was maybe just 10 percent to the left or the right” from where he was when the story begins.

Mykkanen called Sposito’s idea “so beautiful to me. It’s not like this character has to go through this huge heartbreak or kill somebody like what normally happens in opera. This is just a guy in his late 20s trying to figure out his life, and he realizes he’s not happy, and he asks, ‘What can I do to take control of my own destiny?’” 

Singing a comic role, he notes, is sometimes not as easy as singing a tragic one, because “the way forward is not that obvious. At the end of the scene, when you have to get to the murder or get to the heartbreak, you have to know where you’re going and what you need to build up to emotionally. In comedy, when you don’t have to get to the [tragic] end goal, it’s oftentimes only in your head. You have to figure out the narratives of the scene. It’s trickier.”

Mykkanen nevertheless appreciates that those comic roles often give more leeway for interpretation.

“That’s where, as a singer or actor, you rely on your conductor or your director to help craft the performance,” he says. “Every Albert Herring I do will be different. I’ve done 13 productions of Candide, and they’re kind of similar in that way, where each production is a very different journey and a very different character.  

The youthfulness reflected at the core of Albert Herring inspired Sposito and his collaborators to aim for that independent film aesthetic, exaggerating some stylistic elements or inserting the occasional visual anachronism, all the while making sure the audience won’t be jarred from the story and music. 

The Grand Budapest Hotel was kind of a visual cue for me,” Sposito explains. “How do we treat style and time so that it’s accurate, but it’s not a museum piece either? We have elements of the period—these big, mutton-sleeve shoulders, for example, which we exaggerated and had fun with. Or high collars—what do they say about the characters, or what do they do to them while wearing them?”

The cast of Chicago Opera Theater’s Albert Herring Credit Michael Brosilow

Sposito, currently based in New York, thought when he was younger that he’d one day move to Chicago and work in the theater here, which alas never happened. He’s worked in the Windy City on touring shows, but this is his first Chicago production “from the ground up,” he says.

Directors of musicals usually collaborate closest with their choreographers, but operas require that same level of collaboration between directors and conductors, so Sposito’s relationship with Glover was an important one. The conductor knew Britten and Peter Pears, his partner (who sang the role of Albert in the first production), and Sposito praised both her vast knowledge of Britten’s repertoire and her work ethic.

The conductor’s responsibilities “are not just the music,” Sposito says. “They’re part of the staging of the show and the design of the show. She’s in on all of that. . . . It was such a beautiful relationship, to have someone who knows the piece so well but was also so fun, naughty, cool, and playful. That surprised me.”

Mykkanen calls Albert Herring “the quintessential ensemble piece. There’s 13 of us on stage. There’s no chorus. There aren’t dancers. There aren’t the extra auxiliary forces in opera that we rely on and allow us to frankly take a break.”

Even if Sposito’s setting playfully reinterprets some of Albert Herring’s thematic elements, the precise nature of Britten’s music nevertheless calls for commitment from the cast, Mykkanen suggests. 

He explains, “The rhythms and the brilliant text—when you get it right, it makes sense. When you start screwing around with it too much, that’s when it doesn’t. So the 13 of us have been focusing on the score and working on our accuracy.”

Singing Britten requires “keeping your brain active over the course of an evening,” Mykkanen adds. “There are times when there are two-time signatures happening at the same time—one person is in four, one person is in six, and somehow, every eight bars, we line up. As singers, especially with Jane [conducting], that’s a particular challenge with Britten.” 

Even so, Albert Herring has been a relatively relaxed experience for Sposito, who’s used to the faster pace of directing musicals.

“With commercial theater, it’s about efficiency,” he explains. “‘Cut those bars.’ ‘Get them out sooner.’ With this, we give you the whole score—there are no trims or cuts. It’s almost calmer.  There’s something about doing an opera that you [as a director] just luxuriate in a bit. It can really be about the music, and you can just sit back and listen sometimes.”


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‘She was somebody to us’

In 2022, six people I know from Lower Wacker and the Loop died. The first passed the day after Valentine’s Day, the last on December 2, when I was midway through my first draft of this story and had to adjust my word count to fit in a sixth death when I thought I was mourning five. 

I won’t pretend that I knew each of the dead well. Some of them I met once or twice, while others I knew for two years. Ralph was shy and had a sweet smile. Polo was hard, but his interior was soft as caramel. Rose could fight you or hug you. Brittany loved the uncharted life she lived and chose it to the end. But each time someone died last year, I remade my altar. 

The essential components stay the same: two candles and something sweet-smelling to burn. A thumb-sized statue of the Virgin Mary from my mom. Coins, because metal, like us, comes from the earth, and because these hustlers loved money and deserve to go into the afterlife with full pockets. Then, I add something that reminds me of that person. For Ron, called “Raving Ronnie” in high school because of his goofy outfits and Day-Glo bracelets, I filled a shot glass of rum, the liquor that reminds me most of party boys. For Hope, ever the lady, a shot of vodka and a bottle of purple nail polish I thought she might like.

Each one of these deaths was preventable, including the two accidental drug overdoses. (One cause of death remains undetermined.) Culturally, most of us shrug off overdose deaths as inevitable tragedies—the result of ravenous addiction, if we’re being bighearted, or the result of moral failing, if we’re not. What I need you to understand is that these deaths are policy choices; they are preventable, and we all are accountable for them. 

According to the Cook County Medical Examiner’s Office, 1,599 people died from opioid overdose in 2022. A backlog on autopsies means that number is expected to rise by an additional 400-500, bringing the death total over 2,000 and breaking the record of 1,936 set in 2021. There is evidence that suggests these numbers are an undercount. If you don’t understand the scope of a story, you can’t change how it ends. 

“Believe half of what you see and a quarter of what you hear,” photojournalist Lloyd DeGrane reminds me, and himself, whenever a particularly incendiary rumor winds its way through downtown. 

Many other deaths—blood infections, kidney failures, etc.—are directly related to addiction but are not counted among drug deaths. Even more directly, these deaths are related to us—the people who are housed and not addicted, who have access to health care and alderpeople, who take pictures of the visibly mentally ill or impoverished asleep on the Red Line and post them in online discussions about “crime” on the CTA—and the policy choices we support. 

No one can stop someone else from doing what they want to do, but we can make the circumstances in which they do it less deadly. In fact, in every neighborhood in the city, some family member, drug user, or harm reduction worker is doing just that. The Chicago Recovery Alliance, The Night Ministry, and the West Side Heroin / Opioid Task Force are mobile throughout the city. All provide free syringes, free fentanyl testing kits, free Narcan (the opioid overdose reversal nasal spray anyone can get and learn how to administer here), and more. But they can only reach so many people so often. Imagine, for example, if someone who required new needles could walk into Walgreens and get them for free, thereby avoiding the countless risks that come with reusing or sharing. Instead, they have to pay approximately five dollars per box of ten syringes (limit two boxes) and, for some reason, show a state-issued ID. Out of the 20 or so folks I know downtown, approximately two have their IDs. Without a birth certificate, Social Security card, or permanent address, it can take months to obtain one. 

If you ask people what kind of housing they need, they’ll tell you. If housed, people can use drugs safely and hygienically, instead of in tents with poor lighting, no running water, and prone to frequent invasions by rats, no matter how clean they live. In 2022, Mayor Lightfoot and her City Council allies could have supported Bring Chicago Home, a proposal that would increase the Real Estate Transfer Tax (a one-time tax paid when a property is sold) by 1.9 percent on properties over $1 million, creating a dedicated revenue stream of approximately $164 million annually for permanent, supportive housing for people experiencing homelessness. But on November 14, 2022, Lightfoot and 25 alderpeople (you can read their names here) blocked this proposal from even being discussed in City Council. The next day, my friend Ron died, sick and unhoused, in a stairwell in the Loop. He was 37 years old.

Even the deaths caused by drug overdose carry more nuance than we give them. For example, the dope I’ve seen test results for in the last three years is an everything-but-the-kitchen-sink mix: always some amount of fentanyl or another analog, plus benzos, animal tranquilizers (like xylazine, whose side effects appear on limbs as rotting wounds that can require amputation), or Benadryl as fillers that mimic the drowsiness of an opioid while further slowing down breathing. The presence of true heroin is vanishingly rare. It’s why more than one researcher argues for calling the so-called “opioid epidemic” the “mass poisoning epidemic” instead: without a regulated, decriminalized, safer supply of drugs guaranteeing the integrity of the ingested substances, people will continue to be at higher risk for overdose and death. With collective willpower, bravery, and a willingness to try something new, we could ensure that people know exactly what is in their drugs, reducing overdose and overdose death. 

Everyone who died, I met while they lived on Lower Wacker or in the Loop during my weekly walks with photojournalist Lloyd DeGrane, our backpacks full of sterile syringes, snorting kits, condoms, and other lifesaving supplies people who use drugs need but often have little access to. Other people have been doing harm reduction work, legally or illegally, for longer than I’ve been alive. All of the suggestions I’ve listed come from my conversations with them, or others in their community, or the public health workers, caseworkers, and harm reduction allies who fight every day for the right for people to live safely and with dignity. I’m no expert, I’ve never been addicted or unhoused, and my grief and rage are not the biggest in this city, but still, six people I know died last year. I think you should know them too. Here are their stories, via the people who knew and loved them, with some names and identifying details changed for their protection.

Rafael “Ralph” Fernandez Jr. March 20, 1980–February 15, 2022

“Ralph was working so hard, he didn’t have no downtime,” said his friend Dan. Credit: Lloyd DeGrane

I knew what Ralph looked like before I met him, at least from the mask up. In March 2021, he was standing outside of the Ewing Annex Hotel and agreed to let Lloyd snap his photo: it ended up running with my story on the Ewing, the last men’s-only, single-room occupancy hotel in Chicago. Light-brown skin, dark-brown eyes, and a head that was perpetually crooked down, forcing him to look up at the world through the frame of his brows. A couple months later, I met Ralph for real a few blocks away from the hotel, walking with his best friend Dan to go buy drugs. “Hey, it’s me!” he said, smiling now. “I’m the one on page 14!”

Ralph died the day after Valentine’s Day in 2022. One frigid December afternoon ten months later, I met with Dan at the hustle spot he and Ralph used to share. For years, Ralph flew his sign on one side of traffic, Dan on the other. Now Dan, a sun-weathered white man in his late 30s, works alone. We put his sign and my backpack on the frozen ground and sat on them.  Against a brilliant sunset, Dan smoked a cigarillo, careful to wave the smoke away from my direction while he talked. 

Ralph was born in the mainland U.S. and raised in Puerto Rico. When he was about ten, an uncle in Indiana died, and the flight his mother took to get to the mainland was so turbulent that she refused to ever board a plane again. Ralph, his dad, and his brother moved to her, but Indiana was not a welcoming new home. Spanish was Ralph’s first language, which made him a target for white bullies at his new middle school. According to Dan, adulthood is where Ralph really did well. “Most like everybody’s story at one time, he had decent cars, his own apartment, girlfriends,” Dan said. But at some point, he started smoking crack and became addicted, losing his apartment and his job. Ralph told Dan that once he started stealing from his family, they had no choice but to turn him out. 

According to Dan, Ralph came to Chicago looking for housing and for work sometime around 2016. There were some leads, but ultimately, Ralph lived unhoused until he died. Once in the city, his substance use intensified: “Once you come out here in Chicago, dope can be an easy trap to fall into, especially on the street,” Dan explained. Ralph first knew Dan’s wife, Rhonda. After she died of a blood infection, Dan began sleeping at a spot in the Loop where dope was easy to access. Soon, he and Ralph lived there together. “Within a short amount of time, we were always together. You seen one of us, the other one wasn’t too far away.”

They worked their hustle spot together, they went out to the west side to buy drugs together when the Loop was dry. Whatever they did, wherever they were, they had each other’s backs. In one story Dan told me, Ralph’s Spanish came in very useful “when we were at McDonald’s and workers were talking crap about us, making fun because we were homeless.” After a minute or two of pretending not to listen, Ralph would interject in Spanish, embarrassing the workers with his triumphant reveal. “You two are worse than a married couple,” others would tell them, listening to the friends comfortably bicker. 

Dan loved his friend, but their relationship wasn’t uncomplicated: Ralph wasn’t a gifted panhandler, and on the days his money was particularly low, he’d spiral with fear of becoming dopesick. He did things Dan knows he wasn’t proud of. Dan told me twice that Ralph had a very good heart and good intentions. Nine months after Ralph died, Dan remains furious about his death. I saw it in his squint, heard it in the forceful way his words shot out of his mouth. After our interview, he texted me: the dead can’t speak its up to us the people who new them the people that they left behind the ones that cared about them to tell there story.

At some point during the winter of 2022, Ralph told Dan he had a blood infection. At the time, Ralph was working security for a person, also unhoused and addicted, who sold drugs to support their habit. “Ralph was working so hard, he didn’t have no downtime,” said Dan. For reasons of his own, he told few people he was sick, but I heard from one or two others who bought drugs from his employer that, in the weeks or months leading up to his death, Ralph spent at least some time at a hospital.

Dan’s wife Rhonda died of a blood infection precisely because she was terrified to go to the hospital. During our interview and in ensuing phone calls and texts, he remained convinced his best friend died the same way. “These people got blood clots and blood infections. They’re conscious of this for days or weeks, and they’re getting worse and weak,” he told me. “Their bodies are hurting everywhere. They’re throwing up bile and burning up with a fever. They do some dope, and it masks it for a little bit. But once that infection gets in your blood, it’s not gonna go away by itself.” People know they need to go to the hospital, know they need IV antibiotics at the least. But as Dan said, unhoused people with substance disorders also know that if they go to the hospital, they risk being treated “like dirty junkies.” 

The Cook County Medical Examiner’s Office ruled Ralph’s death an accidental polydrug overdose (meaning that more than one substance contributed to his death). Fentanyl, cocaine, diphenhydramine (Benadryl), a fentanyl analogue called despropionyl fentanyl, and possible “trace amounts of heroin” were all found in his system. There’s no secondary cause of death listed, no mention of infection in Ralph’s record. When I shared this news with Dan, he was frustrated. He and Ralph did the same dope. How could Ralph die and Dan live? And Ralph had been dealing with some kind of infection—didn’t that count for anything?

“Tell Ralph’s story, but even more than that, tell that the hospital system needs to be changed,” he told me. “If people knew they could go to the hospital and get properly medicated for their withdrawal symptoms, they would go. Everybody out here knows somebody who died of an infection. They would’ve gone to the hospital, but they feared being dopesick.”

Demarco “Polo” HawesFebruary 13, 1993-March 12, 2022

“You know I don’t wear this fuckin’ mask for no COVID shit,” Polo told the photographer. Credit: Lloyd DeGrane

Polo worked on the same street. I’d long heard about Polo before I met him: Polo and Reavis, Polo and Reavis. Two Latino brothers who had lived in bus stops and tents in the Loop for years, wherever one was, the other was surely nearby. Polo was younger by four years, yet it was easy to mistake him for the elder: tough and cool as he hustled, giving me a nod when I said hey, fast and steady when pushing Reavis’s wheelchair down Randolph in the snow.

Two deaths, one street, one month apart, and both of the dead were seasoned users who knew to go slow, knew not to use alone. Before the medical examiner’s report came back, the rumors flew, fast as bullets. Was Polo, like Ralph, quietly ill with something other than dope sickness? Was the dope both men used deliberately poisoned? As with Ralph, the medical examiner ruled Polo’s death an accidental polydrug overdose: in his case, despropionyl fentanyl, Benadryl, fentanyl, and heroin. 

Polo and Reavis were born in Chicago. Polo lived on and off the streets since he was 13 years old. In childhood, “we got taken by DCFS,” Reavis said. For a little while, the brothers were able to stay together. An aunt took them in, but “things didn’t really go well” between Polo and her, and soon, she sent him back to DCFS. 

Once in their teens, the two brothers gave up on housing and the system that was supposedly trying to protect them. “We decided to try our best to make it,” Reavis said. They began to live in the Loop, panhandling and stealing to survive. The brothers developed relationships with a few regulars who would buy them meals. 

I interviewed Reavis where he lives now, in a stretch of tents near railroad tracks downtown. That’s when I finally learned his name isn’t Reavis, or Rebus, as I’ve so often heard, but Arreavis—three syllables, ah-RREE-vis, like a bird’s call. The roar and clang of incoming trains punctuated our conversation and made it hard to hear. Arreavis is disabled, and his left hand is swollen with infection. Amputation has been recommended, but he’s so far refused for a number of reasons, including financial. “My money hand,” he says: when they see it while he’s panhandling downtown, people tend to give. Throughout our interview, he remained seated inside his tent in the dark with his hand tucked inside his shirt, the soft accumulation of clothing and other living supplies strewn over the tent floor like moss. I squatted at the entrance, my microphone outstretched. 

“It hurts sometimes because I know no matter what, we’re not gonna see each other again, we’re not gonna talk to each other. You can talk, but you’re not gonna get a response,” Arreavis said quietly. He mumbled something else, but the squeal of Metra brakes blotted it out.

“That kinda helps me get through the days.”

What does? I asked.

“Talking to God.”

Arreavis’s best memories of Polo are simple: “Me and him together, looking out for each other, making sure each other ate. Chilling together.” They were each other’s first and best friends. There was nothing they couldn’t discuss. 

“Even though I was the older brother, I know one thing. We was close, real close. We would’ve killed for each other,” Arreavis said. Polo did much of the visible, physical caretaking for them both, but Arreavis supported his brother in ways that went unseen. At some point, Polo spent some time in jail. When he came out, Arreavis made sure he had a place to stay. “He didn’t have no job, but I made things happen in ways that some people look down on,” Arreavis explained. “I had to do what I had to do.”

I asked Arreavis what he wanted to make sure people knew about Polo. His reply was the longest answer he’d given all day. “He was a survivor, but he was strong,” he said. “He had two kids and lost his baby mama. He tried his best, but I feel like things was a little too much. But I’ll always love him, and he’ll always be in my heart. I know he’d want me to get through this, and I know he’d want me to make it up out this struggle. And that’s what I’m gonna do.”

Valerie “Val” ClarkDecember 18, 1986–May 9, 2022

Val poses for a portrait at the camp she called home before the city cleared it to build the Riverwalk. Credit: Lloyd DeGrane

One icy day, Lloyd and I were out searching for the Pigeon Lady when we met Val instead. Lloyd had known her for six years, but it was my first time meeting the woman I’d heard much about. I’d heard she was pretty and knew how to fight, knew how to do what she had to stay alive. Val had a pale face and long, dark hair that swept in front of it while she dozed on the sidewalk outside of a Dunkin’ Donuts on Lake Street. When Lloyd woke her up, she smiled. We had donuts and coffee, and I interviewed her for an hour. She was funny and smart. I can’t find the tape, but after she died, Lloyd wrote a remembrance that he’s agreed to share here. 

Sometimes you do such crazy things with someone that you never forget the moment you did it. Two years ago, I went looking for the body of a person that I knew had been dead for five days. My guide was a woman named Valerie, Val. She was tough as nails and peppered sentences with “fuck this and fuck that,” and “motherfuckin’ bitch ass” when she was really pissed. But this time, it was different. We were on a mission to find the body of someone’s brother, someone’s son, a beloved family member of a family neither one of us had ever known. Valerie led me to a field on the west side of Chicago.

“Don’t get me shot out here Val,” I told her.

“I kind of know where his body might be,” she assured me.

No one else wanted to be involved, just Valerie.

From that field, across a busy street, we could see people walking in and out of the drug house where he, the dead person, had bought the dime bag of dope that killed him. Rumors swirled that the body of this street person, a sweet soul, known to both of us, had been abandoned in that field, left to decompose without dignity. We searched. It was hot. The grass was high. The brush was dense. The people at the drug house looked at us across the field. 

We smelled the corpse before we could see it. We saw a leg, then an arm, then the body, stiff and swollen. Valerie turned away, crying. I called 911. I hadn’t expected her to cry. She had seen death before, many times. She lived on the streets. Demons tore at her soul. But inside, there was compassion and hard love. 

The fire department came. They called a hazardous waste team. I looked across the avenue, drug business as usual, shoppers shopping, servers serving. 

Valerie was inconsolable. She knew the dead man better than I did. “He didn’t deserve to die like this,” she said.

Val was my friend. She was tough. Valerie slept on the streets and roamed dark, dangerous alleys. She was always ready to battle. Her boyfriend called her Rocky. She had been in many fights. She, too, was someone’s daughter, someone’s sister. But today was her last fight. “Ain’t that a bitch,” Valerie might say.

“She loved her fur babies and hoped to have babies of her own one day,” her aunt Cathy Clark-Schramer wrote to me. “Now she is with Jesus, my parents, and my sister. She is with those who love her very much. I like to think of it as they were right by her side and she felt their love, so she went with them.” 

Brittany BurkeJanuary 21, 1990–October 30, 2022

“She was fearless,” said Brittany’s mom Terrie. Credit: Lloyd DeGrane

As a baby, the moment Brittany could crawl, “she was on the go,” her mom Terrie told me. “She was fiercely independent.” We talked one night, shortly before Christmas, while Terrie drove home after her 11-hour workday as a shipping clerk. She now lives in Tennessee, but she raised Brittany and her younger brother in the Chicago area. Everyone downtown mentions Brittany’s cackle and teasing humor when they remember her. (“Jesus, she was such a wonderful person, I can’t say it enough,” her ex-boyfriend Mike Ferguson told me. “She had a really funny laugh . . . it was this little snicker.”) Terrie’s voice on the other end of the line is quiet, tired, but wry. I can hear the resemblance.

“She was fearless,” said Terrie simply, when I asked what she admired most about her daughter. “She loved the city, loved the hustle and bustle. She didn’t have to live that way”—unhoused and roving, camping outside—“but she chose to.” Terrie chuckled a little. “I could never do it.” 

“I’d always told her she could come home, but she had to go get treatment. She needed more than I could do.” Brittany tried multiple rehabs. For a year as a teen, she tried living with her dad out in the North Carolina woods. But the care she needed was complex. Brittany had depression and bipolar disorder and a heart murmur. In her 20s, she contracted endocarditis after an infection from a reused needle settled into her heart valves. She also had Hepatitis C, which—like endocarditis—is a preventable condition if, for example, you have unencumbered access to sterile needles. 

This summer, Brittany’s kidneys started failing. Then, Terrie said, in July, Brittany tried to check herself into Rush and vomited for 17 hours in the emergency waiting room before she gave up and left. Two days later, she tried UIC instead. The doctors she saw realized she’d had a brain aneurysm and admitted her. 

Brittany had brain surgery; a few days later, the bleeding slowed but not stopped, her brain was cauterized. She began dialysis shortly after. And yet, “she survived all that,” said Terrie, marveling a little. Despite her grueling work schedule, throughout July and August, she repeatedly drove from Tennessee and Chicago to be with her daughter. In September, Brittany came home.

“It was good. It was too short,” Terrie said of their time together. When Brittany went in for her first brain surgery, she weighed only 98 pounds. It’s a point of pride for Terrie that, once back with her mom, Brittany’s weight went up to 112 pounds. Terrie and Brittany’s brother, who also lived with them, teased that her drug of choice was now cereal: specifically, Golden Grahams and Lucky Charms. 

They had a month. “One Sunday morning,” Terrie said, “she woke me up. She said she was having trouble breathing.” Terrie called 911. In the emergency room, Brittany repeatedly said she couldn’t breathe. Terrie screamed for help. According to Terrie, the nurse who came over suggested Brittany was having an anxiety attack. Terrie recalled saying, “Lady, her lips are turning blue.” Brittany stopped breathing and died.

Brittany’s cause of death is listed as cardiopulmonary arrest (CPA), which is when breathing and heart functions suddenly stop. CPA is not a heart attack, though it can be caused by one. Terrie still doesn’t understand why, exactly, her daughter is dead.

“I tried so hard to be there for her and not enable her, to let her know that I loved her and was always going to love her,” Terrie said. Brittany knew she was loved: that knowledge brings Terrie some peace. “While addiction wreaked havoc in her life, it didn’t affect that. She was somebody to us.” 

Ron JeschkeJanuary 17, 1985–November 15, 2022

“[I]t doesn’t really matter to us what the cause of death was . . . the bottom line is Ron’s gone,” said Randy Jeschke. Credit: Lloyd DeGrane

“Are you from Tennessee?” Ron asked me the first time I met him at the tent he shared with his girlfriend Kim on Lower Wacker. “Nope,” I replied. Ron grinned and stretched, lanky as cars roared by. “Well, you’re the only ten I see,” he said. I rolled my eyes, but Kim, who was folding clothes, laughed. Then, I was annoyed that he’d make such a cheesy pass in front of his girlfriend. Now, when I recount this memory on the phone with Kim, I see it as a moment of Ron feeling happy and good, feeling himself enough to goof off.

Ron and Kim knew each other as teenagers. After years of back-and-forth crushes and bad timing, they started dating in 2016. “One thing I loved about him was his confidence,” Kim told me. “I mean, this man could wear white shorts with blue and red stripes, Jordans that are black, purple, and orange, a New Kids On the Block shirt, a flower pashmina, and an old baseball cap, and make it look good.”

Ron came up with funny words and sing-song phrases. “He was a fun and caring uncle to my daughter,” his sister Randi wrote to me. Before he was on Lower Wacker, Ron worked for years as a waiter and made friends with the seniors who came in for their Sunday brunch. In good times, Ron and his mother would go on Dunkin’ Donuts runs together. When they first came out to the Loop, Ron had been unhoused before, but Kim had never stayed outside, and she was terrified. Ron made her feel safe. At night, they cuddled, and he held her hand.

The Ron I knew was also difficult. Despair could make him harsh and bitter. He could be honest to the point of rudeness, Kim said, but it wasn’t his intention. “You wanted to be so mad at him for stuff he’d done in the past, but you can’t stay mad at him.” He was tall, with brown eyes and reddish-brown hair. He was skinny when I met him, and got skinnier. One day this summer on a visit to the camp, I couldn’t get him to wake up. He and Kim had broken up, and she was staying elsewhere. I checked his breathing (regular), his color (pale but warm, no blue), and his position (crumpled on his side). I sat for a minute on an overturned milk crate, and then left rigs (sterile needles), more Narcan, and candy just outside the lip of his tent.

“Was he sick?” Ron’s dad Randy asked me on the phone after he died. I wasn’t sure, though I’d heard something on the street about a blood infection. “Still using?” He was. “I guess they did a toxicology screen, but it doesn’t really matter to us what the cause of death was. We’d like to know, but the bottom line is Ron’s gone.” 

Randy was clear to tell me that his family was devastated, and Ron’s mother in particular was suffering in her grief, but they had been waiting for the call telling them Ron was dead for a long time. When he died at age 37, Ron had been addicted to opioids for 15 years. “I’ve got a lot of anger myself about it,” he said. “I listened to Ron repeat the 12 steps forwards and backwards. He held meetings. When he was on methadone, he spoke very openly about his trials and tribulations.”  

Addiction regularly shatters families, but there was a period where Ron lived with his sister and his niece and worked with his dad. Ron told Randy about his former hustles, how he survived at the train station, how he taught others new to sleeping outside the necessary scams to survive. And then there was another relapse. “One day, he was standing in front of me, and I’m looking at him like, ‘What’s going on with you?’ And he just said, ‘It’s time for me to go.’ The look on his face—I think he looked embarrassed.”

Randy looked for him at Union Station. He looked for him at the Bean, where Ron hustled key chains he lifted from Walgreens. He looked for him in Garfield Park, one of the spots where Ron bought his drugs. Eventually, he and Ron reconnected, and Randy would come downtown once a month to meet Kim and Ron for lunch.

“People ask me questions, and I don’t hesitate to tell them he was a heroin addict,” said Randy. “He’s been fighting that battle for a long time. We should be factual, say it the way it is.”

It takes courage to be honest about the circumstances in which a loved one lived and died, especially when the circumstances are as stigmatized as drug use, homelessness, and addiction. Courage, and probably not a little resignation, born from years of trying to save a life and solve a public health problem largely alone. As of this printing, Ron’s cause of death is still unknown. 

Sheila Hope HecksJune 29, 1971– December 2, 2022

“Hope kept herself to herself; everyone knew one thing about her, but no one knew the whole.” Credit: Lloyd DeGrane

Lloyd called her The Wanderer. A young veteran I first met when he was reading Chairman Mao For Kids on a crate outside of Ron’s tent knew her as Sheila. “Have you seen Carlos?” asked a nurse practitioner from the back of The Night Ministry’s street medicine van, his good-natured face slightly crinkled with concern. “We have like six months of his mail.” 

“Hope,” said Hope, when I asked her, once again, to confirm her name.

Hope kept herself to herself; everyone knew one thing about her, but no one knew the whole. Alternately, she introduced herself to me as a bisexual man who goes by he or she, a gay man who uses she/her pronouns, a trans woman, and a self-described former “female impersonator” who used to take hormones until they made her sick. 

Each time Hope told me who she was, that’s who I knew her to be. Like Lower Wacker, Hope was adaptable, mercurial, and sometimes lonely in the dark. She liked purple eyeshadow and nail polish; she followed rumors around the love life of Mayor Lori Lightfoot with interest. Hope detested the illicit drag racers who crashed into the concrete buttress by her head on Saturday nights just as much as she detested Jeff Bezos. As many questions as I had for her, Hope had for me. “How much you spend on cat food? Do your cat eat a lot? What color is he? Is he very friendly? You got cable? You never watch My Cat From Hell? Y’all don’t watch too much TV. How do you like your husband? Ooo, he’s not your husband yet? Well, when will he be? Y’all thinking about getting a big house pretty soon? You have a good job? Can you afford your rent? Is there a lot of crime over there? Mixed neighborhood? Lotta Black folks over there? Puerto Ricans? Lotta good restaurants? Walmarts? Walgreens? You know how to get out of a lockhold? It’s good to know self-defense. Are you safe down here?”

“Are YOU safe down here?” I ask her. Hope says yeah, she’s safe. She shows me her pepper spray, and a long, flat board tucked into her cart. No one has come after her because she hasn’t given them the chance. “I always be looking behind me!”

She liked a spot for everything and lived tidily. Before Hope headed out for the day, she covered her bed—a mattress on some blankets on concrete softened over the years by exhaust dust, pigeon feces, and the detritus that drifts down when the hotels above the camp open their vents for cleaning on Sundays—with a tarp, carefully tucking its corners under her mattress so no rodent could worry its way into her sheets. Once, she was bitten by a rat and had to get five shots in the soft part of her arm. She lived at the same camp Ron did. It was Hope who lived here first, ten years ago, when she lived alone on this bank of concrete, intended for use as a loading dock and shaped like a broken kite. 

Hope didn’t like drugs, but she did like light beer, white wine, and cute cocktails if she could get them. She loved romance novels. Like most of the others, she spent years on and off various housing lists. She was born in Jamaica and moved to Chicago from New York City. Sometimes, if she was feeling social, Hope would push her cart and visit with a couple trans women she knew who stayed further down Lower Wacker, or drink beers with Stephen, a white man who sleeps on a mattress under Lower Wacker but only a few yards away from the Riverwalk and its bustling monetary flow. I wish I knew what they talked about: Hope, who spoke fast and low and ended all of her sentences with “you know?” and Stephen, who is almost entirely deaf, although sometimes he tells me he hears my voice, very clearly, calling his name. 

I tried tracking down Hope’s next of kin but was unsuccessful. She told me that she had a wife who died of breast cancer and an ex-husband. With her wife, she parented five kids, or four, depending on the day I asked. In Hope’s understanding of her life, time bent and looped. At different times in her life, she worked as a makeup artist, for a phone company, and at Walmart. At one point, her son Brian lived with her on Lower Wacker. “He was my baby son,” she told me. Alternately, she said he died from an air bubble in a needle, he froze to death, and he died because someone “gave him some bad drugs.” However it happened, when it happened, Hope, the Wanderer, was out wandering. It was around New Year’s Eve. For some time, the rest of the camp rustling and hustling around him, Brian lay unmoving underneath his covers. The others thought he’d just nodded off and needed some time to rest. When Hope came back, she slapped his covers, called his name. “I don’t blame [the others at the camp] anymore,” Hope told me. Hope watched while someone from the city arrived and put him in a body bag.

“He was my best friend,” Hope said. “We actually got along very good. We stuck together.” It was his belongings she pushed in her cart as she walked. 

After years of homelessness, Hope had her apartment for almost exactly a year. That’s where she died, the morning I sat down to start writing these obituaries. The cause of death was hypertensive heart disease and diabetes, two diseases that, with access to real care in a functioning country, do not have to be terminal. I never did get over to see her, but I’ve no doubt she kept that place cute. Even though she had her apartment, I still saw Hope downtown from time to time, pushing her cart. “I got to get my mind right,” she’d tell us. “I’m walking to clear my mind.” The last time Lloyd and I saw her was in November, walking down Lower Wacker. She told us she liked her place. We told her we’d try to visit soon.

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Chicago’s Oozing Wound change pace with their first grunge record

Lots of bands emerged from the lockdown era writing material with a darker tone than their pre-pandemic work. Local thrashers Oozing Wound take that to a new level with their brand-new LP, We Cater to Cowards (Thrill Jockey). Granted, they’ve never been purveyors of positivity—their catalog includes song titled “Everyone I Hate Should Be Killed,” “Surrounded by Fucking Idiots,” and “Everything Sucks and My Life Is a Lie”—but the vibe shift this time around is palpable. Gone are the snappy Dave Lombardo-style beats, the speedy solos, and the catchy scream-along choruses. Instead we get ten smeared, sludgy, grungy tracks of muddily rhythmic sonic misery. 

The last thing I expected from Oozing Wound was a slow record, but reinvention feels good from a band more than a decade into their career. The way they throw things back to behind-the-beat In Utero and Tad worship feels completely fresh and surprising. Even the boomy, natural reverb of Electrical Audio, where they tracked the record, recalls the sound of early-90s Steve Albini-recorded noise-rock classics. 

By the time the epic horn arrangement barges in on “Crypto Fash,” you’ll be completely engrossed with the band’s updated bag of tricks. And despite the unexpected turns and throwbacks, Oozing Wound weave elements of their classic sound into every track: Kyle Reynolds’s unrelenting drum fury, Kevin Cribbin’s monstrous fuzz bass, and Zack Weil’s dissonant shredding and ear-piercing shrieking. On We Cater to Cowards, Oozing Wound work out the pain and confusion of a hard few years with a new approach, and we’re lucky to have it. It’s complex, dirgy, and dark, and its twists and layers will keep you coming back for repeat listens.

Oozing Wound’s We Cater To Cowards is available through Bandcamp.

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Albert Herring balances indie aesthetic with traditional music

Benjamin Britten’s 1947 opera Albert Herring (set in 1900) has been a perennial production for Chicago Opera Theater. But the new mounting opening tonight at the Athenaeum, helmed by director Stephen Sposito, promises to infuse Britten’s story with what the company is calling an “indie-film vibe.”

Sposito—who was associate director for The Book of Mormon, resident director for the Broadway and touring productions of Wicked, anddirector of the national tour of Shrek the Musical—explains, “We’re still setting it at the turn of the century . . . but, visually, I tried to make it a little kooky.”

Dame Jane Glover, head of Chicago’s Music of the Baroque ensemble and a frequent interpreter of Britten, conducts, while the titular role is sung by Miles Mykkanen, who is performing in his fifth Britten opera. 

Albert Herring1/26-1/29: Thu 7:30 PM, Sat-Sun 3 PM, Athenaeum Center for Thought and Culture, 2936 N. Southport, chicagooperatheater.org, $25-$165

“He’s a composer I feel at home with,” Mykkanen said. “I’ve lived with his music since I was 17 or 18 and starting my training. The opportunity to sing Albert Herring has been at the back of my mind, and I’ve just been waiting for the chance to sing it.”   

Sposito was attracted to both Albert Herring’s “youthful, energetic story” and its “amazing” music.” 

“It’s highly complicated,” he explains. “It’s sort of like a play more than anything. There’s one big aria. It’s all this sort of interwoven, highly complicated music that feels almost like people talking.”

Based on a short story by Guy de Maupassant, it’s a slight tale on the surface. Albert, a shy and malleable young man in a small, English market town, is selected as the May King for the festival when none of the local young ladies are deemed morally upstanding enough to be queen for a day. A local prankster slips alcohol into Albert’s lemonade, causing him to humiliate himself at the ceremony and then run off in search of adventure elsewhere. Eventually, however, he returns—but with a little more starch in his spine.

Once Sposito set to work planning the opera, he was surprised at how complex Britten’s ideas and characters were. 

He says, “I’ve never directed an opera before. I mainly do musical theater and some plays. What a great challenge, and that’s kind of what the play is about: You don’t do one thing. You scare yourself a bit, break out of your box a bit, and try something that’s challenging.”

Sposito, at one point, told Mykkanen that Albert Herring’s evolution in the story “was maybe just 10 percent to the left or the right” from where he was when the story begins.

Mykkanen called Sposito’s idea “so beautiful to me. It’s not like this character has to go through this huge heartbreak or kill somebody like what normally happens in opera. This is just a guy in his late 20s trying to figure out his life, and he realizes he’s not happy, and he asks, ‘What can I do to take control of my own destiny?’” 

Singing a comic role, he notes, is sometimes not as easy as singing a tragic one, because “the way forward is not that obvious. At the end of the scene, when you have to get to the murder or get to the heartbreak, you have to know where you’re going and what you need to build up to emotionally. In comedy, when you don’t have to get to the [tragic] end goal, it’s oftentimes only in your head. You have to figure out the narratives of the scene. It’s trickier.”

Mykkanen nevertheless appreciates that those comic roles often give more leeway for interpretation.

“That’s where, as a singer or actor, you rely on your conductor or your director to help craft the performance,” he says. “Every Albert Herring I do will be different. I’ve done 13 productions of Candide, and they’re kind of similar in that way, where each production is a very different journey and a very different character.  

The youthfulness reflected at the core of Albert Herring inspired Sposito and his collaborators to aim for that independent film aesthetic, exaggerating some stylistic elements or inserting the occasional visual anachronism, all the while making sure the audience won’t be jarred from the story and music. 

The Grand Budapest Hotel was kind of a visual cue for me,” Sposito explains. “How do we treat style and time so that it’s accurate, but it’s not a museum piece either? We have elements of the period—these big, mutton-sleeve shoulders, for example, which we exaggerated and had fun with. Or high collars—what do they say about the characters, or what do they do to them while wearing them?”

The cast of Chicago Opera Theater’s Albert Herring Credit Michael Brosilow

Sposito, currently based in New York, thought when he was younger that he’d one day move to Chicago and work in the theater here, which alas never happened. He’s worked in the Windy City on touring shows, but this is his first Chicago production “from the ground up,” he says.

Directors of musicals usually collaborate closest with their choreographers, but operas require that same level of collaboration between directors and conductors, so Sposito’s relationship with Glover was an important one. The conductor knew Britten and Peter Pears, his partner (who sang the role of Albert in the first production), and Sposito praised both her vast knowledge of Britten’s repertoire and her work ethic.

The conductor’s responsibilities “are not just the music,” Sposito says. “They’re part of the staging of the show and the design of the show. She’s in on all of that. . . . It was such a beautiful relationship, to have someone who knows the piece so well but was also so fun, naughty, cool, and playful. That surprised me.”

Mykkanen calls Albert Herring “the quintessential ensemble piece. There’s 13 of us on stage. There’s no chorus. There aren’t dancers. There aren’t the extra auxiliary forces in opera that we rely on and allow us to frankly take a break.”

Even if Sposito’s setting playfully reinterprets some of Albert Herring’s thematic elements, the precise nature of Britten’s music nevertheless calls for commitment from the cast, Mykkanen suggests. 

He explains, “The rhythms and the brilliant text—when you get it right, it makes sense. When you start screwing around with it too much, that’s when it doesn’t. So the 13 of us have been focusing on the score and working on our accuracy.”

Singing Britten requires “keeping your brain active over the course of an evening,” Mykkanen adds. “There are times when there are two-time signatures happening at the same time—one person is in four, one person is in six, and somehow, every eight bars, we line up. As singers, especially with Jane [conducting], that’s a particular challenge with Britten.” 

Even so, Albert Herring has been a relatively relaxed experience for Sposito, who’s used to the faster pace of directing musicals.

“With commercial theater, it’s about efficiency,” he explains. “‘Cut those bars.’ ‘Get them out sooner.’ With this, we give you the whole score—there are no trims or cuts. It’s almost calmer.  There’s something about doing an opera that you [as a director] just luxuriate in a bit. It can really be about the music, and you can just sit back and listen sometimes.”


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‘She was somebody to us’

In 2022, six people I know from Lower Wacker and the Loop died. The first passed the day after Valentine’s Day, the last on December 2, when I was midway through my first draft of this story and had to adjust my word count to fit in a sixth death when I thought I was mourning five. 

I won’t pretend that I knew each of the dead well. Some of them I met once or twice, while others I knew for two years. Ralph was shy and had a sweet smile. Polo was hard, but his interior was soft as caramel. Rose could fight you or hug you. Brittany loved the uncharted life she lived and chose it to the end. But each time someone died last year, I remade my altar. 

The essential components stay the same: two candles and something sweet-smelling to burn. A thumb-sized statue of the Virgin Mary from my mom. Coins, because metal, like us, comes from the earth, and because these hustlers loved money and deserve to go into the afterlife with full pockets. Then, I add something that reminds me of that person. For Ron, called “Raving Ronnie” in high school because of his goofy outfits and Day-Glo bracelets, I filled a shot glass of rum, the liquor that reminds me most of party boys. For Hope, ever the lady, a shot of vodka and a bottle of purple nail polish I thought she might like.

Each one of these deaths was preventable, including the two accidental drug overdoses. (One cause of death remains undetermined.) Culturally, most of us shrug off overdose deaths as inevitable tragedies—the result of ravenous addiction, if we’re being bighearted, or the result of moral failing, if we’re not. What I need you to understand is that these deaths are policy choices; they are preventable, and we all are accountable for them. 

According to the Cook County Medical Examiner’s Office, 1,599 people died from opioid overdose in 2022. A backlog on autopsies means that number is expected to rise by an additional 400-500, bringing the death total over 2,000 and breaking the record of 1,936 set in 2021. There is evidence that suggests these numbers are an undercount. If you don’t understand the scope of a story, you can’t change how it ends. 

“Believe half of what you see and a quarter of what you hear,” photojournalist Lloyd DeGrane reminds me, and himself, whenever a particularly incendiary rumor winds its way through downtown. 

Many other deaths—blood infections, kidney failures, etc.—are directly related to addiction but are not counted among drug deaths. Even more directly, these deaths are related to us—the people who are housed and not addicted, who have access to health care and alderpeople, who take pictures of the visibly mentally ill or impoverished asleep on the Red Line and post them in online discussions about “crime” on the CTA—and the policy choices we support. 

No one can stop someone else from doing what they want to do, but we can make the circumstances in which they do it less deadly. In fact, in every neighborhood in the city, some family member, drug user, or harm reduction worker is doing just that. The Chicago Recovery Alliance, The Night Ministry, and the West Side Heroin / Opioid Task Force are mobile throughout the city. All provide free syringes, free fentanyl testing kits, free Narcan (the opioid overdose reversal nasal spray anyone can get and learn how to administer here), and more. But they can only reach so many people so often. Imagine, for example, if someone who required new needles could walk into Walgreens and get them for free, thereby avoiding the countless risks that come with reusing or sharing. Instead, they have to pay approximately five dollars per box of ten syringes (limit two boxes) and, for some reason, show a state-issued ID. Out of the 20 or so folks I know downtown, approximately two have their IDs. Without a birth certificate, Social Security card, or permanent address, it can take months to obtain one. 

If you ask people what kind of housing they need, they’ll tell you. If housed, people can use drugs safely and hygienically, instead of in tents with poor lighting, no running water, and prone to frequent invasions by rats, no matter how clean they live. In 2022, Mayor Lightfoot and her City Council allies could have supported Bring Chicago Home, a proposal that would increase the Real Estate Transfer Tax (a one-time tax paid when a property is sold) by 1.9 percent on properties over $1 million, creating a dedicated revenue stream of approximately $164 million annually for permanent, supportive housing for people experiencing homelessness. But on November 14, 2022, Lightfoot and 25 alderpeople (you can read their names here) blocked this proposal from even being discussed in City Council. The next day, my friend Ron died, sick and unhoused, in a stairwell in the Loop. He was 37 years old.

Even the deaths caused by drug overdose carry more nuance than we give them. For example, the dope I’ve seen test results for in the last three years is an everything-but-the-kitchen-sink mix: always some amount of fentanyl or another analog, plus benzos, animal tranquilizers (like xylazine, whose side effects appear on limbs as rotting wounds that can require amputation), or Benadryl as fillers that mimic the drowsiness of an opioid while further slowing down breathing. The presence of true heroin is vanishingly rare. It’s why more than one researcher argues for calling the so-called “opioid epidemic” the “mass poisoning epidemic” instead: without a regulated, decriminalized, safer supply of drugs guaranteeing the integrity of the ingested substances, people will continue to be at higher risk for overdose and death. With collective willpower, bravery, and a willingness to try something new, we could ensure that people know exactly what is in their drugs, reducing overdose and overdose death. 

Everyone who died, I met while they lived on Lower Wacker or in the Loop during my weekly walks with photojournalist Lloyd DeGrane, our backpacks full of sterile syringes, snorting kits, condoms, and other lifesaving supplies people who use drugs need but often have little access to. Other people have been doing harm reduction work, legally or illegally, for longer than I’ve been alive. All of the suggestions I’ve listed come from my conversations with them, or others in their community, or the public health workers, caseworkers, and harm reduction allies who fight every day for the right for people to live safely and with dignity. I’m no expert, I’ve never been addicted or unhoused, and my grief and rage are not the biggest in this city, but still, six people I know died last year. I think you should know them too. Here are their stories, via the people who knew and loved them, with some names and identifying details changed for their protection.

Rafael “Ralph” Fernandez Jr. March 20, 1980–February 15, 2022

“Ralph was working so hard, he didn’t have no downtime,” said his friend Dan. Credit: Lloyd DeGrane

I knew what Ralph looked like before I met him, at least from the mask up. In March 2021, he was standing outside of the Ewing Annex Hotel and agreed to let Lloyd snap his photo: it ended up running with my story on the Ewing, the last men’s-only, single-room occupancy hotel in Chicago. Light-brown skin, dark-brown eyes, and a head that was perpetually crooked down, forcing him to look up at the world through the frame of his brows. A couple months later, I met Ralph for real a few blocks away from the hotel, walking with his best friend Dan to go buy drugs. “Hey, it’s me!” he said, smiling now. “I’m the one on page 14!”

Ralph died the day after Valentine’s Day in 2022. One frigid December afternoon ten months later, I met with Dan at the hustle spot he and Ralph used to share. For years, Ralph flew his sign on one side of traffic, Dan on the other. Now Dan, a sun-weathered white man in his late 30s, works alone. We put his sign and my backpack on the frozen ground and sat on them.  Against a brilliant sunset, Dan smoked a cigarillo, careful to wave the smoke away from my direction while he talked. 

Ralph was born in the mainland U.S. and raised in Puerto Rico. When he was about ten, an uncle in Indiana died, and the flight his mother took to get to the mainland was so turbulent that she refused to ever board a plane again. Ralph, his dad, and his brother moved to her, but Indiana was not a welcoming new home. Spanish was Ralph’s first language, which made him a target for white bullies at his new middle school. According to Dan, adulthood is where Ralph really did well. “Most like everybody’s story at one time, he had decent cars, his own apartment, girlfriends,” Dan said. But at some point, he started smoking crack and became addicted, losing his apartment and his job. Ralph told Dan that once he started stealing from his family, they had no choice but to turn him out. 

According to Dan, Ralph came to Chicago looking for housing and for work sometime around 2016. There were some leads, but ultimately, Ralph lived unhoused until he died. Once in the city, his substance use intensified: “Once you come out here in Chicago, dope can be an easy trap to fall into, especially on the street,” Dan explained. Ralph first knew Dan’s wife, Rhonda. After she died of a blood infection, Dan began sleeping at a spot in the Loop where dope was easy to access. Soon, he and Ralph lived there together. “Within a short amount of time, we were always together. You seen one of us, the other one wasn’t too far away.”

They worked their hustle spot together, they went out to the west side to buy drugs together when the Loop was dry. Whatever they did, wherever they were, they had each other’s backs. In one story Dan told me, Ralph’s Spanish came in very useful “when we were at McDonald’s and workers were talking crap about us, making fun because we were homeless.” After a minute or two of pretending not to listen, Ralph would interject in Spanish, embarrassing the workers with his triumphant reveal. “You two are worse than a married couple,” others would tell them, listening to the friends comfortably bicker. 

Dan loved his friend, but their relationship wasn’t uncomplicated: Ralph wasn’t a gifted panhandler, and on the days his money was particularly low, he’d spiral with fear of becoming dopesick. He did things Dan knows he wasn’t proud of. Dan told me twice that Ralph had a very good heart and good intentions. Nine months after Ralph died, Dan remains furious about his death. I saw it in his squint, heard it in the forceful way his words shot out of his mouth. After our interview, he texted me: the dead can’t speak its up to us the people who new them the people that they left behind the ones that cared about them to tell there story.

At some point during the winter of 2022, Ralph told Dan he had a blood infection. At the time, Ralph was working security for a person, also unhoused and addicted, who sold drugs to support their habit. “Ralph was working so hard, he didn’t have no downtime,” said Dan. For reasons of his own, he told few people he was sick, but I heard from one or two others who bought drugs from his employer that, in the weeks or months leading up to his death, Ralph spent at least some time at a hospital.

Dan’s wife Rhonda died of a blood infection precisely because she was terrified to go to the hospital. During our interview and in ensuing phone calls and texts, he remained convinced his best friend died the same way. “These people got blood clots and blood infections. They’re conscious of this for days or weeks, and they’re getting worse and weak,” he told me. “Their bodies are hurting everywhere. They’re throwing up bile and burning up with a fever. They do some dope, and it masks it for a little bit. But once that infection gets in your blood, it’s not gonna go away by itself.” People know they need to go to the hospital, know they need IV antibiotics at the least. But as Dan said, unhoused people with substance disorders also know that if they go to the hospital, they risk being treated “like dirty junkies.” 

The Cook County Medical Examiner’s Office ruled Ralph’s death an accidental polydrug overdose (meaning that more than one substance contributed to his death). Fentanyl, cocaine, diphenhydramine (Benadryl), a fentanyl analogue called despropionyl fentanyl, and possible “trace amounts of heroin” were all found in his system. There’s no secondary cause of death listed, no mention of infection in Ralph’s record. When I shared this news with Dan, he was frustrated. He and Ralph did the same dope. How could Ralph die and Dan live? And Ralph had been dealing with some kind of infection—didn’t that count for anything?

“Tell Ralph’s story, but even more than that, tell that the hospital system needs to be changed,” he told me. “If people knew they could go to the hospital and get properly medicated for their withdrawal symptoms, they would go. Everybody out here knows somebody who died of an infection. They would’ve gone to the hospital, but they feared being dopesick.”

Demarco “Polo” HawesFebruary 13, 1993-March 12, 2022

“You know I don’t wear this fuckin’ mask for no COVID shit,” Polo told the photographer. Credit: Lloyd DeGrane

Polo worked on the same street. I’d long heard about Polo before I met him: Polo and Reavis, Polo and Reavis. Two Latino brothers who had lived in bus stops and tents in the Loop for years, wherever one was, the other was surely nearby. Polo was younger by four years, yet it was easy to mistake him for the elder: tough and cool as he hustled, giving me a nod when I said hey, fast and steady when pushing Reavis’s wheelchair down Randolph in the snow.

Two deaths, one street, one month apart, and both of the dead were seasoned users who knew to go slow, knew not to use alone. Before the medical examiner’s report came back, the rumors flew, fast as bullets. Was Polo, like Ralph, quietly ill with something other than dope sickness? Was the dope both men used deliberately poisoned? As with Ralph, the medical examiner ruled Polo’s death an accidental polydrug overdose: in his case, despropionyl fentanyl, Benadryl, fentanyl, and heroin. 

Polo and Reavis were born in Chicago. Polo lived on and off the streets since he was 13 years old. In childhood, “we got taken by DCFS,” Reavis said. For a little while, the brothers were able to stay together. An aunt took them in, but “things didn’t really go well” between Polo and her, and soon, she sent him back to DCFS. 

Once in their teens, the two brothers gave up on housing and the system that was supposedly trying to protect them. “We decided to try our best to make it,” Reavis said. They began to live in the Loop, panhandling and stealing to survive. The brothers developed relationships with a few regulars who would buy them meals. 

I interviewed Reavis where he lives now, in a stretch of tents near railroad tracks downtown. That’s when I finally learned his name isn’t Reavis, or Rebus, as I’ve so often heard, but Arreavis—three syllables, ah-RREE-vis, like a bird’s call. The roar and clang of incoming trains punctuated our conversation and made it hard to hear. Arreavis is disabled, and his left hand is swollen with infection. Amputation has been recommended, but he’s so far refused for a number of reasons, including financial. “My money hand,” he says: when they see it while he’s panhandling downtown, people tend to give. Throughout our interview, he remained seated inside his tent in the dark with his hand tucked inside his shirt, the soft accumulation of clothing and other living supplies strewn over the tent floor like moss. I squatted at the entrance, my microphone outstretched. 

“It hurts sometimes because I know no matter what, we’re not gonna see each other again, we’re not gonna talk to each other. You can talk, but you’re not gonna get a response,” Arreavis said quietly. He mumbled something else, but the squeal of Metra brakes blotted it out.

“That kinda helps me get through the days.”

What does? I asked.

“Talking to God.”

Arreavis’s best memories of Polo are simple: “Me and him together, looking out for each other, making sure each other ate. Chilling together.” They were each other’s first and best friends. There was nothing they couldn’t discuss. 

“Even though I was the older brother, I know one thing. We was close, real close. We would’ve killed for each other,” Arreavis said. Polo did much of the visible, physical caretaking for them both, but Arreavis supported his brother in ways that went unseen. At some point, Polo spent some time in jail. When he came out, Arreavis made sure he had a place to stay. “He didn’t have no job, but I made things happen in ways that some people look down on,” Arreavis explained. “I had to do what I had to do.”

I asked Arreavis what he wanted to make sure people knew about Polo. His reply was the longest answer he’d given all day. “He was a survivor, but he was strong,” he said. “He had two kids and lost his baby mama. He tried his best, but I feel like things was a little too much. But I’ll always love him, and he’ll always be in my heart. I know he’d want me to get through this, and I know he’d want me to make it up out this struggle. And that’s what I’m gonna do.”

Valerie “Val” ClarkDecember 18, 1986–May 9, 2022

Val poses for a portrait at the camp she called home before the city cleared it to build the Riverwalk. Credit: Lloyd DeGrane

One icy day, Lloyd and I were out searching for the Pigeon Lady when we met Val instead. Lloyd had known her for six years, but it was my first time meeting the woman I’d heard much about. I’d heard she was pretty and knew how to fight, knew how to do what she had to stay alive. Val had a pale face and long, dark hair that swept in front of it while she dozed on the sidewalk outside of a Dunkin’ Donuts on Lake Street. When Lloyd woke her up, she smiled. We had donuts and coffee, and I interviewed her for an hour. She was funny and smart. I can’t find the tape, but after she died, Lloyd wrote a remembrance that he’s agreed to share here. 

Sometimes you do such crazy things with someone that you never forget the moment you did it. Two years ago, I went looking for the body of a person that I knew had been dead for five days. My guide was a woman named Valerie, Val. She was tough as nails and peppered sentences with “fuck this and fuck that,” and “motherfuckin’ bitch ass” when she was really pissed. But this time, it was different. We were on a mission to find the body of someone’s brother, someone’s son, a beloved family member of a family neither one of us had ever known. Valerie led me to a field on the west side of Chicago.

“Don’t get me shot out here Val,” I told her.

“I kind of know where his body might be,” she assured me.

No one else wanted to be involved, just Valerie.

From that field, across a busy street, we could see people walking in and out of the drug house where he, the dead person, had bought the dime bag of dope that killed him. Rumors swirled that the body of this street person, a sweet soul, known to both of us, had been abandoned in that field, left to decompose without dignity. We searched. It was hot. The grass was high. The brush was dense. The people at the drug house looked at us across the field. 

We smelled the corpse before we could see it. We saw a leg, then an arm, then the body, stiff and swollen. Valerie turned away, crying. I called 911. I hadn’t expected her to cry. She had seen death before, many times. She lived on the streets. Demons tore at her soul. But inside, there was compassion and hard love. 

The fire department came. They called a hazardous waste team. I looked across the avenue, drug business as usual, shoppers shopping, servers serving. 

Valerie was inconsolable. She knew the dead man better than I did. “He didn’t deserve to die like this,” she said.

Val was my friend. She was tough. Valerie slept on the streets and roamed dark, dangerous alleys. She was always ready to battle. Her boyfriend called her Rocky. She had been in many fights. She, too, was someone’s daughter, someone’s sister. But today was her last fight. “Ain’t that a bitch,” Valerie might say.

“She loved her fur babies and hoped to have babies of her own one day,” her aunt Cathy Clark-Schramer wrote to me. “Now she is with Jesus, my parents, and my sister. She is with those who love her very much. I like to think of it as they were right by her side and she felt their love, so she went with them.” 

Brittany BurkeJanuary 21, 1990–October 30, 2022

“She was fearless,” said Brittany’s mom Terrie. Credit: Lloyd DeGrane

As a baby, the moment Brittany could crawl, “she was on the go,” her mom Terrie told me. “She was fiercely independent.” We talked one night, shortly before Christmas, while Terrie drove home after her 11-hour workday as a shipping clerk. She now lives in Tennessee, but she raised Brittany and her younger brother in the Chicago area. Everyone downtown mentions Brittany’s cackle and teasing humor when they remember her. (“Jesus, she was such a wonderful person, I can’t say it enough,” her ex-boyfriend Mike Ferguson told me. “She had a really funny laugh . . . it was this little snicker.”) Terrie’s voice on the other end of the line is quiet, tired, but wry. I can hear the resemblance.

“She was fearless,” said Terrie simply, when I asked what she admired most about her daughter. “She loved the city, loved the hustle and bustle. She didn’t have to live that way”—unhoused and roving, camping outside—“but she chose to.” Terrie chuckled a little. “I could never do it.” 

“I’d always told her she could come home, but she had to go get treatment. She needed more than I could do.” Brittany tried multiple rehabs. For a year as a teen, she tried living with her dad out in the North Carolina woods. But the care she needed was complex. Brittany had depression and bipolar disorder and a heart murmur. In her 20s, she contracted endocarditis after an infection from a reused needle settled into her heart valves. She also had Hepatitis C, which—like endocarditis—is a preventable condition if, for example, you have unencumbered access to sterile needles. 

This summer, Brittany’s kidneys started failing. Then, Terrie said, in July, Brittany tried to check herself into Rush and vomited for 17 hours in the emergency waiting room before she gave up and left. Two days later, she tried UIC instead. The doctors she saw realized she’d had a brain aneurysm and admitted her. 

Brittany had brain surgery; a few days later, the bleeding slowed but not stopped, her brain was cauterized. She began dialysis shortly after. And yet, “she survived all that,” said Terrie, marveling a little. Despite her grueling work schedule, throughout July and August, she repeatedly drove from Tennessee and Chicago to be with her daughter. In September, Brittany came home.

“It was good. It was too short,” Terrie said of their time together. When Brittany went in for her first brain surgery, she weighed only 98 pounds. It’s a point of pride for Terrie that, once back with her mom, Brittany’s weight went up to 112 pounds. Terrie and Brittany’s brother, who also lived with them, teased that her drug of choice was now cereal: specifically, Golden Grahams and Lucky Charms. 

They had a month. “One Sunday morning,” Terrie said, “she woke me up. She said she was having trouble breathing.” Terrie called 911. In the emergency room, Brittany repeatedly said she couldn’t breathe. Terrie screamed for help. According to Terrie, the nurse who came over suggested Brittany was having an anxiety attack. Terrie recalled saying, “Lady, her lips are turning blue.” Brittany stopped breathing and died.

Brittany’s cause of death is listed as cardiopulmonary arrest (CPA), which is when breathing and heart functions suddenly stop. CPA is not a heart attack, though it can be caused by one. Terrie still doesn’t understand why, exactly, her daughter is dead.

“I tried so hard to be there for her and not enable her, to let her know that I loved her and was always going to love her,” Terrie said. Brittany knew she was loved: that knowledge brings Terrie some peace. “While addiction wreaked havoc in her life, it didn’t affect that. She was somebody to us.” 

Ron JeschkeJanuary 17, 1985–November 15, 2022

“[I]t doesn’t really matter to us what the cause of death was . . . the bottom line is Ron’s gone,” said Randy Jeschke. Credit: Lloyd DeGrane

“Are you from Tennessee?” Ron asked me the first time I met him at the tent he shared with his girlfriend Kim on Lower Wacker. “Nope,” I replied. Ron grinned and stretched, lanky as cars roared by. “Well, you’re the only ten I see,” he said. I rolled my eyes, but Kim, who was folding clothes, laughed. Then, I was annoyed that he’d make such a cheesy pass in front of his girlfriend. Now, when I recount this memory on the phone with Kim, I see it as a moment of Ron feeling happy and good, feeling himself enough to goof off.

Ron and Kim knew each other as teenagers. After years of back-and-forth crushes and bad timing, they started dating in 2016. “One thing I loved about him was his confidence,” Kim told me. “I mean, this man could wear white shorts with blue and red stripes, Jordans that are black, purple, and orange, a New Kids On the Block shirt, a flower pashmina, and an old baseball cap, and make it look good.”

Ron came up with funny words and sing-song phrases. “He was a fun and caring uncle to my daughter,” his sister Randi wrote to me. Before he was on Lower Wacker, Ron worked for years as a waiter and made friends with the seniors who came in for their Sunday brunch. In good times, Ron and his mother would go on Dunkin’ Donuts runs together. When they first came out to the Loop, Ron had been unhoused before, but Kim had never stayed outside, and she was terrified. Ron made her feel safe. At night, they cuddled, and he held her hand.

The Ron I knew was also difficult. Despair could make him harsh and bitter. He could be honest to the point of rudeness, Kim said, but it wasn’t his intention. “You wanted to be so mad at him for stuff he’d done in the past, but you can’t stay mad at him.” He was tall, with brown eyes and reddish-brown hair. He was skinny when I met him, and got skinnier. One day this summer on a visit to the camp, I couldn’t get him to wake up. He and Kim had broken up, and she was staying elsewhere. I checked his breathing (regular), his color (pale but warm, no blue), and his position (crumpled on his side). I sat for a minute on an overturned milk crate, and then left rigs (sterile needles), more Narcan, and candy just outside the lip of his tent.

“Was he sick?” Ron’s dad Randy asked me on the phone after he died. I wasn’t sure, though I’d heard something on the street about a blood infection. “Still using?” He was. “I guess they did a toxicology screen, but it doesn’t really matter to us what the cause of death was. We’d like to know, but the bottom line is Ron’s gone.” 

Randy was clear to tell me that his family was devastated, and Ron’s mother in particular was suffering in her grief, but they had been waiting for the call telling them Ron was dead for a long time. When he died at age 37, Ron had been addicted to opioids for 15 years. “I’ve got a lot of anger myself about it,” he said. “I listened to Ron repeat the 12 steps forwards and backwards. He held meetings. When he was on methadone, he spoke very openly about his trials and tribulations.”  

Addiction regularly shatters families, but there was a period where Ron lived with his sister and his niece and worked with his dad. Ron told Randy about his former hustles, how he survived at the train station, how he taught others new to sleeping outside the necessary scams to survive. And then there was another relapse. “One day, he was standing in front of me, and I’m looking at him like, ‘What’s going on with you?’ And he just said, ‘It’s time for me to go.’ The look on his face—I think he looked embarrassed.”

Randy looked for him at Union Station. He looked for him at the Bean, where Ron hustled key chains he lifted from Walgreens. He looked for him in Garfield Park, one of the spots where Ron bought his drugs. Eventually, he and Ron reconnected, and Randy would come downtown once a month to meet Kim and Ron for lunch.

“People ask me questions, and I don’t hesitate to tell them he was a heroin addict,” said Randy. “He’s been fighting that battle for a long time. We should be factual, say it the way it is.”

It takes courage to be honest about the circumstances in which a loved one lived and died, especially when the circumstances are as stigmatized as drug use, homelessness, and addiction. Courage, and probably not a little resignation, born from years of trying to save a life and solve a public health problem largely alone. As of this printing, Ron’s cause of death is still unknown. 

Sheila Hope HecksJune 29, 1971– December 2, 2022

“Hope kept herself to herself; everyone knew one thing about her, but no one knew the whole.” Credit: Lloyd DeGrane

Lloyd called her The Wanderer. A young veteran I first met when he was reading Chairman Mao For Kids on a crate outside of Ron’s tent knew her as Sheila. “Have you seen Carlos?” asked a nurse practitioner from the back of The Night Ministry’s street medicine van, his good-natured face slightly crinkled with concern. “We have like six months of his mail.” 

“Hope,” said Hope, when I asked her, once again, to confirm her name.

Hope kept herself to herself; everyone knew one thing about her, but no one knew the whole. Alternately, she introduced herself to me as a bisexual man who goes by he or she, a gay man who uses she/her pronouns, a trans woman, and a self-described former “female impersonator” who used to take hormones until they made her sick. 

Each time Hope told me who she was, that’s who I knew her to be. Like Lower Wacker, Hope was adaptable, mercurial, and sometimes lonely in the dark. She liked purple eyeshadow and nail polish; she followed rumors around the love life of Mayor Lori Lightfoot with interest. Hope detested the illicit drag racers who crashed into the concrete buttress by her head on Saturday nights just as much as she detested Jeff Bezos. As many questions as I had for her, Hope had for me. “How much you spend on cat food? Do your cat eat a lot? What color is he? Is he very friendly? You got cable? You never watch My Cat From Hell? Y’all don’t watch too much TV. How do you like your husband? Ooo, he’s not your husband yet? Well, when will he be? Y’all thinking about getting a big house pretty soon? You have a good job? Can you afford your rent? Is there a lot of crime over there? Mixed neighborhood? Lotta Black folks over there? Puerto Ricans? Lotta good restaurants? Walmarts? Walgreens? You know how to get out of a lockhold? It’s good to know self-defense. Are you safe down here?”

“Are YOU safe down here?” I ask her. Hope says yeah, she’s safe. She shows me her pepper spray, and a long, flat board tucked into her cart. No one has come after her because she hasn’t given them the chance. “I always be looking behind me!”

She liked a spot for everything and lived tidily. Before Hope headed out for the day, she covered her bed—a mattress on some blankets on concrete softened over the years by exhaust dust, pigeon feces, and the detritus that drifts down when the hotels above the camp open their vents for cleaning on Sundays—with a tarp, carefully tucking its corners under her mattress so no rodent could worry its way into her sheets. Once, she was bitten by a rat and had to get five shots in the soft part of her arm. She lived at the same camp Ron did. It was Hope who lived here first, ten years ago, when she lived alone on this bank of concrete, intended for use as a loading dock and shaped like a broken kite. 

Hope didn’t like drugs, but she did like light beer, white wine, and cute cocktails if she could get them. She loved romance novels. Like most of the others, she spent years on and off various housing lists. She was born in Jamaica and moved to Chicago from New York City. Sometimes, if she was feeling social, Hope would push her cart and visit with a couple trans women she knew who stayed further down Lower Wacker, or drink beers with Stephen, a white man who sleeps on a mattress under Lower Wacker but only a few yards away from the Riverwalk and its bustling monetary flow. I wish I knew what they talked about: Hope, who spoke fast and low and ended all of her sentences with “you know?” and Stephen, who is almost entirely deaf, although sometimes he tells me he hears my voice, very clearly, calling his name. 

I tried tracking down Hope’s next of kin but was unsuccessful. She told me that she had a wife who died of breast cancer and an ex-husband. With her wife, she parented five kids, or four, depending on the day I asked. In Hope’s understanding of her life, time bent and looped. At different times in her life, she worked as a makeup artist, for a phone company, and at Walmart. At one point, her son Brian lived with her on Lower Wacker. “He was my baby son,” she told me. Alternately, she said he died from an air bubble in a needle, he froze to death, and he died because someone “gave him some bad drugs.” However it happened, when it happened, Hope, the Wanderer, was out wandering. It was around New Year’s Eve. For some time, the rest of the camp rustling and hustling around him, Brian lay unmoving underneath his covers. The others thought he’d just nodded off and needed some time to rest. When Hope came back, she slapped his covers, called his name. “I don’t blame [the others at the camp] anymore,” Hope told me. Hope watched while someone from the city arrived and put him in a body bag.

“He was my best friend,” Hope said. “We actually got along very good. We stuck together.” It was his belongings she pushed in her cart as she walked. 

After years of homelessness, Hope had her apartment for almost exactly a year. That’s where she died, the morning I sat down to start writing these obituaries. The cause of death was hypertensive heart disease and diabetes, two diseases that, with access to real care in a functioning country, do not have to be terminal. I never did get over to see her, but I’ve no doubt she kept that place cute. Even though she had her apartment, I still saw Hope downtown from time to time, pushing her cart. “I got to get my mind right,” she’d tell us. “I’m walking to clear my mind.” The last time Lloyd and I saw her was in November, walking down Lower Wacker. She told us she liked her place. We told her we’d try to visit soon.

Read More

‘She was somebody to us’ Read More »

Resolute

The Reader’s EIC strikes a pose outside of the Bankers Building (aka the Clark Adams Building). Credit: Enrique Limón

The cover for our Volume 52, Number eight print issue features an illustration by Frank Okay Credit: Frank Okay

As January inches to a close, it’s a good time to take stock of what this year has been like thus far, and where we stand on those pesky New Year’s resolutions we promised we’d actually stick to this time around. Remember those? Well, smart indoor rowing machine, meet the storage unit; promise to drop ten pounds, meet Carnicería Maribel’s delectable torta de carnitas.

A few weeks back, during our first editorial meeting of the year, I asked editorial staffers to come up with a personal newsroom resolution, and share it in a singular word with no context. It was an interesting experiment that produced terms like a promising “yes,” “collaboration,” “determination,” and a stoically self-explanatory “journalism.”

Mine was “re-energize.” I chose that word because it symbolizes so much of where I’d like for the Reader to head and expand. We’re lucky enough to have a dynamic and resilient team that, with a few battle scars under its belt, remains steadfast in producing quality journalism and shining a light on wrongs that should be corrected, as well as on the people, movements and moments, and very particularly in this issue, the artists and visionaries that make our city such a unique place to call home.

My commitment to what we do was recently reenergized when I found myself during a brisk morning strolling past Clark Street’s Bankers Building. The Burnham Brothers’ 41-story behemoth has held many distinctions since it was first opened in 1927: it’s the city’s tallest all-brick edifice, and its 19th floor once housed the FBI office tasked with taking down notorious bank robber John Dillinger. For a while, it also served as headquarters for Medill’s central Loop newsroom. 

It was there where I arrived as a wide-eyed freelancer in the summer of 2009, to be part of the journalism school’s final Academy for Alternative Journalism, a project the Reader originated in conjunction with Northwestern a decade prior.

I remember the first time I entered through the building’s revolving door, a Chicago staple that’s not as commonplace back in the homeland, and holding onto the brass handlebar as a giddy inner voice said, “That was fun—let’s do it again!”

Going past the skyscraper again, all these years later and with nary anyone else around, I reflected and paused. The structure not only was ground zero for what would be my rip-roaring career in the alt-weekly industry, but it would also double as shelter on more than one occasion. See, I’d pitched the idea that I would experience the real Chicago by crashing at strangers’ homes I’d find on the newishly launched couchsurfing.com. More than a potential story though, it was a way for me to guarantee shelter during my Windy City stint, as I’d arrived in town with something like $60 in my bank account, and the fellowship’s stipend would only go so far.

I would have been too humiliated to share this back then, but lodging plans would sometimes fall through, and money would be extra tight, so without anyone ever knowing, I slept on the newsroom floor on more than one occasion. I developed a system: I’d lay out a couple of sofa cushions under my desk, make sure to set an alarm to go off before the morning cleaning crew arrived, make myself presentable in the newsroom bathroom, and hopefully scrounge up some food from the break room fridge’s communal shelf. Sometimes it was someone else’s leftovers; sometimes I lucked out and it was an intact Yoplait yogurt.

I have no shame in sharing this now. 

Through it all, I somehow managed to never get down on myself. Are you kidding me? I got to call this incredible town home for at least a couple of months. This is where I belonged. I’d also have the opportunity to hone my skills and meet industry leaders who I still consider mentors to this day. 

The winter chill nipping at my nose, I stood there for a minute, took the full circle moment in, and snapped a quick pic as a humble reminder. 

Looking back, I now cherish that hardship, and hold that freelancer’s unabashed perseverance near to my heart, because it all brought me to where I am now. I resolve to honor him and his big, seemingly unattainable dreams, and to let our shared energy carry me into these next 11 months—and beyond.

Winter Theater and arts preview


Beyond Jane Eyre

Charlotte Brontë’s last novel takes the spotlight at Lookingglass.


‘Utopia is a place that accommodates every body’

Ariella Granados builds community for artists with disabilities.


Warholian diptych

Two plays show the artist at very different points in his life.

More from the issue (Volume 52, number 8)


Dan O’Conor, the Great Lake Jumper

“There were no stages to play—I think for these artists to come down and play one or two songs, it kind of gave them a stage or venue.”


The afterlives of Lawrence Steger

A group exhibition examines the late performance artist’s legacy.


Chicago rapper Mugen! the Human flirts with pop melody on For Her Consideration


Not your average camp

Newport Theater offers a haven for burlesque and a whole lot more.


The strength of community


Who’s getting tarred?

Marin Alsop’s issue with Tár


Jen B. Larson exalts our punk mothers in the new book Hit Girls

The Reader shares Larson’s chapters about Chicago acts Bitch and Kate Fagan.


The Brokedowns make scruffy, silly punk that satisfies


Super Sad Black Girl plumbs the highs and lows of life 

Diamond Sharp’s debut poetry collection cuts as deeply as it heals.


Chicago artists converge to sound the alarm in the fight for reproductive rights


Kankakee band Doghead play posthardcore with plenty of bite


Drag City more than doubles the posthumous catalog of outsider punk J.T. IV

Plus: Golden Dagger launches a series on music and spirituality with host William Murray-Rodriguez and guests Jessica Risker and Angel Marcloid.


Alash bring traditional Tuvan throat singing to the Old Town School


Oddisee does what he wants on the polished new album To What End


Squirrel Flower braces herself for love’s unbridled force on new single ‘Your Love’


Remembering the Big Boss Lady

Drummer and singer Johnnie Mae Dunson built her career in the kind of powerful gutbucket blues almost entirely dominated by men.

Read More

Resolute Read More »

Resolute

The Reader’s EIC strikes a pose outside of the Bankers Building (aka the Clark Adams Building). Credit: Enrique Limón

The cover for our Volume 52, Number eight print issue features an illustration by Frank Okay Credit: Frank Okay

As January inches to a close, it’s a good time to take stock of what this year has been like thus far, and where we stand on those pesky New Year’s resolutions we promised we’d actually stick to this time around. Remember those? Well, smart indoor rowing machine, meet the storage unit; promise to drop ten pounds, meet Carnicería Maribel’s delectable torta de carnitas.

A few weeks back, during our first editorial meeting of the year, I asked editorial staffers to come up with a personal newsroom resolution, and share it in a singular word with no context. It was an interesting experiment that produced terms like a promising “yes,” “collaboration,” “determination,” and a stoically self-explanatory “journalism.”

Mine was “re-energize.” I chose that word because it symbolizes so much of where I’d like for the Reader to head and expand. We’re lucky enough to have a dynamic and resilient team that, with a few battle scars under its belt, remains steadfast in producing quality journalism and shining a light on wrongs that should be corrected, as well as on the people, movements and moments, and very particularly in this issue, the artists and visionaries that make our city such a unique place to call home.

My commitment to what we do was recently reenergized when I found myself during a brisk morning strolling past Clark Street’s Bankers Building. The Burnham Brothers’ 41-story behemoth has held many distinctions since it was first opened in 1927: it’s the city’s tallest all-brick edifice, and its 19th floor once housed the FBI office tasked with taking down notorious bank robber John Dillinger. For a while, it also served as headquarters for Medill’s central Loop newsroom. 

It was there where I arrived as a wide-eyed freelancer in the summer of 2009, to be part of the journalism school’s final Academy for Alternative Journalism, a project the Reader originated in conjunction with Northwestern a decade prior.

I remember the first time I entered through the building’s revolving door, a Chicago staple that’s not as commonplace back in the homeland, and holding onto the brass handlebar as a giddy inner voice said, “That was fun—let’s do it again!”

Going past the skyscraper again, all these years later and with nary anyone else around, I reflected and paused. The structure not only was ground zero for what would be my rip-roaring career in the alt-weekly industry, but it would also double as shelter on more than one occasion. See, I’d pitched the idea that I would experience the real Chicago by crashing at strangers’ homes I’d find on the newishly launched couchsurfing.com. More than a potential story though, it was a way for me to guarantee shelter during my Windy City stint, as I’d arrived in town with something like $60 in my bank account, and the fellowship’s stipend would only go so far.

I would have been too humiliated to share this back then, but lodging plans would sometimes fall through, and money would be extra tight, so without anyone ever knowing, I slept on the newsroom floor on more than one occasion. I developed a system: I’d lay out a couple of sofa cushions under my desk, make sure to set an alarm to go off before the morning cleaning crew arrived, make myself presentable in the newsroom bathroom, and hopefully scrounge up some food from the break room fridge’s communal shelf. Sometimes it was someone else’s leftovers; sometimes I lucked out and it was an intact Yoplait yogurt.

I have no shame in sharing this now. 

Through it all, I somehow managed to never get down on myself. Are you kidding me? I got to call this incredible town home for at least a couple of months. This is where I belonged. I’d also have the opportunity to hone my skills and meet industry leaders who I still consider mentors to this day. 

The winter chill nipping at my nose, I stood there for a minute, took the full circle moment in, and snapped a quick pic as a humble reminder. 

Looking back, I now cherish that hardship, and hold that freelancer’s unabashed perseverance near to my heart, because it all brought me to where I am now. I resolve to honor him and his big, seemingly unattainable dreams, and to let our shared energy carry me into these next 11 months—and beyond.

Winter Theater and arts preview


Beyond Jane Eyre

Charlotte Brontë’s last novel takes the spotlight at Lookingglass.


‘Utopia is a place that accommodates every body’

Ariella Granados builds community for artists with disabilities.


Warholian diptych

Two plays show the artist at very different points in his life.

More from the issue (Volume 52, number 8)


Dan O’Conor, the Great Lake Jumper

“There were no stages to play—I think for these artists to come down and play one or two songs, it kind of gave them a stage or venue.”


The afterlives of Lawrence Steger

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Dan O’Conor, the Great Lake Jumper

Dan O’Conor is best known as the Great Lake Jumper, but he’s also a Chicago-based artist and owns T-shirt company Dtox Designs. Raised in the north suburbs, O’Conor began going to concerts in the city in the early 80s, and his passion for live music led him to a career in the music and media industry. Over the years he’s worked for Spin, Grooveshark, Chris Schuba’s long-running national ad-sales firm, and others. 

During lockdown O’Conor rode his bike from Lincoln Square to Lake Michigan and jumped in. It felt so good that he came back and did it again. And again. Eventually, his morning jumps became a local phenomenon, especially as local musicians—among them Jon Langford, Mucca Pazza, and Mute Duo—joined him by the lake to play a song or two, helping raise money for O’Conor’s organization of choice, the Chicago Independent Venue League (CIVL).

Lockdown is long over, but O’Conor is still making daily treks to the lake. He likes to wear the Motörhead shorts he got at a concert years ago, and before he jumps in, he shares bits of music trivia from his enormous record collection. This summer, he’ll reach his third anniversary as the Great Lake Jumper. I caught up with O’Conor between jumps to find out more.

As told to Jamie Ludwig

When I started jumping in the lake during the pandemic, it had nothing to do with music. It was just that I was hungover, and my wife wanted me out of the house. I went to the lake, jumped in, and it felt good. With the politics and protests and the pandemic, it felt like something positive I could do to clear my mind. It just felt good. I could go down to the lake, have a 20-minute ride down there, listen to my music with no commercials, no other static, just me and my bike.

I wasn’t videotaping the jumps at first, because I couldn’t figure out how to record while playing music, so I just chose to play the music. I was wearing the Motörhead shorts I’d gotten at South by Southwest years before. On the SpongeBob soundtrack, there’s a Motörhead song called “You Better Swim,” so I was trying to figure out a way to soundtrack a jump, but I don’t think I’ve ever figured it out. 

My friend tipped off Block Club that this guy from Lincoln Square had been jumping in the lake for 150 straight days. That’s when WGN Radio and reporters started interviewing me, and they’re like, “When are you going to stop this? You can’t possibly go through the winter.” I had no plans to go through the winter. But why not? 

It was [January 2021], and my wife suggested that I have bands and artists serenade me as I jumped into the lake, which sounded like a strange idea. But I love Jon Langford, and so I asked him, and he said, “Sure.” He had this [Mekons] song from, like, 1985, called “Shanty”—a sea shanty that somehow got on TikTok and had gone viral. So he came out and sang that, and it was wonderful. I started inviting other musicians, and that’s kind of where it took off. There were no stages to play—I think for these artists to come down and play one or two songs, it kind of gave them a stage or venue.

we serenaded the #greatlakejumper @therealdtox with a song from the Wasteland Radio New Archives— pic.twitter.com/ALJrxhwGCS

— AIR CREDITS (@AIR_CREDITS)

February 22, 2021

Air Credits perform for Dan O’Conor in February 2021 as he climbs into a hole he cut into lake ice with a shovel.

I started having people ask me how they could donate to support me, but it wasn’t about me. The venues were the first to close and the last to reopen [during the pandemic]. So on WGN, I announced, “Hey, anyone that wants to donate, please donate to CIVL.” I think that helped the momentum. I’d invite an artist, and their friends would reach out and say, “Hey, I saw Lawrence Peters played for you. Can I play for you?” Ninety percent of that was over Instagram or Twitter DM. I had a little pitch written out saying, “Hey, this is why I’m doing it. I’d love to have you out.” 

From that January to June, I had four to five artists a week. But I was a moving target. I never knew when I was going to be there, because I was driving a bus at the time. I was driving a limo and juggling whatever stuff I had with the kids. It’s amazing that all of these artists showed up. Weekends were easier, because there were less conflicts. So that’s when I’d try to spread the word on Twitter and Instagram. 

I got mostly positive feedback from the artists, and I think there was a certain amount of, “I’m a musician, and I haven’t performed.” Even if it was in front of 20 people, that’s a buzz. Also around that time, there were several music photographers who started coming out. Ministry’s photographer, Derick Smith, and I became friends during the pandemic because he started shooting me out there. 

By March, I was like, “I’m over the hump. I’m going to have a party on day 365.” The night before that, they relaxed capacity restrictions. My buddy cooked 60 pounds of pulled pork, another one donated 50 pounds of sausage. We went through the pork in two hours. It just turned into something a lot bigger. I had wanted to aim high, so I asked Jeff Tweedy to come out, and he said, “Yeah, I’ll be there.” So that was amazing in its own right. I asked Steve Albini; the last band I had seen before the pandemic was his band Shellac. And Jon Langford came out. And that was really cool, because he was the first artist [to play the jumps] and kind of the last. By the time he got there, it was raining buckets. And there were two ten-by-ten tents. He stood on a cooler in a tent and played four songs—it was really special.

Day 365- Jeff Tweedy #greatlakejumper @civl pic.twitter.com/aZpJrKl4wz

— Great Lake Jumper (@TheRealDtox)

June 13, 2021

Jeff Tweedy plays along as Dan O’Conor makes his 365th consecutive daily jump in June 2021.

I took a family vacation that July. So I was like, “OK, what can I do on the way out?” So I did two of the Great Lakes on the way out to Massachusetts—I jumped in Lake Erie in Buffalo, New York, and then I jumped in Lake Ontario in Rochester, New York. And I did a bunch of stuff in Massachusetts and Rhode Island, and then I came back. 

[Jumping in the lake] just continues to feel good. I still get that cleansing feeling. It’s a great way to start the day. It did become easier when they opened the lakefront. Now I can drive my car out. I’ve needed a shovel at times to break the ice, though I really haven’t had to use the shovel much this year so far. I also started wearing water shoes, because my feet were all beat up from 800 days of jumping off the cement. My wife got me some foot balm for Christmas, and it’s amazing. I also have a flotation coat that I wear some days, when it’s rough, to keep me afloat. I know that it’s a dangerous situation, especially during the winter. You’ve got to get down there and block everything else out, and get in the water and get back to the ladder. 

It’s really been a huge positive impact in my life. I was depressed during the pandemic, and when I started this I realized I could go down [to the lake] and find a little Zen and a little peace. And I love Lake Michigan. I just asked my Web guy to update my website, because I’m going to have a third annual party this summer. In October, I went up to Lake Superior and Lake Huron to complete the Great Lakes. And last summer, when we were in Massachusetts, I did the six New England states in one day—I jumped in a river, a pond, a lake, and the ocean. I’m not going out chasing artists anymore, but if someone wants to come play for me, I’m happy to host. 

Dan O’Conor Credit: Derick Smith

About a year ago, I started thinking it was getting boring for people just seeing me, the guy in the Motörhead shorts, jump in the lake. I happened to be wearing my “A Boy Named Sue” shirt, which had something to do with Shel Silverstein—Johnny Cash made that song famous, but it was written by Shel Silverstein, who’s a Chicagoan. So I dedicated the jump to Shel Silverstein that day.

I wanted to tie in my albums—just because I think the visual of a big album is way better than a CD. Ninety percent of the time, it’s the day of or the night before, and I’m just googling what happened that day in music and trying to find something that I have some vinyl for, whether it’s my dad’s Frank Sinatra 78s or my older siblings’ Beatles or Stones records. Most of the stuff is not really about me, though I’ve done a few—like I used my Johnny Cash ticket stub as a visual because I’d gotten a guitar pick at the show, and when I flipped the ticket over the guitar pick was on the back. 

I try to keep it short. There were three women who jumped in with me today. They reached out through Instagram, like, “Hey, we’ve been wanting to jump in. Is tomorrow OK?” I’m always all for it. It’s a big lake—you won’t get in my way. It’s always fun to see others have that excitement of that bone-chilling cold and that endorphin rush. 

I brought out a Rod Stewart record. I find it hard to believe, but he has the Guinness world record [for the biggest crowd at a free concert] for playing for 4.2 million people on Copacabana Beach in Rio in New Year’s ’94. I couldn’t spit all that out, so I just mentioned that he had 32 solo records. Which is an incredible amount of records. When you look up music trivia, there’s Beatles and Elvis stuff almost every day, because those two have been documented as much as anyone, but I try to mix it up and bring something new. 

Tues January 10,2023 #Chicago …40 Degree Air & 35 Degree Water #GreatLakeJumper #LakeMichigan Dedicated to Sir Rod Stewart -Happy 78th Birthday @rodstewart @RodStewartFC @RodStewartSong @RodStewartLive @martylennartz @robertloerzel @LinBrehmer pic.twitter.com/WRMrATravD

— Great Lake Jumper (@TheRealDtox)

January 10, 2023

Dan O’Conor dedicates a jump to Rod Stewart on January 10, 2023.

[Now that venues are open,] it’s always nice to see a musician who came and played for me. I get recognized a little bit more, though it’s mostly by my joker friends, who haven’t seen me in a while. I see them at the show, and they have a new nickname for me. 

Music takes you to a time and place. It’s very subjective. Someone’s favorite show might be another person’s worst show. And you can bond with someone over these amazing shows. But to bring it back [to the venues], I think it’s like, “Hey, I was there. I had an incredible time, and I wouldn’t have had that without that venue being open.” So I think people are very supportive of their favorite venues, and for live music fans, I think this is an amazing time.


Why won’t City Hall fight for Chicago’s homegrown music scene?

The Chicago Independent Venue League shouldn’t have to push back against the Live Nation handouts in the Lincoln Yards development—but the city doesn’t protect its own treasures.


Keep reading


Chicago music venues lean on grassroots fundraisers as they wait for federal aid

COVID relief grants are taking their time arriving, but the compilation Situation Chicago 2 benefits CIVL’s SAVE Emergency Relief Fund right now.


Keep reading


Music workers’ jobs disappeared, but their bills didn’t

With federal aid to venues only now arriving, how are tour managers, stagehands, bookers, and their colleagues in the concert business making ends meet?


Keep reading


Billy Helmkamp, co-owner of the Whistler and Sleeping Village

“This is gonna devastate our industry. We were the first to close; we’re gonna be the last to reopen. A lot of venues aren’t gonna make it.”


Keep reading


Read More

Dan O’Conor, the Great Lake Jumper Read More »

Dan O’Conor, the Great Lake Jumper

Dan O’Conor is best known as the Great Lake Jumper, but he’s also a Chicago-based artist and owns T-shirt company Dtox Designs. Raised in the north suburbs, O’Conor began going to concerts in the city in the early 80s, and his passion for live music led him to a career in the music and media industry. Over the years he’s worked for Spin, Grooveshark, Chris Schuba’s long-running national ad-sales firm, and others. 

During lockdown O’Conor rode his bike from Lincoln Square to Lake Michigan and jumped in. It felt so good that he came back and did it again. And again. Eventually, his morning jumps became a local phenomenon, especially as local musicians—among them Jon Langford, Mucca Pazza, and Mute Duo—joined him by the lake to play a song or two, helping raise money for O’Conor’s organization of choice, the Chicago Independent Venue League (CIVL).

Lockdown is long over, but O’Conor is still making daily treks to the lake. He likes to wear the Motörhead shorts he got at a concert years ago, and before he jumps in, he shares bits of music trivia from his enormous record collection. This summer, he’ll reach his third anniversary as the Great Lake Jumper. I caught up with O’Conor between jumps to find out more.

As told to Jamie Ludwig

When I started jumping in the lake during the pandemic, it had nothing to do with music. It was just that I was hungover, and my wife wanted me out of the house. I went to the lake, jumped in, and it felt good. With the politics and protests and the pandemic, it felt like something positive I could do to clear my mind. It just felt good. I could go down to the lake, have a 20-minute ride down there, listen to my music with no commercials, no other static, just me and my bike.

I wasn’t videotaping the jumps at first, because I couldn’t figure out how to record while playing music, so I just chose to play the music. I was wearing the Motörhead shorts I’d gotten at South by Southwest years before. On the SpongeBob soundtrack, there’s a Motörhead song called “You Better Swim,” so I was trying to figure out a way to soundtrack a jump, but I don’t think I’ve ever figured it out. 

My friend tipped off Block Club that this guy from Lincoln Square had been jumping in the lake for 150 straight days. That’s when WGN Radio and reporters started interviewing me, and they’re like, “When are you going to stop this? You can’t possibly go through the winter.” I had no plans to go through the winter. But why not? 

It was [January 2021], and my wife suggested that I have bands and artists serenade me as I jumped into the lake, which sounded like a strange idea. But I love Jon Langford, and so I asked him, and he said, “Sure.” He had this [Mekons] song from, like, 1985, called “Shanty”—a sea shanty that somehow got on TikTok and had gone viral. So he came out and sang that, and it was wonderful. I started inviting other musicians, and that’s kind of where it took off. There were no stages to play—I think for these artists to come down and play one or two songs, it kind of gave them a stage or venue.

we serenaded the #greatlakejumper @therealdtox with a song from the Wasteland Radio New Archives— pic.twitter.com/ALJrxhwGCS

— AIR CREDITS (@AIR_CREDITS)

February 22, 2021

Air Credits perform for Dan O’Conor in February 2021 as he climbs into a hole he cut into lake ice with a shovel.

I started having people ask me how they could donate to support me, but it wasn’t about me. The venues were the first to close and the last to reopen [during the pandemic]. So on WGN, I announced, “Hey, anyone that wants to donate, please donate to CIVL.” I think that helped the momentum. I’d invite an artist, and their friends would reach out and say, “Hey, I saw Lawrence Peters played for you. Can I play for you?” Ninety percent of that was over Instagram or Twitter DM. I had a little pitch written out saying, “Hey, this is why I’m doing it. I’d love to have you out.” 

From that January to June, I had four to five artists a week. But I was a moving target. I never knew when I was going to be there, because I was driving a bus at the time. I was driving a limo and juggling whatever stuff I had with the kids. It’s amazing that all of these artists showed up. Weekends were easier, because there were less conflicts. So that’s when I’d try to spread the word on Twitter and Instagram. 

I got mostly positive feedback from the artists, and I think there was a certain amount of, “I’m a musician, and I haven’t performed.” Even if it was in front of 20 people, that’s a buzz. Also around that time, there were several music photographers who started coming out. Ministry’s photographer, Derick Smith, and I became friends during the pandemic because he started shooting me out there. 

By March, I was like, “I’m over the hump. I’m going to have a party on day 365.” The night before that, they relaxed capacity restrictions. My buddy cooked 60 pounds of pulled pork, another one donated 50 pounds of sausage. We went through the pork in two hours. It just turned into something a lot bigger. I had wanted to aim high, so I asked Jeff Tweedy to come out, and he said, “Yeah, I’ll be there.” So that was amazing in its own right. I asked Steve Albini; the last band I had seen before the pandemic was his band Shellac. And Jon Langford came out. And that was really cool, because he was the first artist [to play the jumps] and kind of the last. By the time he got there, it was raining buckets. And there were two ten-by-ten tents. He stood on a cooler in a tent and played four songs—it was really special.

Day 365- Jeff Tweedy #greatlakejumper @civl pic.twitter.com/aZpJrKl4wz

— Great Lake Jumper (@TheRealDtox)

June 13, 2021

Jeff Tweedy plays along as Dan O’Conor makes his 365th consecutive daily jump in June 2021.

I took a family vacation that July. So I was like, “OK, what can I do on the way out?” So I did two of the Great Lakes on the way out to Massachusetts—I jumped in Lake Erie in Buffalo, New York, and then I jumped in Lake Ontario in Rochester, New York. And I did a bunch of stuff in Massachusetts and Rhode Island, and then I came back. 

[Jumping in the lake] just continues to feel good. I still get that cleansing feeling. It’s a great way to start the day. It did become easier when they opened the lakefront. Now I can drive my car out. I’ve needed a shovel at times to break the ice, though I really haven’t had to use the shovel much this year so far. I also started wearing water shoes, because my feet were all beat up from 800 days of jumping off the cement. My wife got me some foot balm for Christmas, and it’s amazing. I also have a flotation coat that I wear some days, when it’s rough, to keep me afloat. I know that it’s a dangerous situation, especially during the winter. You’ve got to get down there and block everything else out, and get in the water and get back to the ladder. 

It’s really been a huge positive impact in my life. I was depressed during the pandemic, and when I started this I realized I could go down [to the lake] and find a little Zen and a little peace. And I love Lake Michigan. I just asked my Web guy to update my website, because I’m going to have a third annual party this summer. In October, I went up to Lake Superior and Lake Huron to complete the Great Lakes. And last summer, when we were in Massachusetts, I did the six New England states in one day—I jumped in a river, a pond, a lake, and the ocean. I’m not going out chasing artists anymore, but if someone wants to come play for me, I’m happy to host. 

Dan O’Conor Credit: Derick Smith

About a year ago, I started thinking it was getting boring for people just seeing me, the guy in the Motörhead shorts, jump in the lake. I happened to be wearing my “A Boy Named Sue” shirt, which had something to do with Shel Silverstein—Johnny Cash made that song famous, but it was written by Shel Silverstein, who’s a Chicagoan. So I dedicated the jump to Shel Silverstein that day.

I wanted to tie in my albums—just because I think the visual of a big album is way better than a CD. Ninety percent of the time, it’s the day of or the night before, and I’m just googling what happened that day in music and trying to find something that I have some vinyl for, whether it’s my dad’s Frank Sinatra 78s or my older siblings’ Beatles or Stones records. Most of the stuff is not really about me, though I’ve done a few—like I used my Johnny Cash ticket stub as a visual because I’d gotten a guitar pick at the show, and when I flipped the ticket over the guitar pick was on the back. 

I try to keep it short. There were three women who jumped in with me today. They reached out through Instagram, like, “Hey, we’ve been wanting to jump in. Is tomorrow OK?” I’m always all for it. It’s a big lake—you won’t get in my way. It’s always fun to see others have that excitement of that bone-chilling cold and that endorphin rush. 

I brought out a Rod Stewart record. I find it hard to believe, but he has the Guinness world record [for the biggest crowd at a free concert] for playing for 4.2 million people on Copacabana Beach in Rio in New Year’s ’94. I couldn’t spit all that out, so I just mentioned that he had 32 solo records. Which is an incredible amount of records. When you look up music trivia, there’s Beatles and Elvis stuff almost every day, because those two have been documented as much as anyone, but I try to mix it up and bring something new. 

Tues January 10,2023 #Chicago …40 Degree Air & 35 Degree Water #GreatLakeJumper #LakeMichigan Dedicated to Sir Rod Stewart -Happy 78th Birthday @rodstewart @RodStewartFC @RodStewartSong @RodStewartLive @martylennartz @robertloerzel @LinBrehmer pic.twitter.com/WRMrATravD

— Great Lake Jumper (@TheRealDtox)

January 10, 2023

Dan O’Conor dedicates a jump to Rod Stewart on January 10, 2023.

[Now that venues are open,] it’s always nice to see a musician who came and played for me. I get recognized a little bit more, though it’s mostly by my joker friends, who haven’t seen me in a while. I see them at the show, and they have a new nickname for me. 

Music takes you to a time and place. It’s very subjective. Someone’s favorite show might be another person’s worst show. And you can bond with someone over these amazing shows. But to bring it back [to the venues], I think it’s like, “Hey, I was there. I had an incredible time, and I wouldn’t have had that without that venue being open.” So I think people are very supportive of their favorite venues, and for live music fans, I think this is an amazing time.


Why won’t City Hall fight for Chicago’s homegrown music scene?

The Chicago Independent Venue League shouldn’t have to push back against the Live Nation handouts in the Lincoln Yards development—but the city doesn’t protect its own treasures.


Keep reading


Chicago music venues lean on grassroots fundraisers as they wait for federal aid

COVID relief grants are taking their time arriving, but the compilation Situation Chicago 2 benefits CIVL’s SAVE Emergency Relief Fund right now.


Keep reading


Music workers’ jobs disappeared, but their bills didn’t

With federal aid to venues only now arriving, how are tour managers, stagehands, bookers, and their colleagues in the concert business making ends meet?


Keep reading


Billy Helmkamp, co-owner of the Whistler and Sleeping Village

“This is gonna devastate our industry. We were the first to close; we’re gonna be the last to reopen. A lot of venues aren’t gonna make it.”


Keep reading


Read More

Dan O’Conor, the Great Lake Jumper Read More »