Hello Industry Presents: The Innocent Will Die

Hello Industry Presents: The Innocent Will Die

Hey readers!

One of our favorite local bands: Hello Industry has released a new music video this month!

Check out The Innocent Will Die below and make sure to subscribe to their youtube channel HERE. 


You can also check out their behind the scenes video below!

David Bowie - the Icon

David Bowie - the Icon

If you haven't checked out the latest "David Bowie Is" installation at the MCA, make the time to find your way to downtown Chicago to experience this opportunity first hand. Bowie is known as one of the worlds most influential and pioneering performing artists of his time. I say performing artists because of the fact that much of what Bowie did was not just in music, but in the stage act he portrayed to his audience. It was an art form, much like what we see with performers like Lady Gaga today. He created a personality for himself that was unmatched at the time and has influenced a broader creative audience, not only within music, but also within design, art and theater.

Organized chronologically, David Bowie Is traces the artist’s evolution from his years as a teenager in the 1950s to the early 2000s when he retired from touring. Before the surprise release of the 2013 album The Next Day, Bowie had not released an album since Reality in 2003. On display are more than sixty stage costumes including the Ziggy Stardust bodysuits (1972), designed by Freddie Burretti; Kansai Yamamoto’s flamboyant creations for the Aladdin Sane tour (1973); and the Union Jack coat designed by Bowie and Alexander McQueen for the Earthling album cover (1997). Bowie’s many personae are amply documented through photography, graphic designs, models of concert sets, visual excerpts from films, and live performances.

Photography by: Dwight Bejec

If you are a Bowie fan, definitely check out the "David Bowie Treasures by: Mike Evans. It's a beautifully curated hardcover text that is sure to inspire and invigorate the visual artist in you.  David Bowie Treasures, through beautiful photographs and unique memorabilia, illustrates Bowie's journey from humble beginnings to world superstardom. It contains beautiful reproduction of show fliers, concert stubs and posters. You can pick up a copy here.

Tickets on sale now for the Bowie Is exhibition!
Individual tickets are $25 for adults and teens, $10 children (age 7–12), and free for children 6 and under. Price includes museum admission.

Admission to the museum without David Bowie Is access is $7 (free for children 6 and under).

Electrifying Giordano Dance

Electrifying Giordano Dance

Giordano Dance took to the stage Saturday to kick off their 52nd year. Known for electric and highly-energy performances, they leaped onto the stage to an audience that was just as electrified to see them. Their presentation was entertaining and unconventional which is typical for them. Giordano Dance is less about telling a story through dance as they are about conveying energy. They are less about displaying subtle emotional overtones though dance than they are about presenting energy that jolts a reaction from the audience. When they do use emotion in their presentation, they are highly effective but it tends to be an emotion that seems that of a crowd — think of the emotions of a flashmob.



As a result, the audience is really gets into their performances and shows them unbridled support. They are a small ensemble of dancers and total only eleven dancers. They take command of the stage and feel like a much larger dance company with the look and feel of a company twice or three times their size. They have the presence and stamina to that of a small army. This group really dominates a stage like none other I have seen. Their movements are highly aerobic and explosive. They are quick and decisive.

The opener of the show best described the tone for the evening. A dance piece titled A Ritual Dynamic had the company moving, jumping, and leaping across the stage at a pace that would kill most aerobic instructors butts. The music for this was Egyptian Disco. This is a music piece that really needs to be heard to understand the energy of what started the evening. I would encourage you to research it up on YouTube. It starts with a steady rhythm of drums and builds with complexity. While it is quite relaxing with a jazz flute adding texture to the musical beat, it builds into a frenzy as it guides the listener. The music also has Spanish guitar which gives an sense of exoticism. The movements of Giordano Dance were less Middle Eastern or classically Spanish than one would expect from this piece of music. The energy was exuberant and unrestrained. In fact, upon reflection, I wondered how such a small group can keep up that level of energy throughout an evening. They don’t do slow dance movements. Everything moves at a pace that makes the viewer loose complete track of time. The evening whips by rapidly. It seems that one sits down and two hours flies in the beat of a heart.

This evening, the company proved how extremely adaptive it can be. At the beginning, it was announced that Maeghan McHale, one of the featured soloist, would not be able to perform as the result of a foot injury. Quite amazingly, Giordano Dance closed ranks and pulled together a show that was stunning without missing a beat. McHale’s piece Alloy was quickly substituted with Gravity — a duet dance piece by Dean Rozanski and Katie Rafferty. They did a wonderful job particularly considering the short notice. Choreographed by Lindsey Leduc, Gravity was a more of a romantic piece. The musical center of Gravity is a musical piece of the same name that was written by Sara Bareilles. It is a lovely musical selection that moves at a slow and builds at a steady pace. The dance while executed beautifully, was not slow. It was quite aerobic and intense. It lacked a certain amount of depth of feeling, passion or tenderness that the music was intended to carry. Instead it was a bit more forceful. The movements didn’t quite jell for me as much as their other works. The dance was lovely and well performed but not to that piece of music. The two did not mesh.

Exit 4 was choreographed by Roni Koresh. This had a very tribal and urban feel. There were a lot of very interesting gestures and movements that made the work become exceptionally powerful. Whether it was with funky repetitive head gestures, the air of toughness with the walking and body posturing or perhaps it was the shouts from the dancers; there were many aspects of this performance that seemed to signify the coming together of a group. It was about urban gang assimilation and of isolation. It is a piece that has a grittiness as if it conveys aspects of life in prison without escape. It was very engaging in it’s raw and violent approach. As an audience member, this rawness was tempered with exuberance with music selections that mixed Turkish, Persian and Iraqi beats. Dancers acted like vultures circling their prey.  It seemed to depict a message of what it is like to be apart of a society as it falls into chaos and making a choice at some point to walk away or choose to be apart of it. It seemed to ask the question of whether being a part of a society in disarray is helpful or is it more admirable to exit to maintain individuality.

    The last half of the program was two pieces: the first was Entropy and the finale was Feelin’ Good Sweet — a world premiere.  Entropy was created by choreographer Davis Robertson. Looking at the piece, it had to be exhausting to perform and required much strength and endurance from the dancers. The men carried the female dancers as they “awoke” to the morning sun and birds. This was an inventive, original and different. It was a interesting contrast to the finale Feeling Good Sweet. Feeling Good Sweet has more buzz and glitz than the rest of the performance. It was flashy with more lighting effects and costuming but it was also similar to Bob Fosse’s work for Sweet Charity. This dance number seemed approachable and something the audience instantly resonated with.  The music was a mixture of Micael Bublé, Aretha Franklin and Waren Wade. It was straight up jazz and jazz inspired dance. It was a very sexy rendition. As mentioned, this felt like Sweet Charity. But unlike Bob Fosse’s movie work of the dance sequence, this jazz work seemed current and relevant to today.  It anything, this was a mixture of what really great jazz dance contains. The audience loved this piece — and with good reason. It was fun, entertaining and high energy. It was a perfect end and lacked for nothing. It looked back at jazz and at the same time brought it forward and into the. Ray Leeper, the choreographer of Feelin’ Good Sweet did brilliant work. The audience jumped to a standing ovation with numerous energy as the dancers displayed throughout the evening. I hope Feelin’ Good Sweet becomes part of Giordano Dance’s standard repertoire.

Artist Guayasamin and La Capilla del Hombre Create Identity in Quito, Ecuador

Artist Guayasamin and La Capilla del Hombre Create Identity in Quito, Ecuador

Many cities boast homes and studios of famous artists. It’s fun to live an in a city where an influential artist flourished. We have Frank Lloyd Wright’s Home and Studio in Oak Park as well as homes he designed. Artist residences help shape a city, creating pride and an identity.

Two thousand nine hundred and sixty miles away, Quito, Ecuador is being called “a center of transcending art” due to Oswaldo Guayasamin’s art and his La Capilla del Hombre. Guayasamin is an iconic Ecaudorian artist internationally known for his ability to communicate a history of pain and suffering through his art. He experienced much racism growing up because his father was a Quechua Indian and his mother was mixed race. Racism became a major theme in his work. The Art Institute has his work, “The Procession,” created in 1942. One of his most famous pieces, “The Deathbed of Christ,” is displayed at the Louvre.

After a career of bringing awareness and creating discussions about race and people’s daily strife, Guayasamin wanted to create a tribute to humankind, the suffering of Latin America’s indigenous people and the hope for something better. La Capilla del Hombre (Chapel of Man) emerged to be built by his home and studio. In the 12,000 square foot, three floor structure, covered in stones influenced by pyramids, he wanted visitors to see civilization’s cruelty, but also its resilience and courage. With financial help from UNESCO, which described it as a “project with the biggest cultural transcendence to the region,” it was completed after Guayasamin’s death in 2002. Visitors walk through history, surrounded by murals and scriptures laid out to interpret events. Precolonial times are on the first floor and as visitors climb to the top they travel closer to present day. The artist felt it was important for people to see and feel other’s emotions through the journey, to feel their anger, fear, and tears, and did his best to create that atmosphere.

While La Capilla del Hombre is described as one of the most important works of art in South America, two features stand out. Guayasamin’s movable mural, “Los Mutilados,” is the main part of the central dome. He described it as one of the most important works he ever designed. Each panel moves and can be rearranged in two million unique arrangements. There is also “The Eternal Flame for Human Rights and Peace” which burns on a metallic plate in the lower part of the building to keep the “conscience of humankind turned on.” Artist's residences and monumental creations help cities create identity, but they also remind people where they come from. La Capilla del Hombre not only communicates a history, it also holds space for a better future. For more information on Oswaldo Guayasamin, his foundation, and La Capilla del Hombre, you can visit http://www.capilladelhombre.com

SOFA CHICAGO - a must see!

SOFA CHICAGO - a must see!

If your image of an art opening is people coiffed in all black garb milling around looking at painting of old fruit and sipping wine — this is NOT that kind of art event. This is AMAZING. The SOFA Art and Design CHICAGO event is dedicated to artists that work in Sculptural Objects and Functional Art (aka.. SOFA).  So no, you are not going to see lots of oil painting and watercolors of some dried piece of fruit. Instead, you are going to see work that is beyond beautiful, it is also functional or developed with such skill that it will leave you mind boggled. This is the 21st anniversary of the event and there is much to see.



Often over looked, this work is not your typical work as it is not found in a frame. You will find the work in many museums and very many public and private collections as it represents skilled artists that have taken their craft to a new level. These works don’t typical fall in the categories that many galleries often exhibit.  Much like suits of armor, period furniture or sculptures found in many museums, they fall in the categories of applied arts — where art and design is applied to everyday objects to make them beautiful. Fine art aims to produce objects that are beautiful and provide a level of intellectual stimulation. The SOFA CHICAGO event represents both — applied arts that fall quite nicely into the fine art category. This is an international exhibit with 14 countries represented and over 70 galleries from around the globe. Unlike many gallery events where there may be one or two artists present, this show will have hundreds of artists present and the opportunity to see thousands of works of art — and as a bonus, this show is so popular, many of the artists will be there on hand to talk with. On an international scale this event is amazingly huge and sitting in Chicago’s backyard. And just to make it clear, this is a fine arts and crafts show… not an arts and crap show. No potholders crocheted by grandma, no doilies made of recycled plastic bags or strange lawn objects made of beer cans. This is a show that even if you hate art, detest going to art museums and leave running in terror from the Museum of Contemporary Art Museum, this show will take your breath away. This exhibit will have artwork executed in glass, wood working, metal work, porcelain, ceramics, textiles and so much more.

    This event is beyond any other art event in that artists are also creating work on the spot. One of highlights and favorites of this event is an opportunity to see Corning Museum of Glass “Hot Glass Roadshow”. Since 2005, the Hot Glass Roadshow has been mesmerizing the viewers as they work with molten glass as it comes out of furnace. This year, the winning entry from the SOFA CONNECT contest will be constructed on site the first day of the exhibit.  The Corning Museum of Glass is the world’s largest exhibit space devoted to the presentation of contemporary art glass. Their road show helps audiences understand the process, be able to ask questions and develop a better understanding of the media. This is really fun to watch. Kids will love it too. This is art in process. To be blunt — this is my favorite part of the SOFA CHICAGO. But I may have a new favorite. The American Association of Woodturners will be giving live presentations of wood working on a lathe. A particular fondness for this, I have worked on a lathe and the feeling is exhilarating. Seeing experts in this exhibit making art on the spot will have many guys (and gals) recalling memories of their father and grandfathers working in their woodshops. These craftsmen ramp up the experience of SOFA CHICAGO and make going to the event more of accessible and approachable. It is art that is demystified. There is also the Craft School Experience.  Five of the leading craft schools: Arrowmont School of Arts & Crafts, Haystack Mountain School of Crafts, Penland School of Crafts, Peters Valley School of Craft, and Pilchuck Glass School have joined together for a collaborative exhibit. This interactive exhibit strives to capture the essence what the craft school experience is all about. It features artworks of master teachers, resident artists, and students who have studied or taught at one or more of the participating schools. Through their combined efforts they are working to promote and encourage education and excellence in craft by emphasizing their unique opportunities for students to realize their abilities and focus on creativity. Expect to see some really interesting and thought provoking work.

Making the Connection:

CONNECT is a university-level design competition. Six art and design schools are chosen and offer students a forum to show their work. Each school creates an innovative environment incorporating seating, lighting and installations, and to exhibit their designs to an international audience. It is environment design for the attendees to relax and “connect” with other attendees. This is design applied to the environments with participants seeing and enjoying how architectural design flows seamlessly into their lives and into their living spaces. Spaces are approximately 575-square foot areas where visitors can relax and “connect” with other attendees. A jury assembled by SOFA CHICAGO will review all installations and the winning school will be awarded a cash prize. This years schools include:

Illinois Institute of Technology
Pratt Institute
University of California | Davis
University of Cincinnati | College of Design, Architecture, Art and Planning
University of Iowa
University of Massachusetts | Dartmouth

 

SOFA CHICAGO
makes it easy.

When you go to the Louvre, you want to see the Mona Lisa right? You want to see the best of the best? At SOFA CHICAGO, there is so much beautiful work that it can be pretty overwhelming. They put together a best of the best or a list of the “do not miss” pieces. This is SELECTS. These are pieces that have been highlighted and chosen by noted curators, designers, and critics. A brain child of fair Director Donna Davies, she tapped top professionals in the art and design communities to review the fair and make their picks. “We’re adding these selections to give our audience another opportunity to connect with the artwork,” said Davies. “Seeing what pieces each of these curators, designers, and critics have noted gives our visitors opportunities to further engage with artworks at the fair.” These highlights are available online to peruse though and then you can see them up close and personal at the show. One of the pieces that people seem to agree upon is a work entitled

Gilder River Vessel by Jennifer McCurdy. It is a wheel thrown porcelain and is approximately 7 x 14 x 10". It is presented by the William Zimmer Gallery.   Panelist Interiors Chicago Editor-in-Chief Diana Bitting noted “As someone that is not a skilled ceramist, I cannot fathom the amount of effort and the impeccable technique it took to craft this gorgeous vessel. A jaw-dropping heirloom.”

SOFA CHICAGO
LECTURE SERIES

Take a break during the day and step into a couple of the presentations The SOFA CHICAGO Lecture Series. They feature engaging presentations by renowned artists, critics, curators, designers and collectors on a variety of topics. The series of lectures begin on Friday during the Fair. There over two dozen presentations to pick from.  Speakers will share their insights into current trends in art and design, and lectures include artists speaking about their own bodies of work to panel discussions addressing larger themes. The Lecture Series is included with general admission. One of the interesting ones that caught my eye is Transition From Wood to Glass.  Represented by Thomas R. Riley Galleries of  Cleveland, OH, Harry Pollitt discusses his aesthetic transition from wood sculptures to kiln cast crystal and achieving the same flowing, sensuous curves and negative space that make his wood sculptures so distinctive. There are so many, you will want to plan your day. It is very easy to spend the weekend here.

One last thing…

Before you go, do yourself a favor and go to www. http://www.sofaexpo.com/chicago/booth-events. This is a list of all the special events that are happening. There is so much there. As there are over 70 exhibitors, each has something going on to entice you. Look over the list as there are some interesting demonstrations, talks, book signings, tours, films/video screenings and presentations. If you can’t do the weekend consider the Opening night preview on November 6th. This one of the most anticipated evenings of the year, will mark the official start of the fair. The SOFA CHICAGO Opening Night Preview is a must-attend event for members of the art and design communities, collectors and patrons, as it offers the very first opportunity to view and purchase artwork from exhibiting galleries. Mark your calendars and put SOFA Chicago on it.

Hours and costs

SOFA CHICAGO is open Friday and Saturday 11 am – 7 pm; and Sunday 12 pm – 6pm. Tickets are available in advance or at the door, and they allow access to all aspects of SOFA CHICAGO. Tickets are $20 for general admission; $30 for three-day pass.  Students and senior and groups (10 or more) are $15. For advance ticket sales, go online to www.sofaexpo.com.

River North Dance kicks some...

River North Dance kicks some...

River North Dance 25th Anniversary Gala Performance kicked off the company's season performance schedule with a bang. The Harris Theater was buzzing with warmth and excitement. This silver anniversary was a milestone full of achievement for the company for several reasons. The evening highlighted it's past accomplishments, displayed how it reaches into the education system and provides support for kids in schools and displayed some new ground breaking work.

Hayley Meier and John Litzler in Iván Pérez’s “Flesh.”

There was an outpouring of support for the company who's tradition has been to not just dance for the public, but to move them with an emotion. The company mission states it wishes to "promote and present dance, makes vital connections between dancers and the audience, create partnerships and collaborations... and advocates for dance." Last night, it did all that. Making emotional connections without words may sound like a tall order, and to many it would be tough - not so for River North. This evening provided many wonderful emotional moments on stage with dance and film.  The level of enthusiasm from the followers of River North Dance Company was palpable. It was a glitzy crowd with lots of eye candy and as sexy as the dancers were on stage. It was also a younger crowd than I expected to find for a cultural arts event. My guess is, perhaps, this was a group in where the dance company had made a significant imprint on their artistic life as well as their city.

The company is moving forward at providing the latest ideas and innovations in the field of contemporary dance. Dancers moved from the heart with performances that dissected the life, the way we live, play out emotions and deal with life's challenges. Themes dealt with relationships, wars, loves, hope, dreams and disappointments. It was a full scope of the human relationships and realities of all kinds and their differences.

An Emotional Trio

Contained in tonight's presentation were three vignettes or paintings (for the more visual). Each vignette was done by a different choreographer. Two of the evenings vignettes were world premieres of new work. The last was a revival of one of the company's ground breaking pieces centering around the work of a 22-year old dancer.

The first painting, entitled Flesh,  starts with segments of a poem called The Knife by Keith Douglas. Portions of the poem are read aloud and illustrate the four themes of this dance movement. Flesh centers around thoughts of memory, love, loss and living in memory after death. It was conceived after the loss of both the choreographers parents and thus made the work intensely and deeply personal. The first movement or sonnet was extremely sensual though not exactly sexual. It was powerful in it's themes of attraction, emotion and it's physicality. It was highly polished in its reflection of movement used tell a story.

A side note — the music for tonight's performance was perfection. Every movement was tied to a tonality that made the music one with the dancer's body. There were movements with cello and violin, acapella choral arrangements and pop rock. It all flowed beautifully. Throughout this vignette, the music was positively breath-taking. One of the movements had an acapella choral piece Her Sacred Spirit Soared by Eric Whitacre that accompanied the dancers. This choral accompaniment added a new dimension to the dance and was expressively precise for presenting the humanitarian conflict. The whole body of work was deeply thought provoking.

The choreographer was Iván Pérez, a Spanish choreographer based out of the Netherlands making his artistic debut in the US. Given the title of "one of the best contemporary dancers of the last decade", the choreographer held true to his standards.  The third movement was particularly moving when a kiss takes on new meaning as two dancers are tied together in movement while being joined at the mouth. It was a tremendous moment expressed by dancers Hayley Meier and John Litzler. The last part of this vignette was very distinctive. The dancers were superb in their performance which was characterized expressive movements of the legs, exhausting physical fitness and harmony between the dancers and the music. It ended with two dancers showcased in a portrait that fades with time to show the non-permanence of life.

(l to r) John Litzler, Hank Hunter, Ahmad Simmons, Levizadik Buckins,
Drew Fountain and Ethan Kirschbaum in Frank Chaves’s “In The End.”

In the End... it was fabulous.

The second presentation was very emotional and my favorite of the evening.  This vignette is entitled In the End. It was choreographed by Frank Chaves, the company's artistic director. Innovative in concept, the themes center around what he describes as the “male relationships of a non-romantic nature.” This description was particularly vague and made me go "WTF?" What it seemed to really center around was man as he struggles to perform roles in society that are particularly hard or challenging — such as being in a group like a fraternity as it evolves and ends, confidentiality and friendship, multiculturalism and breaking beyond the norms of individuality and self identity, being close and confidants in adversity like war and dealing with the pressures of the work world conformity.

There were five segments to this vignette. This was a journey in life and, in a way, the series expressed the very interdependence between friends and coworkers. There was a strange combination of melodious quick movement that was accompanied by violin that added deep sorrow to the content. But it was sorrow mixed with strength and not weakness. This third part of the painting came across clearly about the relationships of humanity between the difficult periods in life when faced with crisis, revolution or war. Chaves' created a segment that would then evolve as the dancers transformed from soldiers to men in business dressed in suits. It was extremely powerful.

There were two significant and breath taking movements of the evening; The first WOW moment of the evening was provided by dancers Levidazik Buckins and Ahmad Simmons. This portion of the show was positively riveting and full of emotional depth. It was amazing in it's expression of what I understood to be two friends caught in a time of war or adversity. They were soldiers or two individuals caught in conflict and providing emotional support and then we watched as their relationship evolved. The last movement was with dancers Drew Fountain, Hank Hunter, Ethan R. Kirschbaum, John Litxler, Ahmad Simmons and Levidazik Buckins. It was so expressive and poignant with how it dealt with men in business. This section was particularly inventive in using neck ties as a noose around the neck strangling the dancers as they work through the day. For some reason, perhaps it was physicality or the dexterity of the dancers, that reminded me of the work of Gene Kelly or Matthew Bourne. It had a comic appeal that made one laugh while at the same time made it easier to pallet the emotion depth of the dance.

John Litzler in Frank Chaves’s “In the End.”

There were five segments to this portion of the program. It also reminded me of the work of the late Martha Graham. Ms Graham was pivotal in pushing modern dance into the forefront of the American psyche. Her work portrayed woman, sexuality and oppression at a time when it wasn't shown on the dance stage. Tonight's performance was equally riveting in that it dealt with mens issues. There has been a lot in the past generations written about how women act, cope and deal with society. Ms Graham gave women a voice in dance. Tonight was the mens turn with Frank Chaves' world premiere of In the End. And like Martha Graham, there were some strikingly poignant similarities. Frank Chaves, like Martha Graham, has had wonderful stints with Hubbard St. Dance Company,  New York's Ballet Hispanico and now is on to producing brilliant works. But also like Ms Graham whose talents was taken away by arthritis, this was Graves first work where he had to choreograph from a wheelchair as the result of surgery to remove a cyst on the spine. It made the evening's performance more significant and perhaps explained the deep emotional richness of the work. I am not a dancer but I was totally on page with this work. It left me with such a sense of awe. The dancers were brilliant in their use of body to tell story and convey emotion.

(l to r) Ahmad Simmons, Hank Hunter, Ethan Kirschbaum,
Drew Fountain (Below), Levizadik Buckins and
John Litzler in Frank Chaves’s “In The End.”

 Flashback to the Beginning

The last movement of the show was a revival of Reality of a Dreamer. Originally done in 1992, the vignette's musical focus centered around British pop band Eurythmics' Sweet Dreams (Are made of This). This segment of the evening provided a dramatic contrast to how much choreography has changed and evolved during the company's tenure. This high energy performance was more of a "line dance" like performance that while less emotion-gripping, was no less intense. It was very high energy and ended the evenings performance on an incredible high note. The original performance in 1992 is what catapulted the company onto the national stage with a PBS broadcast of the company in a three-part documentary. This documentary broadcast titled Reality of a Dreamer won and Emmy Award for Outstanding Entertainment and also a Silver Plaque at the Chicago International Film Festival.  Tonight's performance was choreographed by the company's first Artistic Director Sherry Zunker. The piece centers around a dream that is yet to be realized. Twenty five year later, dreams change - the artistic vision of this company remains steady. This evenings performance displayed that previous dream and how it has gained roots. The dreams are now reality. This piece now symbolizes how the company would like to move forward. Given tonight's performance, I would say the company has made lofty dreams a reality and moving forward is a short step away.

Three presentations provided humanitarian cases and the different stages of different emotional journeys.  Nicely condensed, the evening was brisk and concise while at the same time provided new additions to contemporary dance. As this was the kickoff of River North Dance 25th Anniversary Season, they now start a world tour that takes them away from Chicago for some time. Should you have the opportunity to catch them on their performances on October 10 or 11th, run to see them. Your next opportunity is in late February when the perform at the North Shore Center for the Performing Arts in Skokie on the 28th. They also have a one day performance at the Auditorium Theater in late March. Should you happen to be in Israel or Europe in Mid-October through Mid-November, you will want to make a point of seeing them. You can find them online at www.rivernorthchicago.com. Enjoy

Written by: Thom Olson and Tareq Al Saud

Halfstack Fall Issue Sneak Peek: Zap Props

Halfstack Fall Issue Sneak Peek: Zap Props

Written by: Jennifer Lezan as featured in Halfstack's Fall Issue.

In an unassuming, yet creepy drive off of Loomis Place on the Southside of Chicago, a place where history meets progress, rises multiple post modern manufacturing buildings that have long since been abandoned or repurposed. One building in particular boasts a collection of trinkets, oddities and vintage Americana unlike anything that you will find in the area. Behind this hauntingly beautiful façade of crumbling brick and stone you will find workers packing and unpacking, historians, business people, creatives, designers and the curators of the past. These interesting and inquisitive people are the lifeline behind what Chicagoans know as Zap Props.

Zap Props is a prop and antique warehouse located in Bridgeport run by Bill Rawksi, Chicago’s own curator of vintage and the key holder of the beautifully mundane. Zap Props is 36,000 square foot warehouse hidden within the confines of walls that are likely as old as the props being stored within them. In order to understand the enormity of it, one must visit to truly understand it. It’s an eerie wonderland where creatives of all industries can get lost in time exploring the vast, never ending shelves filled with treasures of times past. 

Bill got his start in the amusement and coin operated machine business over 30 years ago. He was helping his father at the time that ran a route throughout the area and even back then, Bill had an innate business sense and intuition. He saw an opportunity to grow and decided to buy a gumball machine route. As time progressed, he became fascinated with the older machines and started collecting them. He was astounded to find that, as he continued to visit flea markets to search for machines, people were actually collecting restored machines. It was at this point that he stumbled upon the fact that people were becoming ever more intrigued with the “Americana” aesthetic.

Over time, his collection grew and he saw an opportunity to take his business in a different direction as the amusement and coin operated industry was starting to die off. He continued to grow his collection and focus on working the antique and prop market. There was a chance opportunity that started with a little film called “A League of their Own” that helped Zap Props become a well-known player in the industry. Bill found his niche, as there were not, and still are not many prop houses of the stature of Zap Props in the city of Chicago. His innate business sense also helped him create a name for himself. Today, some of his biggest business clients come from the restaurant industry throughout the US and abroad. He has even been showcased on shows such as American Pickers.

If there is one thing that Bill understands, it is that networking is an extremely important part of his business. But, no you’re not going to find this blue-collar and down to earth dude rubbing elbows and hobnobbing in some fancy setting. Rather, this gruff guy has his own special way of connecting with Film Directors, Stylists, Designers and locals. He is a “what you see is what you get” kind of guy and that’s what truly seems to have helped him succeed. He is nimble on his feet and can adjust with the ebb and flow of the ever-changing business he is in. Yet, he remains humble and grateful about the opportunities he has found. Having worked with the likes of companies such as Rossati’s, Aurelios and The Tilted Kilt, Bill still maintains a humble attitude that speaks volumes about his character.

For the full article, check back Wednesday Sept. 17, 2014 to read the complete story in Halfstack’s Fall 2014 Issue. You can download the latest copy of the magazine at: www.issuu.com/halfstackmag

Halfstack Fall Issue Sneak Peek: North Coast Music Festival

Halfstack Fall Issue Sneak Peek: North Coast Music Festival

Resident  Halfstack Photojournalist Perry Fish made it down to North Coast Music Festival this year. Here's a sneak peek of shots she captured during the event. Check out the full gallery in Halfstack's Fall Music Issue on Sept. 17, 2014! You can download the latest copy of the magazine at: www.issuu.com/halfstackmag.

Halfstack Fall Issue Sneak Peek: The Feed

Halfstack Fall Issue Sneak Peek: The Feed

Resident  Halfstack Photojournalist Perry Fish had the opportunity to experience The Feed live this past August at Schubas. Here's a sneak peek of shots she captured during the event. Check out the full gallery in Halfstack's Fall Music Issue on Sept. 17, 2014! You can download the latest copy of the magazine at: www.issuu.com/halfstackmag.

Halfstack Fall Issue Sneak Peek: Off to Grammy Camp

Halfstack Fall Issue Sneak Peek: Off to Grammy Camp

Written by: Cora Vasseur as featured in Halfstack's Fall Issue.

Chicago is rich in music history and prowess across the genres. It was no surprise when several Chicagoland high school students were selected for the GRAMMY Foundation’s prestigious GRAMMY Camp. In their 10th year of existence, there will be 173 high school students total from across the country and the globe. Some students will be flying in from Japan, China, and England to learn what it takes to make it in today’s music industry.


The GRAMMY Foundation was established in 1988 to foster the betterment of American recorded music through programs and events that involve music industry professionals with different communities.

“We always wanted to have another vehicle for those high school students who wanted more in-depth information and instruction about the various careers in the business of music,” says David R. Sears, Executive Education Director. “It’s day long music industry career day.”

"The GRAMMY Foundation's GRAMMY Camp has become our signature program that provides young people with an extraordinarily in-depth experience, giving them a genuine sense of what it's like to have a career in the music industry," said Neil Portnow, President/CEO of The Recording Academy and the GRAMMY Foundation. "Each and every GRAMMY Camper benefits from this program and takes with them valuable lessons learned as they continue their music journeys."

Candidates apply online for one or more of the eight career tracks, which include instrumental performance, vocal performance, audio engineering, music journalism, music business, video production and motion graphics, songwriting and electronic music production. Campers are selected on many factors, but especially two key elements.

-For the full article, check back Wednesday Sept. 17, 2014 to read the complete story in Halfstack’s Fall 2014 Issue. You can download the latest copy of the magazine at: www.issuu.com/halfstackmag