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John Primer is a living link to the departed giants of Chicago blues

Since 2004 Plastic Crimewave (aka Steve Krakow) has used the Secret History of Chicago Music to shine a light on worthy artists with Chicago ties who’ve been forgotten, underrated, or never noticed in the first place.

It’s barely January, and already a “bomb cyclone” storm has frozen pipes, disrupted travel, and much worse, all while a “tripledemic” tears through the population. Every year the Secret History of Chicago Music undertakes its annual Winter Blues series, and every year the season seems to find new ways to give us the blues. This time I’m starting my annual look at the Windy City’s blues legacy with guitarist John Primer, one of many artists who’s well-known among blues fans (often an obsessive lot) but obscure to the general population.

The blues is enough of a niche interest these days that only the most famous local artists enjoy wide name recognition—Muddy Waters, for instance, or Buddy Guy. Primer has played in Waters’s band and led the house band at one of Guy’s clubs. He’s learned from some of the best bluesmen the city has ever produced, and he’s been crucial to keeping the Chicago tradition vital. 

John Primer was born March 5, 1945, in Camden, Mississippi, into a family of sharecroppers. His extended family shared a drafty shack on the Mansell plantation, with just a wood-burning stove for warmth. They had no running water, just a shared well a mile away, and they only had an outhouse when they could afford to have one dug. To make ends meet, everyone in the family worked—picking cotton, plowing fields—and while they worked, they often sang together. Primer’s father and an older cousin would play the blues at home at night, which gave young John his first exposure to the music. But when Primer was four, his father—himself only 22—was killed in a truck-driving accident. 

After that tragedy, Primer’s mother moved to Chicago, vowing to send for him and his sister Barbara when they turned 18. Primer had a lonely childhood, raised mostly by his grandmother and aunts. He liked to sing in the woods, and he built a one-string instrument called a diddley bow. Diddley bows are often made of baling wire stretched between two nails in a board, with a glass bottle as a bridge; Primer nailed broom wire to the boards on the side of his grandmother’s home and used a brick as a bridge. 

Soon Primer was singing at school for dimes on the playground. He also sang in church, which was an especially cathartic experience for him. His grandmother had a record player, and he fell in love with the likes of Jimmy Reed, Muddy Waters, Little Milton, Elmore James, and B.B. and Albert King. When he turned 18 in 1963, he finally followed his mother to Chicago. 

Primer frequented Maxwell Street, historically a port of entry for immigrants and in those days still a mecca for salesmen and hustlers of all stripes, including musicians. At the marketplace, he honed his chops and earned some coin. He also met fellow bluesman Pat Rushing, a guitarist with a raw, dissonant style and an almost frightening growl of a voice. Primer and Rushing formed the Maintainers, who played regularly on Maxwell Street on Sundays and then started picking up west-side club gigs. 

In 1968, Primer left to front a soul and R&B group called the Brotherhood Band, where his rough, earthy singing style began to evolve. In 1974, he landed his first important regular gig, becoming a member of the house band at Theresa’s, at 48th and Indiana. Among his bandmates at the club was former Muddy Waters sideman Sammy Lawhorn, who taught Primer to play slide guitar—now a key element of his style. The band often played seven nights a week, backing whoever came through: Junior Wells, James Cotton, Magic Sam, Lonnie Brooks, Smokey Smothers, Buddy Guy, Magic Slim, and many more. Lawhorn ended up mentoring Primer for decades.

Bassist Willie Dixon, whose songwriting had played a major role in shaping Chicago blues after World War II, saw Primer at that Theresa’s residency and invited him to join his Chicago Blues All Stars. In 1979 Primer hit the road with the All Stars, touring Mexico and Europe and polishing his skills in the exalted company of Dixon’s band.

John Primer and his band perform in 2018 in Don Odell’s studio in Palmer, Massachusetts.

Ever since Primer had heard Muddy Waters on his grandma’s phonograph, he’d dreamed of playing with him. In 1980 that fantasy became reality. Waters was putting together a new working band—it would turn out to be his last—and he recruited Primer, who became his bandleader. Even after Waters retired from performing in ’82 due to his failing health, the band stayed together for another year. 

Radio station WXRT recorded several sets at Navy Pier in August 1980, including one by the Waters band in which Primer played; a track from that set appeared on the compilation Blues Deluxe. In 1981, Primer was part of a famous gig at south-side blues club the Checkerboard Lounge, where the Rolling Stones shared the stage with Waters’s band and guests such as Buddy Guy, Lefty Dizz, and Junior Wells. The whole celebrated concert was released in 2012 on CD and DVD.

John Primer was part of Muddy Waters’s band for the 1981 Checkerboard Lounge show with the Rolling Stones.

Buddy Guy had founded the Checkerboard Lounge in 1972 with L.C. Thurman, and he remained co-owner till ’85, when he left to launch his own venue, Buddy Guy’s Legends, which opened in ’89. Primer became the leader of the Checkerboard’s house band in the early 80s, a job he held for many years—the club moved from Bronzeville to Hyde Park in 2005 and closed in 2015. After his gig with Waters, Primer also toured with Magic Slim & the Teardrops for around 13 years, essentially becoming the group’s second front man with his perfectly coarse, raspy voice. 

Lawhorn, Waters, and Magic Slim all contributed to Primer’s evolution as a bluesman. “From Lawhorn, Primer absorbed shimmering melodicism, harmonic sophistication, and an irresistible sense of serious-minded musical playfulness,” blues scholar David Whiteis wrote for the Reader in 1995. “In Waters’s band he gained confidence in his own slide-guitar playing and honed his instincts for the tonal and rhythmic subtleties of blues singing. More recently he’s picked up a healthy dose of Slim’s musical intensity and good-natured fierceness.” 

Primer had been playing with Slim for almost a decade when he released his first album under his own name, 1991’s Stuff You Got to Watch (on Chicago label Earwig). His next album, in 1995, was also his major-label debut: The Real Deal came out on Atlantic subsidiary Code Blue. Primer used the occasion to launch his own group, the Real Deal Blues Band, which he’s led in one form or another ever since. “I hated to leave [Magic Slim],” he told Whiteis in a 2009 interview for Living Blues. “We had such a good thing going for us. But . . . be there so long as you can, then you gotta go. Let somebody else learn.” 

John Primer plays a stripped-down acoustic tune in 2011 on WYCE radio in Grand Rapids, Michigan.

The Real Deal probably should’ve given Primer’s solo career a bigger bump, but Code Blue folded shortly after its release. Though his major-label dreams didn’t pan out, Primer has amassed an impressive discography, appearing on almost 90 recordings as a leader or sideman.

Primer has continued to tour as well, though he hit the same wall as every other professional musician when COVID hit in early 2020. On March 11 of that year, Primer and the Real Deal Band (which includes longtime harp player Steve Bell, son of Carey Bell, and drummer Lenny Media) flew to Amsterdam to begin a European tour. The next day, the U.S. announced a ban on flights from Europe. Primer didn’t want to get stranded overseas with a canceled tour, so he bought return tickets for everyone before the ban went into effect at midnight. 

“We had terrible flights home,” Primer told Chicago Blues Guide. “We had an 18-hour delay in Warsaw, Poland, so we had to get hotel rooms there for another $300. We went home with no money at all. I had to charge everything for all three of us. Our tour was going to last 19 days with 14 gigs. We were going to make $17,000 plus sell CDs and merchandise. All that gone because of COVID-19. This was the worst experience for us.” 

Back in the States, Primer watched helplessly as his gigs were canceled further and further into the future, wiping his whole calendar clean. 

“I am the only one working in my household and I support my band as well,” he said. “So this has been a lot for me to take in. I feel responsible for my family and my band. I also have a 15-year-old daughter and my wife works with me as my manager so I take care of everyone.”

John Primer & the Real Deal Blues Band livestream from Rosa’s Lounge in 2022.

Primer began livestreaming for tips from his basement studio on Sunday afternoons, and in May 2020 he released an album called The Gypsy Woman Told Me with harmonica player Bob Corritore, an old Chicago friend now living in Arizona. In September 2022, Primer followed it with Hard Times, on his own Blues House Productions label. He’s playing at Blue Chicago on Friday, January 6, and if COVID cooperates he’ll be taking a short UK tour in mid-January. He also has loads of suburban gigs lined up for February—check johnprimerblues.com/shows for details and updates. Assuming this winter’s wave of viruses doesn’t keep you at home till March, you should take your first chance to see this living legend work his magic.

The radio version of the Secret History of Chicago Music airs on Outside the Loop on WGN Radio 720 AM, Saturdays at 5 AM with host Mike Stephen. Past shows are archived here.


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Bric-a-Brac throws a fundraiser that’s also a call for unflooded inventoryJ.R. Nelson and Leor Galilon January 4, 2023 at 9:11 pm

Bric-a-Brac Records & Collectibles has been closed since a pipe burst in the Avondale shop on Christmas morning, destroying thousands of LPs, seven-inches, VHS tapes, and toys. Thankfully the damage was mostly confined to the front of the shop. “Everything looks a lot worse than it is right now,” says co-owner Nick Mayor. “We definitely lost a lot of stuff, but it could’ve been much worse.” This week, the store will replace the drywall on its ceiling and north wall. Mayor and co-owner Jen Lemasters are getting their insurance claim in order, and if all goes well Bric-a-Brac will reopen by the end of January.

If you want to help Bric-a-Brac, you can preorder one of the fundraiser totes ($20) or T-shirts ($25) that the shop is selling to raise funds—both feature a cheeky “Wet From Above ’22” illustration by Ryan Duggan, and preorders close Saturday, January 7. On Thursday, January 5, the Empty Bottle hosts a Bric-a-Brac fundraiser with DJ sets by Mayor and one of his co-owners at horror-themed coffee shop the Brewed, DJ Intel. Bric-a-Brac hopes to replenish its inventory of used records, VHS tapes, toys, and collectibles, and at the Bottle it’ll be buying and accepting donations of that stuff. For further opportunities to sell or donate inventory to Bric-a-Brac while the shop is closed for repairs, watch its social media accounts. 

Short-lived avant-rock band the Fire Show consisted of songwriters and multi-instrumentalists M. Resplendent (aka Michael Lenzi) and Olias Nil (aka Seth Cohen), both formerly of Number One Cup, joined by a rotating cast of other musicians. They burned brightly in Chicago’s music scene in the early aughts, releasing three albums on Perishable Records between 2000 and 2002. At the time, Reader critic Peter Margasak hailed the band’s “dublike attention to dynamics” and “swirling din of guitar, samples, off-kilter string arrangements, prepared piano sounds, and junk electronics.” The Fire Show’s music has aged well, and it’s recently gotten a lot easier to find. Last month, the band issued a beautiful box set called Here Lies the Fire Show: Recordings 2000-2002 via Cohen’s In Situ Sound label. It consists of 2000’s The Fire Show and 2002’s Saint the Fire Show, along with a third album of live recordings. It’s pressed to three 180-gram LPs (one red, one white, and one black) with lovely inserts inside a gatefold sleeve. The set is limited to 300 copies, available from the Fire Show’s Bandcamp page.

Here Lies the Fire Show is for sale as a digital album and a triple-LP set.

Gossip Wolf is a little salty that Ester bandleader Anna Holmquist hasn’t released a new episode of their awesome Bad Songwriter Podcast since 2021. But it’s hard to complain too much, because Holmquist is easily among the city’s best songwriters—and they’re still getting better! This week Ester drop their first single since the excellent 2020 album Turn Around, “Red Rover” b/w “Change Is Allowed,” and both tunes confirm Holmquist’s excellent touch with elegant, atmospheric folk. A new album from the band is due later this year, and this wolf’s appetite is thoroughly whetted.

Both sides of Ester’s new single were recorded and mixed by Michael Mac at Bim Bom Studios.

Got a tip? Tweet @Gossip_Wolf or email [email protected].


DJ Intel, aka Jason Deuchler, co-owner of horror-themed coffee shop the Brewed

“That 7 AM opening shift can be real difficult when you’ve DJed till three, but you make the best of it. I’m doing what I love.”


A new Chicago indie-rock comp benefits Brave Space Alliance and Black & Pink

Plus: Anna Holmquist of Bad Songwriter Podcast drops an album with their band Ester, and dance-pop act Pixel Grip releases a live MCA recording.

Where There’s Hope There’s Fire


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Bric-a-Brac throws a fundraiser that’s also a call for unflooded inventoryJ.R. Nelson and Leor Galilon January 4, 2023 at 9:11 pm Read More »

John Primer is a living link to the departed giants of Chicago bluesSteve Krakowon January 4, 2023 at 9:53 pm

Since 2004 Plastic Crimewave (aka Steve Krakow) has used the Secret History of Chicago Music to shine a light on worthy artists with Chicago ties who’ve been forgotten, underrated, or never noticed in the first place.

It’s barely January, and already a “bomb cyclone” storm has frozen pipes, disrupted travel, and much worse, all while a “tripledemic” tears through the population. Every year the Secret History of Chicago Music undertakes its annual Winter Blues series, and every year the season seems to find new ways to give us the blues. This time I’m starting my annual look at the Windy City’s blues legacy with guitarist John Primer, one of many artists who’s well-known among blues fans (often an obsessive lot) but obscure to the general population.

The blues is enough of a niche interest these days that only the most famous local artists enjoy wide name recognition—Muddy Waters, for instance, or Buddy Guy. Primer has played in Waters’s band and led the house band at one of Guy’s clubs. He’s learned from some of the best bluesmen the city has ever produced, and he’s been crucial to keeping the Chicago tradition vital. 

John Primer was born March 5, 1945, in Camden, Mississippi, into a family of sharecroppers. His extended family shared a drafty shack on the Mansell plantation, with just a wood-burning stove for warmth. They had no running water, just a shared well a mile away, and they only had an outhouse when they could afford to have one dug. To make ends meet, everyone in the family worked—picking cotton, plowing fields—and while they worked, they often sang together. Primer’s father and an older cousin would play the blues at home at night, which gave young John his first exposure to the music. But when Primer was four, his father—himself only 22—was killed in a truck-driving accident. 

After that tragedy, Primer’s mother moved to Chicago, vowing to send for him and his sister Barbara when they turned 18. Primer had a lonely childhood, raised mostly by his grandmother and aunts. He liked to sing in the woods, and he built a one-string instrument called a diddley bow. Diddley bows are often made of baling wire stretched between two nails in a board, with a glass bottle as a bridge; Primer nailed broom wire to the boards on the side of his grandmother’s home and used a brick as a bridge. 

Soon Primer was singing at school for dimes on the playground. He also sang in church, which was an especially cathartic experience for him. His grandmother had a record player, and he fell in love with the likes of Jimmy Reed, Muddy Waters, Little Milton, Elmore James, and B.B. and Albert King. When he turned 18 in 1963, he finally followed his mother to Chicago. 

Primer frequented Maxwell Street, historically a port of entry for immigrants and in those days still a mecca for salesmen and hustlers of all stripes, including musicians. At the marketplace, he honed his chops and earned some coin. He also met fellow bluesman Pat Rushing, a guitarist with a raw, dissonant style and an almost frightening growl of a voice. Primer and Rushing formed the Maintainers, who played regularly on Maxwell Street on Sundays and then started picking up west-side club gigs. 

In 1968, Primer left to front a soul and R&B group called the Brotherhood Band, where his rough, earthy singing style began to evolve. In 1974, he landed his first important regular gig, becoming a member of the house band at Theresa’s, at 48th and Indiana. Among his bandmates at the club was former Muddy Waters sideman Sammy Lawhorn, who taught Primer to play slide guitar—now a key element of his style. The band often played seven nights a week, backing whoever came through: Junior Wells, James Cotton, Magic Sam, Lonnie Brooks, Smokey Smothers, Buddy Guy, Magic Slim, and many more. Lawhorn ended up mentoring Primer for decades.

Bassist Willie Dixon, whose songwriting had played a major role in shaping Chicago blues after World War II, saw Primer at that Theresa’s residency and invited him to join his Chicago Blues All Stars. In 1979 Primer hit the road with the All Stars, touring Mexico and Europe and polishing his skills in the exalted company of Dixon’s band.

John Primer and his band perform in 2018 in Don Odell’s studio in Palmer, Massachusetts.

Ever since Primer had heard Muddy Waters on his grandma’s phonograph, he’d dreamed of playing with him. In 1980 that fantasy became reality. Waters was putting together a new working band—it would turn out to be his last—and he recruited Primer, who became his bandleader. Even after Waters retired from performing in ’82 due to his failing health, the band stayed together for another year. 

Radio station WXRT recorded several sets at Navy Pier in August 1980, including one by the Waters band in which Primer played; a track from that set appeared on the compilation Blues Deluxe. In 1981, Primer was part of a famous gig at south-side blues club the Checkerboard Lounge, where the Rolling Stones shared the stage with Waters’s band and guests such as Buddy Guy, Lefty Dizz, and Junior Wells. The whole celebrated concert was released in 2012 on CD and DVD.

John Primer was part of Muddy Waters’s band for the 1981 Checkerboard Lounge show with the Rolling Stones.

Buddy Guy had founded the Checkerboard Lounge in 1972 with L.C. Thurman, and he remained co-owner till ’85, when he left to launch his own venue, Buddy Guy’s Legends, which opened in ’89. Primer became the leader of the Checkerboard’s house band in the early 80s, a job he held for many years—the club moved from Bronzeville to Hyde Park in 2005 and closed in 2015. After his gig with Waters, Primer also toured with Magic Slim & the Teardrops for around 13 years, essentially becoming the group’s second front man with his perfectly coarse, raspy voice. 

Lawhorn, Waters, and Magic Slim all contributed to Primer’s evolution as a bluesman. “From Lawhorn, Primer absorbed shimmering melodicism, harmonic sophistication, and an irresistible sense of serious-minded musical playfulness,” blues scholar David Whiteis wrote for the Reader in 1995. “In Waters’s band he gained confidence in his own slide-guitar playing and honed his instincts for the tonal and rhythmic subtleties of blues singing. More recently he’s picked up a healthy dose of Slim’s musical intensity and good-natured fierceness.” 

Primer had been playing with Slim for almost a decade when he released his first album under his own name, 1991’s Stuff You Got to Watch (on Chicago label Earwig). His next album, in 1995, was also his major-label debut: The Real Deal came out on Atlantic subsidiary Code Blue. Primer used the occasion to launch his own group, the Real Deal Blues Band, which he’s led in one form or another ever since. “I hated to leave [Magic Slim],” he told Whiteis in a 2009 interview for Living Blues. “We had such a good thing going for us. But . . . be there so long as you can, then you gotta go. Let somebody else learn.” 

John Primer plays a stripped-down acoustic tune in 2011 on WYCE radio in Grand Rapids, Michigan.

The Real Deal probably should’ve given Primer’s solo career a bigger bump, but Code Blue folded shortly after its release. Though his major-label dreams didn’t pan out, Primer has amassed an impressive discography, appearing on almost 90 recordings as a leader or sideman.

Primer has continued to tour as well, though he hit the same wall as every other professional musician when COVID hit in early 2020. On March 11 of that year, Primer and the Real Deal Band (which includes longtime harp player Steve Bell, son of Carey Bell, and drummer Lenny Media) flew to Amsterdam to begin a European tour. The next day, the U.S. announced a ban on flights from Europe. Primer didn’t want to get stranded overseas with a canceled tour, so he bought return tickets for everyone before the ban went into effect at midnight. 

“We had terrible flights home,” Primer told Chicago Blues Guide. “We had an 18-hour delay in Warsaw, Poland, so we had to get hotel rooms there for another $300. We went home with no money at all. I had to charge everything for all three of us. Our tour was going to last 19 days with 14 gigs. We were going to make $17,000 plus sell CDs and merchandise. All that gone because of COVID-19. This was the worst experience for us.” 

Back in the States, Primer watched helplessly as his gigs were canceled further and further into the future, wiping his whole calendar clean. 

“I am the only one working in my household and I support my band as well,” he said. “So this has been a lot for me to take in. I feel responsible for my family and my band. I also have a 15-year-old daughter and my wife works with me as my manager so I take care of everyone.”

John Primer & the Real Deal Blues Band livestream from Rosa’s Lounge in 2022.

Primer began livestreaming for tips from his basement studio on Sunday afternoons, and in May 2020 he released an album called The Gypsy Woman Told Me with harmonica player Bob Corritore, an old Chicago friend now living in Arizona. In September 2022, Primer followed it with Hard Times, on his own Blues House Productions label. He’s playing at Blue Chicago on Friday, January 6, and if COVID cooperates he’ll be taking a short UK tour in mid-January. He also has loads of suburban gigs lined up for February—check johnprimerblues.com/shows for details and updates. Assuming this winter’s wave of viruses doesn’t keep you at home till March, you should take your first chance to see this living legend work his magic.

The radio version of the Secret History of Chicago Music airs on Outside the Loop on WGN Radio 720 AM, Saturdays at 5 AM with host Mike Stephen. Past shows are archived here.


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John Primer is a living link to the departed giants of Chicago bluesSteve Krakowon January 4, 2023 at 9:53 pm Read More »

Sources: Cubs give veteran Hosmer one-year dealon January 4, 2023 at 9:30 pm

CHICAGO — The Chicago Cubs filled a need at first base and designated hitter, giving free agent Eric Hosmer a one-year contract, sources familiar with the deal told ESPN on Wednesday.

Chicago will only have to pay Hosmer the minimum salary, according to the source, as he still has three years and $39 million left on a contract he signed with the San Diego Padres back in 2018. He was traded from the Padres to the Boston Red Sox last season, not long after San Diego acquired Juan Soto from the Washington Nationals. Hosmer was released by the Red Sox at the end of the year.

Hosmer, 33, has a career .764 OPS while spending his best seasons with the Kansas City Royals who he helped to a World Series title in 2015. Two years later, he signed an 8-year, $144 million deal with San Diego which runs through 2025. The Padres are paying most of that remaining salary.

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Hosmer figures to see time mostly at designated hitter as well as first base. The team also has holdover Patrick Wisdom, who can play first, as well as prospect Matt Mervis. Mervis hit 36 home runs combined in three different levels of the minors last season but it’s not clear if he’ll make the team out of spring training.

Last season, Hosmer had a hot April — compiling an OPS over 1.000 — but cooled off for the final months of the year. From May to October, his OPS was just .636.

The signing is part of a longer term plan by the Cubs who are attempting to improve in 2023 after a 74 win season but also have an eye on competing at a higher level in the coming years. The deal should be viewed similar to Cody Bellinger‘s one-year contract — as a bridge to younger prospects who aren’t quite ready for the majors.

Along with Mervis potentially taking over at first base, the team is hoping center field, where Bellinger plays, will be manned by Pete Crow-Armstrong soon. He was acquired in a trade with the New York Mets in July 2021.

Hosmer joins Bellinger, shortstop Dansby Swanson, pitcher Jameson Taillon and catcher Tucker Barnhart as key offseason acquisitions for Chicago.

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Sources: Cubs give veteran Hosmer one-year dealon January 4, 2023 at 9:30 pm Read More »

Chicago Bears News: Justin Fields’ season is officially overVincent Pariseon January 4, 2023 at 7:24 pm

The Chicago Bears are one of the worst teams in the NFL. It is largely by design as they are trying to build this thing from the ground up. There are people who don’t believe in Justin Fields but they will see how good he actually is when there is talent around him.

His offensive line was terrible and his weaponry was very weak this year. If you don’t look at things rationally you won’t see how much more impressive that actually makes Fields look. He proved that he was the guy going forward with his play this year and should be proud.

He can work on his throwing and decision-making a little bit more obviously but this was his first real season in the NFL. The first year with Matt Nagy was just a big waste of time. This year under Matt Eberflus was much better.

Now, Fields’ season is officially over as he will not start on Sunday against the Minnesota Vikings. Nathan Peterman will start in his place which should be fun to watch for a variety of reasons. The Vikings are the division champions this year and should put on a show to end the season.

The Chicago Bears won’t have Justin Fields available on Sunday afternoon.

Fields is going to come up just short of Lamar Jackson’s single-season rushing record for a quarterback which is kind of sad but there will be plenty of other opportunities for him to do that in the future. As he works on the other parts of his game, he will become a great duel threat.

This is also good for the Bears in the grand scheme of things. For one, we know Justin Fields won’t come into 2023 recovering from a torn ACL or anything like that. He needs to be healthy and ready to go when training camp begins late in the summer.

They also have their eyes set on a top-two overall pick in the 2023 NFL Draft. This is a very real thing and all they need to do is lose this weekend. With the division champions in town, it will be very hard for Nathan Peterman to overcome that.

Even if the Vikings start benching guys as their seed locks in, the Bears should still manage to lose this game. Justin Fields won’t be there to make explosive plays and that is okay. 2022 was fun in terms of his development and the future is very bright for this kid.

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Chicago Bears News: Justin Fields’ season is officially overVincent Pariseon January 4, 2023 at 7:24 pm Read More »

Listen to The Ben Joravsky Show

Reader senior writer Ben Joravsky riffs on the day’s stories with his celebrated humor, insight, and honesty, and interviews politicians, activists, journalists and other political know-it-alls. Presented by the Chicago Reader, the show is available by 4 p.m. Tuesdays through Fridays at chicagoreader.com/joravsky—or wherever you get your podcasts. Don’t miss Oh, What a Week!–the Friday feature in which Ben & producer Dennis (aka, Dr. D.) review the week’s top stories. Also, bonus interviews drop on Saturdays, Sundays, and Mondays. 

Chicago Reader podcasts are recorded on Shure microphones. Learn more at Shure.com.

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Chicago Reader senior writer Ben Joravsky discusses the day’s stories with his celebrated humor, insight, and honesty on The Ben Joravsky Show.


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The science of playwriting

Lucas Bigos was not a theater kid in high school—never in drama club, never in the school play. But something clicked his senior year at Lane Tech. That’s when he took a theater class at his high school to satisfy an elective requirement. A year later, the non-theater kid, currently a first-year student in computer engineering at UIC, is one of three young playwrights whose work is being premiered at Pegasus Theatre Chicago’s 36th annual Young Playwrights Festival. 

The germ for his play, Terms and Conditions, came to him while he was setting up an online account on Etsy. “I saw the terms and conditions list on their [signup page]” Bigos tells me, speaking carefully, measuring each word, sounding very much like the clear-thinking, cool-headed engineer he would like to become. “And I thought about how there are other companies like Amazon where there’s so many things in the terms and conditions list that you probably don’t read but probably are pretty important. You just say yes without even a thought. I wanted to do something with that.”

The play that Bigos wrote impressed his teacher Kirsten Hanson. “It’s really futuristic,” Hanson enthuses. “It’s kind of Orwellian in what happens when this artificial intelligence takes over our lives. We sign off on those terms and conditions so quickly, we never read them carefully. This character checks the box, and then this AI takes over his life. It was a really great play. When I saw it I did approach Lucas, and I’m like, ‘You really need to submit this to Pegasus [Theatre’s Young Playwright Festival].’ And I think he was surprised.” He was even more surprised when he got word from the Young Playwrights Festival that his play had been accepted. 

36th Young Playwrights FestivalPreview Wed 1/4 7:30 PM, opening Sat 1/7 7:30 PM, then Fri 7:30 PM and Sat 3 and 7:30 PM through 1/28, Chicago Dramatists, 765 N. Aberdeen, 773-878-8864, pegasustheatrechicago.org, $15-$30

On the bill with Bigos is Elliott Valadez. Oddly enough, Valadez is also a first-year engineering student, at U of I in Urbana-Champaign. In high school, he was also not in any way a drama club kid. He didn’t even think of himself as a writer when he submitted his play to the Young Playwrights Festival.

“I was not expecting anything to come of this,” Valadez tells me. Valadez does not sound like an engineer; he sounds like that earnest, enthusiastic A student who routinely raises the curve on the final. He is so upbeat he practically sings when he speaks. “When I learned that there were actually things that were coming of this, I was just over the moon and was immediately like, oh man, this is happening.” 

“I have not really had very much experience writing,” he admits, grinning. “I am not an English major. I am actually an aerospace major.” The play that got him into the festival, Dead Boy Walking, was the first play he had ever written.

Like Bigos, he wrote the piece his senior year in a required elective course (creative writing), at Whitney Young. “So we did everything from poetry to playwriting,” Valadez chirps, “and this [his winning play] was like our big final project at the end of the year.” Valadez, too, was prompted by his teacher, Elizabeth Danesh, to submit his play. And like Bigos, he made the final three.

In contrast, Jonathan Soco, the third young playwright in the festival, is very much a theater kid. He speaks in the deep, resonant, reassuring tones of a seasoned anchorman. (Think a young Bill Kurtis.) He seems to know the power of his voice—he is studying broadcast journalism at the University of Indiana—but he is not vain about it. He has been performing in musicals since the sixth grade and appeared in productions every year at Lane Tech, where teacher Julie Allen encouraged him to submit his play. Most notably, he played the narrator (of course) in the school’s production of Into the Woods.

“My play is called Another Star in the Sky,” Soco explains. “It is a sort of sci-fi future play about these two scientists who are working aboard a space station when aliens start trying to invade [the Earth] and [the scientists] have to find a way to stop them and potentially save all of humanity.”

So what accounts for the high percentage of students with little to no prior experience in theater getting into the fest? Is this a regular thing with the Young Playwrights Festival? 

In a way it is. The Young Playwrights Festival is, by design, an event tailor-made for adolescents who are very much a work in progress, still growing, and still discovering who they are. It is hard to predict what they will do next or how they will develop. Students who think of themselves as engineers (as Bigos and Valadez do) may also be nascent theater artists. Or vice versa.

For 36 years the Young Playwrights Festival has been working to guide would-be writers, kindle their creativity, and turn them into young playwrights. And then they showcase the best of the best in a full, professional production.

The process used by the folks at Pegasus Theatre Chicago, which founded the festival in 1986 (back when the company was called Pegasus Players) and continues to run it, has been refined over the years. But the basic structure remains the same: reach out to the high schools, work with students on their plays, invite students to enter the contest, pick the top plays, encourage another round of rewrites, and then produce the winners.

So they have something called a tour,” explains Lane Tech’s Kirsten Hanson, who has been working with Pegasus since 2007. “It’s actually like a workshop. They send a group of teaching artists and actors to different schools. They do a workshop about the six elements of playwriting. It’s very interactive. There’s a lot of humor involved. And then they actually perform a winning play [from a previous year’s festival].”

Some schools take it a step further and bring Pegasus in to work with the school. “At Lane Tech,” Hanson elaborates, “We actually get a resident teaching artist and playwright coming into our class, usually doing about ten workshops with students. I had Philip Dawkins in my classroom for two years. Now, he is, like, a nationally recognized playwright. [He wasn’t when he visited Hanson’s classroom.] He was a phenomenal teacher in my classroom.”

After the plays are finished, students are encouraged to submit to the festival. 

Valadez recalls being prodded by his teacher to apply: “My teacher, Ms. Danesh—she’s a very huge supporter of the Pegasus Theatre—said, ‘Even if you aren’t really submitting with the intention of trying to actually compete, you should do this so that we can support the theater.’ I submitted without any kind of idea that this was going to happen. I was doing it because I put a lot of time and effort and love into writing something, and I wanted it to get read.”

Before the pandemic, Pegasus routinely received 800 or a thousand plays. “Teachers would drop off boxes of plays,” Pegasus Theatre Chicago artistic director Ilesa Duncan recalls, adding that the numbers declined during and after lockdown “This year we received 300 entries.” (Entries are electronic now.) Volunteer theater professionals read the plays and write evaluations.

Duncan notes that the submissions that make it out of the first round go to a different set of readers who will read for a different set of criteria. “So now you’re basically going, ‘What works well for these plays?’ They really give them a rating and then give feedback to the student.”

From this second round, 40 to 50 students are invited to a revision writing workshop, held over the summer. Valadez credits this workshop with helping him craft a winning play. “I do not think I would have actually been picked as a finalist without that workshop process, ” Valadez says. “In the first writing workshop I did with YPF, someone was like, ‘You write like a screenwriter, not a playwright.’ The differences between film and playwriting are a lot.” Valadez realized he was writing scenes that depended on cinematography to get his point across. There is almost no cinematography in the theater. 

The workshop also loosened Valadez up. It was in the workshop that Valadez felt comfortable using his own experiences in his writing. “I took a step back and I thought, well, how do I make this feel more genuine?” Valadez explains, “I realized that I could draw off of my own experiences with unhealthy friendships and codependency and turn the relationship in the original script [between a lonely boy and a ghost girl] into something that was kind of drawing off of experiences with people who are toxic, even if their motivations for being that way are not necessarily out of malice.”

Jonathan Soco, too, credits the Young Playwrights workshop with expanding him as a theater artist. “A lot of my understanding of really writing a play [came from] my drama class. [But] I learned so much more from YPF. They taught me a lot of unique techniques and skills that I hadn’t even thought of.”

Chicago playwright Gabriella Bonamici, who had her play performed in the 2009 edition of the festival, told me “[YPF] was just a very eye-opening experience for me as a young person. I had always written kind of in secret in my journals, just for fun. And to see my work actually being taken seriously by adults and professionals and then shared with people and enjoyed by people was really special. It made me realize that this was a thing that could be shared with other people.”

Bonamici made theater her life. She currently works for Pegasus as a program associate and is a playwright in residence with small theater company Three Cat Productions.

But not all participants in the festival aspire to a life in the theater. Valadez may love the fact that his play is being performed, but his heart belongs to the Grainger College of Engineering. “I’m hoping to get involved with ionic propulsion for satellites,” he tells me. “We have an electron propulsion lab at U of I, and I hope to work on that, developing new techniques for electron propulsion for small, unmanned vehicles in outer space.”

He pauses a moment to think and then adds with a big smile, “But I would love to continue to take classes in writing. I love doing new things. I love trying different kinds of art. I consider myself as much of an artist as I am a scientist—and vice versa.”

Thanks to the Young Playwrights Festival.


Read More

The science of playwriting Read More »

Listen to The Ben Joravsky ShowBen Joravskyon January 4, 2023 at 8:01 am

Reader senior writer Ben Joravsky riffs on the day’s stories with his celebrated humor, insight, and honesty, and interviews politicians, activists, journalists and other political know-it-alls. Presented by the Chicago Reader, the show is available by 4 p.m. Tuesdays through Fridays at chicagoreader.com/joravsky—or wherever you get your podcasts. Don’t miss Oh, What a Week!–the Friday feature in which Ben & producer Dennis (aka, Dr. D.) review the week’s top stories. Also, bonus interviews drop on Saturdays, Sundays, and Mondays. 

Chicago Reader podcasts are recorded on Shure microphones. Learn more at Shure.com.

With support from our sponsors

Chicago Reader senior writer Ben Joravsky discusses the day’s stories with his celebrated humor, insight, and honesty on The Ben Joravsky Show.


Baby steps

The good news about 2022 is that it could have been worse.


Good riddance

The best thing Alderperson Ed Burke ever did for Chicago was to leave office.


The Florida strategy

MAGA’s attempt to scare white voters into voting against Pritzker didn’t work so well, to put it mildly.

Read More

Listen to The Ben Joravsky ShowBen Joravskyon January 4, 2023 at 8:01 am Read More »

The science of playwritingJack Helbigon January 4, 2023 at 5:04 pm

Lucas Bigos was not a theater kid in high school—never in drama club, never in the school play. But something clicked his senior year at Lane Tech. That’s when he took a theater class at his high school to satisfy an elective requirement. A year later, the non-theater kid, currently a first-year student in computer engineering at UIC, is one of three young playwrights whose work is being premiered at Pegasus Theatre Chicago’s 36th annual Young Playwrights Festival. 

The germ for his play, Terms and Conditions, came to him while he was setting up an online account on Etsy. “I saw the terms and conditions list on their [signup page]” Bigos tells me, speaking carefully, measuring each word, sounding very much like the clear-thinking, cool-headed engineer he would like to become. “And I thought about how there are other companies like Amazon where there’s so many things in the terms and conditions list that you probably don’t read but probably are pretty important. You just say yes without even a thought. I wanted to do something with that.”

The play that Bigos wrote impressed his teacher Kirsten Hanson. “It’s really futuristic,” Hanson enthuses. “It’s kind of Orwellian in what happens when this artificial intelligence takes over our lives. We sign off on those terms and conditions so quickly, we never read them carefully. This character checks the box, and then this AI takes over his life. It was a really great play. When I saw it I did approach Lucas, and I’m like, ‘You really need to submit this to Pegasus [Theatre’s Young Playwright Festival].’ And I think he was surprised.” He was even more surprised when he got word from the Young Playwrights Festival that his play had been accepted. 

36th Young Playwrights FestivalPreview Wed 1/4 7:30 PM, opening Sat 1/7 7:30 PM, then Fri 7:30 PM and Sat 3 and 7:30 PM through 1/28, Chicago Dramatists, 765 N. Aberdeen, 773-878-8864, pegasustheatrechicago.org, $15-$30

On the bill with Bigos is Elliott Valadez. Oddly enough, Valadez is also a first-year engineering student, at U of I in Urbana-Champaign. In high school, he was also not in any way a drama club kid. He didn’t even think of himself as a writer when he submitted his play to the Young Playwrights Festival.

“I was not expecting anything to come of this,” Valadez tells me. Valadez does not sound like an engineer; he sounds like that earnest, enthusiastic A student who routinely raises the curve on the final. He is so upbeat he practically sings when he speaks. “When I learned that there were actually things that were coming of this, I was just over the moon and was immediately like, oh man, this is happening.” 

“I have not really had very much experience writing,” he admits, grinning. “I am not an English major. I am actually an aerospace major.” The play that got him into the festival, Dead Boy Walking, was the first play he had ever written.

Like Bigos, he wrote the piece his senior year in a required elective course (creative writing), at Whitney Young. “So we did everything from poetry to playwriting,” Valadez chirps, “and this [his winning play] was like our big final project at the end of the year.” Valadez, too, was prompted by his teacher, Elizabeth Danesh, to submit his play. And like Bigos, he made the final three.

In contrast, Jonathan Soco, the third young playwright in the festival, is very much a theater kid. He speaks in the deep, resonant, reassuring tones of a seasoned anchorman. (Think a young Bill Kurtis.) He seems to know the power of his voice—he is studying broadcast journalism at the University of Indiana—but he is not vain about it. He has been performing in musicals since the sixth grade and appeared in productions every year at Lane Tech, where teacher Julie Allen encouraged him to submit his play. Most notably, he played the narrator (of course) in the school’s production of Into the Woods.

“My play is called Another Star in the Sky,” Soco explains. “It is a sort of sci-fi future play about these two scientists who are working aboard a space station when aliens start trying to invade [the Earth] and [the scientists] have to find a way to stop them and potentially save all of humanity.”

So what accounts for the high percentage of students with little to no prior experience in theater getting into the fest? Is this a regular thing with the Young Playwrights Festival? 

In a way it is. The Young Playwrights Festival is, by design, an event tailor-made for adolescents who are very much a work in progress, still growing, and still discovering who they are. It is hard to predict what they will do next or how they will develop. Students who think of themselves as engineers (as Bigos and Valadez do) may also be nascent theater artists. Or vice versa.

For 36 years the Young Playwrights Festival has been working to guide would-be writers, kindle their creativity, and turn them into young playwrights. And then they showcase the best of the best in a full, professional production.

The process used by the folks at Pegasus Theatre Chicago, which founded the festival in 1986 (back when the company was called Pegasus Players) and continues to run it, has been refined over the years. But the basic structure remains the same: reach out to the high schools, work with students on their plays, invite students to enter the contest, pick the top plays, encourage another round of rewrites, and then produce the winners.

So they have something called a tour,” explains Lane Tech’s Kirsten Hanson, who has been working with Pegasus since 2007. “It’s actually like a workshop. They send a group of teaching artists and actors to different schools. They do a workshop about the six elements of playwriting. It’s very interactive. There’s a lot of humor involved. And then they actually perform a winning play [from a previous year’s festival].”

Some schools take it a step further and bring Pegasus in to work with the school. “At Lane Tech,” Hanson elaborates, “We actually get a resident teaching artist and playwright coming into our class, usually doing about ten workshops with students. I had Philip Dawkins in my classroom for two years. Now, he is, like, a nationally recognized playwright. [He wasn’t when he visited Hanson’s classroom.] He was a phenomenal teacher in my classroom.”

After the plays are finished, students are encouraged to submit to the festival. 

Valadez recalls being prodded by his teacher to apply: “My teacher, Ms. Danesh—she’s a very huge supporter of the Pegasus Theatre—said, ‘Even if you aren’t really submitting with the intention of trying to actually compete, you should do this so that we can support the theater.’ I submitted without any kind of idea that this was going to happen. I was doing it because I put a lot of time and effort and love into writing something, and I wanted it to get read.”

Before the pandemic, Pegasus routinely received 800 or a thousand plays. “Teachers would drop off boxes of plays,” Pegasus Theatre Chicago artistic director Ilesa Duncan recalls, adding that the numbers declined during and after lockdown “This year we received 300 entries.” (Entries are electronic now.) Volunteer theater professionals read the plays and write evaluations.

Duncan notes that the submissions that make it out of the first round go to a different set of readers who will read for a different set of criteria. “So now you’re basically going, ‘What works well for these plays?’ They really give them a rating and then give feedback to the student.”

From this second round, 40 to 50 students are invited to a revision writing workshop, held over the summer. Valadez credits this workshop with helping him craft a winning play. “I do not think I would have actually been picked as a finalist without that workshop process, ” Valadez says. “In the first writing workshop I did with YPF, someone was like, ‘You write like a screenwriter, not a playwright.’ The differences between film and playwriting are a lot.” Valadez realized he was writing scenes that depended on cinematography to get his point across. There is almost no cinematography in the theater. 

The workshop also loosened Valadez up. It was in the workshop that Valadez felt comfortable using his own experiences in his writing. “I took a step back and I thought, well, how do I make this feel more genuine?” Valadez explains, “I realized that I could draw off of my own experiences with unhealthy friendships and codependency and turn the relationship in the original script [between a lonely boy and a ghost girl] into something that was kind of drawing off of experiences with people who are toxic, even if their motivations for being that way are not necessarily out of malice.”

Jonathan Soco, too, credits the Young Playwrights workshop with expanding him as a theater artist. “A lot of my understanding of really writing a play [came from] my drama class. [But] I learned so much more from YPF. They taught me a lot of unique techniques and skills that I hadn’t even thought of.”

Chicago playwright Gabriella Bonamici, who had her play performed in the 2009 edition of the festival, told me “[YPF] was just a very eye-opening experience for me as a young person. I had always written kind of in secret in my journals, just for fun. And to see my work actually being taken seriously by adults and professionals and then shared with people and enjoyed by people was really special. It made me realize that this was a thing that could be shared with other people.”

Bonamici made theater her life. She currently works for Pegasus as a program associate and is a playwright in residence with small theater company Three Cat Productions.

But not all participants in the festival aspire to a life in the theater. Valadez may love the fact that his play is being performed, but his heart belongs to the Grainger College of Engineering. “I’m hoping to get involved with ionic propulsion for satellites,” he tells me. “We have an electron propulsion lab at U of I, and I hope to work on that, developing new techniques for electron propulsion for small, unmanned vehicles in outer space.”

He pauses a moment to think and then adds with a big smile, “But I would love to continue to take classes in writing. I love doing new things. I love trying different kinds of art. I consider myself as much of an artist as I am a scientist—and vice versa.”

Thanks to the Young Playwrights Festival.


Read More

The science of playwritingJack Helbigon January 4, 2023 at 5:04 pm Read More »

NBA Power Rankings: Where has LeBron’s scoring spree sent the Lakers?on January 4, 2023 at 12:51 pm

It’s officially 2023, and time is ticking for the Los Angeles Lakers to get in position to make the playoffs — though LeBron James is doing everything he can to give them a chance.

As James closes in on the NBA’s all-time scoring record, he has helped the Lakers win three of their past four games in a stretch that includes back-to-back 40-point performances. James, at 38, is hardly ever off the floor, and he has willed the Lakers from obscurity into the conversation for a play-in spot. Things will get much harder for James & Co. to start the new year, however, as they will run through a gauntlet that includes the Western Conference-leading Denver Nuggets, Memphis Grizzlies, Dallas Mavericks, Philadelphia 76ers, Brooklyn Nets, Boston Celtics and a host of other fringe contenders this month.

The Nuggets are the latest team to take over the top spot in the West in what has been a weekly shuffle of potential front-runners. Nikola Jokic is making his claim for a third straight MVP title, as Denver looks capable of overpowering any team — even the mighty Celtics — with Jokic on the floor.

Boston has done just enough to capitalize on the Milwaukee Bucks’ recent slide to retake the top spot in the Eastern Conference, but each week it looks more and more like the Nets are the team to beat in the East — and potentially the entire NBA.

Note: Throughout the regular season, our panel (Kendra Andrews, Tim Bontemps, Jamal Collier, Nick Friedell, Andrew Lopez, Tim MacMahon, Dave McMenamin and Ohm Youngmisuk) is ranking all 30 teams from top to bottom, taking stock of which teams are playing the best basketball now and which teams are looking most like title contenders.

Previous rankings: Week 1 Week 9

NBA Power Rankings: Where has LeBron’s scoring spree sent the Lakers?on January 4, 2023 at 12:51 pm Read More »