Tuesday, September 17, 2013

Color Me Ecstatic: For 80 Glorious Minutes, The Replacements Show There is Still No Substitute -- Chicago Concert Review

Concert Review

The Replacements
at Riot Fest
other acts seen: The Pixies, AFI
September 15, 2013
@@@@@ (for Replacements)

Precious are those moments in life when you're struck by the realization that there is literally no place on Earth you would rather be at that particular instant than right where you are.

I've been fortunate to have had such a feeling a few times this year, including--a bit incongruously--Sunday night while standing at the back of a muddy field with 35,000 other people and no seating options in sight.

Sadly, my days of comfortably attending standing room only concerts--let alone festivals--are behind me, as though I still love great rock and roll, my legs, feet and back no longer share the romance if I'm unable to sit at least for a bit during a show.

This didn't miraculously change, nor did I expect it to in buying a Sunday ticket for Riot Fest in Chicago's Humboldt Park. There were also acts I love at the festival on Friday and Saturday--Smoking Popes, Bad Religion, Blondie, X, Dinosaur Jr., Violent Femmes--and even earlier on Sunday (Mission of Burma, Bob Mould), and while I would've loved to have seen them, I knew I would regret it physically.

So, truly, the only reason my friend Dave and I got tickets was because of the reunification of the Replacements, at this point specifically for Riot Fest at its three locations (Toronto before Chicago and Denver after).

I caught onto the Replacements in 1987, while in college and inspired by stellar reviews for Pleased to Meet Me, the album after the one I now consider their best--Tim--which itself followed Let It Be, oft cited in Best Albums of All-Time lists.

I whiffed at a chance to see a late-80's Mats--a moniker derived from Placemats, which itself derived from Replacements--show at the Aragon, but saw them open for Tom Petty at Poplar Creek in 1989 and while living in LA saw a show on their final tour at the Hollywood Palladium in early 1991. I was actually in Chicago over 4th of July that year, but with other holiday plans did not attend the free WXRT show in Grant Park that would end with the Replacements breaking up onstage. (I did hear it, as you can here.)

In the intervening years, I've seen singer and chief songwriter Paul Westerberg on various solo outings, during which he would play a few Replacements songs. But though his solo output was solid, even stellar at times--2002's Mono, released under the Grandpaboy moniker, is a highlight--he was a prime example of my The Power of Paul is Greater in Groups thesis.

I'd also seen bassist Tommy Stinson once as a latter-day Guns N' Roses sideman (a bit shockingly, he has been accompanying Axl Rose since 1998).

And given that original guitarist Bob Stinson (Tommy's brother) left the band in 1986 and died in 1995, his replacement Slim Dunlap suffered a stroke in 2012, original drummer Chris Mars either wasn't asked and/or interested in reuniting and his replacement Steve Foley passed away in 2008, this was really only half a Replacements reunion.

But it was good enough for me.

Great even, even if I was no more comfortable standing than during the preceding set by the Pixies (a bit more on that later).

With drummer Josh Freese, a veteran of NIN, GNR and A Perfect Circle, providing a solid backbeat and Dave Minehan sounding strong on guitar, it's quite possible this version of the Replacements is musically superior to the notoriously often-drunk-and-sloppy college radio favorites who never quite made it big.

Although the Replacements opened their 9:15 show a couple minutes early with a couple songs I didn't recognize--"Takin' a Ride" and "I'm in Trouble"--they sounded terrific, as did the outdoor acoustics, unlike for the Pixies, who had played on a stage in an adjoining field.

And once they started rolling through old chestnuts--largely from Tim and Pleased to Meet Me; see the setlist on Setlist.fm--I was rocking out rather demonstrably, in part to supersede some discomfort in my feet. But truly, to quote another legendary band, wild horses couldn't drag me away.

The Mats' take on "Favorite Thing," "Color Me Impressed," "Achin' To Be," "Merry Go Round," "Left of the Dial," "Alex Chilton," "Kiss Me on the Bus," "Bastards of Young" and more were every bit as good as I could have hoped.

Though Westerberg was communicatively-conscious throughout the set of the scheduled festival-ending time of 10:30pm, the band delivered a couple wonderful encores that took them 5 minutes past. Though I was hoping for "I'll Be You," "Hold My Life" was an even better surprise (neither was played in Toronto, though the setlists were otherwise nearly exact) and the show came to a delightfully rollicking end with "I.O.U."

Particularly because at the time finding post-show transportation seemed ambiguous at best--it proved to be a relative breeze--I was fine with just an 80-minute set (that saw 25 songs played), and so were my feet, back and legs. But if need be, I would have happily suffered through another hour of classic Mats material if they had continued to play.

The steady rain earlier in the day turned out to be a blessing in disguise as rather than aim for a Noon or mid-afternoon arrival, Dave, I and another friend got to the Riot Fest grounds at about 7:25pm. We caught a bit of AFI, a band I knew by name only. They sounded good, playing on the stage the Replacements would take over, but were vaguely similar to a bunch of other bands that seem OK but not Earth-shattering.

Though they were a perfect complement to the Replacements as another seminal '80s band with whom the alternative revolution may not have happened, the Pixies were plagued by a seemingly muted sound system, exacerbated by a few songs I didn't know (Pixies setlist here) early in the show.

But though bassist Kim Deal has left the band, Uncle Festerish-singer Black Francis looks and sounds much the same as he ever has, and indie rock gems like "Wave of Mutilation," "Monkey Gone to Heaven," "Debaser," "Here Comes Your Man" and "Gouge Away"--the song Kurt Cobain feared "Smells Like Teen Spirit" too closely resembled--were a pleasure to hear. Ironically, the sound was a lot louder after Dave and I wandered further back and found some softball bleachers on which to sit for awhile.

Taken as essentially a Pixies-Replacements double bill, rather than a full day or weekend extravaganza, Riot Fest was pretty cool, though I have no idea why they had a bunch of carnival rides and midway games, as only concert ticket holders were seemingly let onto the grounds.

But even in a pretty remarkable concertgoing year, one in which I've seem astonishing shows from the Rolling Stones and Paul McCartney, caught a Springsteen concert at Wembley Stadium and have greatly enjoyed Soundgarden, Leonard Cohen, Bob Seger, Green Day, Brian Wilson, Fleetwood Mac, Depeche Mode and others, to see another of the greatest rock bands of all time--even if not yet rightfully acknowledged by the Rock 'n Roll Hall of Fame--for the first time in 22 years, this one made for memories likely to be irreplaceable.  
---

Here are YouTube clips of "Hold My Life" and "IOU" posted by dephot, from whom you can find nearly a full concert playlist



Sunday, September 15, 2013

The Chicago Dining World Tour: Israeli Culinary Excursion is Holy Worthwhile

Taboun Grill
Israeli
8808 Gross Point Rd., Skokie
847.965.1818
Website

I can easily envision how people—especially gentiles (i.e. non-Jews to a Jew) but not just—could perceive Israeli food and Jewish food as being pretty much the same thing.

But they're not, although there is some overlap, especially as a consequence this common perception.

You'll have to look to someone much more anthropological to explain the cultural culinary origins of each, but whereas a bagel with lox and cream cheese may be the quintessential “Jewish food,” a pita with falafel, hummus and chopped vegetables within it is much more emblematic of “Israeli food.”

Which means that--although the restaurant is kosher and thus largely frequented by observant Jews--the Israeli cuisine featured at Skokie's Taboun Grill has more similarities with other eateries featuring Middle Eastern or Mediterranean food than it does with a typical Jewish delicatessen. (I've already spotlighted one of the latter.)

This isn't all that surprising, given Israel's location and the fact that the country has many Christian,
Muslim and Jewish inhabitants, including within the Jerusalem's Old Town, a place considered an extremely holy place by all three religions.

A bit confusingly, the other day I visited a restaurant called Old Jerusalem in Chicago's Old Town neighborhood, which the menu hailed as featuring Lebanese cuisine.

And on the menu of Taboun Grill were a few Moroccan dishes, including Moroccan Fish, Moroccan Eggplant Salad and, as an appetizer, Moroccan Cigars (Spicy ground beef in crispy wrapper served with hummus).

I ate at Taboun on a Sunday night with my mom and sister. It was a first visit for all three of us, and we were impressed by the artwork on the wall (seemingly for sale). We also liked the complimentary plate of pickles and pickled beets that began our meal.

In addition to having a selection of sandwiches that one might expect-—falafel, shish kabob, chicken shwarma, etc., available on pita or a lafa flatbread and priced under $10 each--Taboun Grill, which derives its name from that of a traditional clay oven used for baking pita,  also has a number of entrees above $25. Mostly meat selections, these include Rib-Eye Steak, Skirt Steak, Lamb Chops and Prime Rib.

For an appetizer, we shared a small portion of Baba Ghannouj = classic creamy salad made from tangy
roasted eggplant), accompanied by fresh pita bread. It was tasty, though I still prefer hummus as a pita bread dip. But I was intent on trying things not so familiar, which carried through to my main dish.

I enjoy falafel, and recall having a good sandwich within the Arab section of Jerusalem's Old Town, as well as at various places around Chicagoland. But as the aim of my internationally-local dining initiative is not only to explore different ethnic cuisines, but to try new things, I ordered a Fish Pita.

This pita sandwich featured a sizable, pan-fried piece of tilapia, topped with hummus, tehina (ground up sesame seeds) and Israeli salad (essentially chopped tomatoes, onions & cucumbers). It was good, although I think I've reached the conclusion that I don't like hummus as a sandwich condiment, only as a dip. For the hummus gave the fish pita a bit of a sour taste that wasn't entirely pleasing to my palate.

My mom and sister each ordered a Veggie Pita, which the menu describes as delectable layers of hummus, Israeli salad, and eggplant with a touch of tehina. They both claim to have liked their selection, declaring it "a nice change of pace from falafel," which they order at Pita Inn, whose Skokie location is a common lunching destination.

The lack of novelty--despite a definite fondness--is what kept us from ordering Baklava for dessert.
Made with phyllo dough, nuts and honey, Baklava seems to be a staple accompanying many Mediterranean cuisines. And while Chocolate Mousse Cake and Sesame Cookies also sounded good, we were good and abstained.

There is no shortage of stellar Middle Eastern dining options in the Skokie area--besides Pita Inn, I've also enjoyed Basha (a Lebanese restaurant I wrote about) and the Naf Naf Grill--let alone Chicagoland.

But it's nice to know there's another one, with the Taboun Grill serving up satisfying (and kosher) Israeli cuisine.

Friday, September 13, 2013

While Not Quite Achieving Its Title, 'Brilliance' is a Smart Read -- Book Review

Book Review

Brillance
a novel by Marcus Sakey
@@@@

I can't provide any attribution on this, but I recall Marcus Sakey being referenced somewhere as the best Chicago-based contemporary crime fiction writer.

I have to imagine that anyone who has bestowed such praise on Sakey is not only more familiar with his work than I, but also that of local practitioners in the same realm.

For while I might also grant him that accolade, it's because I really don't know many other Chicago-based crime fiction--or suspense, thriller, etc.--authors.

There's one writer, Sam Reaves, who I met at the Printers' Row Lit Fest a few years ago and from whom I bought a signed copy of Mean Town Blues, which I liked. And Sara Paretsky seems to have a higher profile than Sakey, but I haven't read any of her works.

But though I am giving Sakey's latest, Brilliance, @@@@ (out of 5) and proclaiming it a worthwhile read from a talented author, based on his work that I do know it appears that others--including many reviewers on Amazon--hold him in considerably greater esteem.

A few years ago after having him come to my attention, I started to read his 2006 novel, Good People. But it never really hooked me and I gave up on it midway through.

And while I liked Brilliance, it wasn't a blaze-through-it-in-a-week-or-less page turner like books by favorites Lee Child, Harlan Coben and Linwood Barclay. Towards the end of Brilliance, I couldn't wait to keep reading, but though it kept me interested enough throughout to stick with it, I wasn't all that enraptured for the first 300 pages or so.

Brilliance is based in the present day, but its title refers to human beings who are--to my awareness--science fictional in nature. In what seems like a metaphor for any number of minority groups, Sakey surmises a significant, though quite relatively small, population of people who are exceptionally gifted in different ways. Not as piano prodigies or math whizzes, nor as super-strong beings--though I couldn't help think of the X-Men--but with less obvious advanced capabilities.

The book's protagonist, Nick Cooper, is a "brilliant," or--as more disparagingly referenced since they represent a threatening minority to those without special gifts--an "abnorm" or a "twist." He is blessed with extraordinary "patterning" powers, which lets him instantly deduce what someone is thinking or about to do by their gestures, most commonly subconscious ones.

Working for a covert government organization--something akin to a Black Ops division of the CIA--Cooper is charged with tracking down "twists" who have engaged in terrorist behavior. I won't reveal too much else, but there are plot twists that reminded a bit of the TV shows 24 and Alias. That's not a bad thing, but one of the reasons I don't feel Brilliance is absolutely superb is because it doesn't feel entirely new.

And though I agree with the let's-all-live-together-with-tolerance-and-respect ideals that I believe are behind Sakey's metaphorical narrative, at times the messaging--and proselytizing--feels a bit too obvious and heavy-handed.

Still, simply as a thriller, Brilliance manages to be inventive and works rather well.

Not well enough to quite meet the promise of its title, nor even enough to inspire me to read the preview of Book 2 in the series that I discovered at the end of this one. But the writing is sharp with a number of shrewd observations, the overall theme is worthwhile (if excessively overt) and the action is crisp if not quite Usain Boltish.

So, long story short, if you're reading a great mystery, thriller, suspense novel, detective story, crime fiction book, etc., it may well be as good as this one, if not even better. But if you need a suggestion--particularly for a new release that's only $4.99 for a Kindle download--you could probably do a lot worse than pursuing Brilliance.

Thursday, September 12, 2013

Play About Julia Child is Tastefully Seasoned, but Never Quite Sizzles -- Chicago Theater Review

Chicago Theater Review

To Master the Art
a play by William Brown & Doug Free
A TimeLine Theatre Production
Broadway Playhouse, Chicago
Thru October 20
@@@1/2

With my last post being a 2500+ word essay imparting the importance of learning about people & topics that may extend beyond one's natural tendencies or predate one's own existence, I must sheepishly admit to entering To Master the Art with rather scarce knowledge about its subject, Julia Child.

Sure I'd known her name and general claim to fame as far back as I can remember--and her distinctive, high-pitch voice, which made me assume she was British--but I don't recall ever specifically watching any of her TV shows, reading her cookbooks or exploring her biography, nor have I seen the 2009 movie, Julie & Julia.

But before I arrived at the Broadway Playhouse at Water Tower Place on Tuesday night--where I was greeted by a pair of chefs from Le Cordon Bleu Chicago sizzling up some savory Crepes Suzanne--I looked Child up on Wikipedia and viewed one of her cooking demonstrations on YouTube.

Though barely much of a foray into familiarity with a woman who lived nearly 92 years and was famous for over 40, this brief research essentially made everything that I saw onstage in To Master the Art feel redundant.

For though it is plenty long enough at nearly 2-1/2 hours and features an outstanding performance by Karen Janes Woditsch as Child--which may well be worth the price of admission in itself--the play is essentially a biologue (biography + travelogue) that touches on a number of touchstones without delving deep into any of them.

These include Child's early life as an American spy (before the action in the play begins), her time in France and her inspiration for learning French cooking, her husband Paul's job as a diplomat charged with promoting American culture in France, Julia's strained relationship with her father, her & Paul's friendship with a woman who winds up victimized by McCarthyism, the issue of American Communism in itself, Julia writing Mastering the Art of French Cooking with a couple friends, the strugle to get it published and finally, though only referenced slightly, her TV fame.

Any one of these topics could likely have made for a fine play in itself. But with each only dabbled on, I never got a deep glimpse into any part of Julia Child's life, and stuggled with comprehending certain aspects before the next topic got broached.

Thanks to Woditsch and a terrific cast throughout--including Craig Spidle as Paul, TimeLine Theatre stalwart Terry Hamilton in dual roles and Heidi Kettenring, a great local musical theater star who here shows her deftness for drama as Jane, the Childs' leftist friend--To Master the Art certainly makes for an enjoyable night of theater; it's just not a brilliant piece of it.

Great writers and directors can likely make anything work--and Willam Brown and Doug Frew's piece was definitely crowd-pleasing--but biographical plays trying to cover a subject's full life, or a wide expanse of it, often wind up like this, i.e. somewhat sketchy due to the time constraints.

As this production is part of my Broadway in Chicago series, staged in collaboration with TimeLine Theatre, the great local troupe that debuted the play in 2010, I can't help recall TimeLine's much better rendition of a biographical play about Beethoven, called 33 Variations.

That drama, by Moises Kauffman, focused only a relatively small aspect of Beethoven's life--while weaving in a modern day narrative about a mother and her daughter--and as I wrote in my review, I tend to find that bio-dramas work best when the are more explicitly about someone in the micro, not the macro.

In sum, To Master the Art is worth savoring because Julia Child merits knowing about, and because
Woditsch and her colleagues are terrific. I wouldn't dissuade anyone from seeing it, and having loved what TimeLine has done over the years, I'm thrilled they're getting a more prominent showcase--and already an extension.

But in terms of providing any greater depth or insight to Child, beyond what you can learn by quickly perusing Wikipedia and watching her on YouTube, this tasteful play doesn't quite master the art of drama. Or, one might say, it could use a good bit more flavor. 

Sunday, September 08, 2013

The Erosion of Associative Learning (and Its Detrimental Effects)

Many moons ago, back before anyone had the ability to do anything, because cell phones, smartphones, the internet, email, text messaging, Facebook, personal computers and cable TV had yet to be invented, or were still in their infancy, I was a high school freshman.

I don't remember much about freshman year except for my friend Jordan being thrown out of Ms. Hall's Algebra class, and he'll probably say I have the story wrong. So this is representative, not explicitly real, but bear with me.

Let's say in my World History class I was assigned to do a report on Belgium.

Since the high school library was reserved for playing origami football, which consisted of folding sheets of paper into triangles that could be flicked for field goal attempts, this would involve riding my bike through the streets of Skokie to the library on a Saturday morning.

Along the way, I would likely stop to get something to eat and also visit Record City, to see what new albums were on the racks.

Once at the library, on route to the collection of encyclopedias at the back of the second floor, I would pass numerous books on display and on shelves, and probably be prompted to check something out, which has dual connotations in a library.

While World Book was always my encyclopedia of choice, there was also Encyclopedia Britannica, Funk & Wagnalls and several other multi-volume sets.

Even if I took merely the “B” volume of World Book back to a table, before or after I honed in on Belgium, it was certainly within reason that I might notice entries on “The Beatles” or “bees” or “baseball” or “Barcelona” or “Beethoven” or “Harry Belafonte” or “ballet” or the “Battle of Gettysburg” or “bass guitar” or—well, you get the idea.

Nowadays—and I should give the caveat that without kids of my own, my speculation certainly lacks much acute awareness of today's teenage tendencies, but is based a bit on observations of a niece and two nephews—kids doing a report on Belgium would presumably just go to Wikipedia or Google or other online resources (I was surprised to learn that World Book has an online encyclopedia for which schools can secure access) and search for “Belgium.”

And though information on millions of other subjects is instantly accessible, unless teens—or even adults—are prompted for a reason to explore something they weren't looking for, they probably won't.

Hence, while more information is more instantly available to more people than ever before in history, my sense is that this is actually resulting in people generally knowing less, not more.



Technology, in Itself, Isn't a Bad Thing, but...

Let me say, before I completely convince you that I'm a curmudgeonly technophobe, that I love modern technology, at least on a personal level.

I love the expediency that text messaging can provide. I like being able to watch entire television series with nothing more than a few clicks. I like always having “my music” with me. I like sharing my blog posts on Facebook and occasionally offering some witticism that makes me feel glib. I like using the Kindle app to read books on the train. I like buying replacement ink cartridges for my printer in 1-click. I like referencing IMDB during movies (at home).  And not a day goes by when I'm not looking something up on Wikipedia.

I also understand that most people are going to embrace the technology that is available—and the simplicity it often brings—and that young people who have grown up with such omnipresent technology aren't going to actively seek out the “analog” predecessors to the digital age.

There is not much reason I can think of to tell a 16-year-old to use a phone book, physical road map or—except for those really interested in learning the nuances of photography—a film camera. Many things that once were ubiquitous are now largely obsolete, and no tears need to be shed in the name of progress, even for us sentimentalists.
But my guess is that most 16-year-olds, unless imparted with certain passions by their parents, cannot name the four Beatles, or likely a Beatles album.
They probably don't recognize the names Sandy Koufax, Joe Louis, Milton Berle, Leonard Bernstein, Humphrey Bogart, Stan Laurel, Ian Fleming, Jonas Salk, Shirley Temple, Scott Joplin, Orson Welles or Louis Armstrong.
“So what?” you might say, “those were all people of a different age.”

Yes, but that's my point.

The heyday, if not full lifespan, of everyone I named was largely before “my time.” Yet, I'm pretty certain I knew who all of those people were before I went off to college at 17. And while I certainly came to know about many more people, topics, interests & pursuits in, and since, college, I don't know how many of those—or similar—once household names would even be recognized by the average 30-year-old today.

The Lack of Personal Passions Can Have
Not-So-Superfluous Repercussions


Before I ramble on, let me throw out a few caveats. I have always had a curiosity about entertainment, culture and creative arts, and I don't mean to imply that in order to have a fulfilling life, people—of any age—must share my passions. Though I do believe having a passion for something—astronomy, birds, fashion, architecture, tennis, the Civil War, Scrabble, etc., etc.—can not only be quite gratifying, but even emotionally nourishing.

And though I believe—without a shred of scientific research—that modern technologies have likely detrimentally impacted what I have termed “associative learning,” i.e. discovering something of interest you weren't intentionally seeking, even with this erosion seeming particularly acute among younger generations never weaned on roaming through record stores (see this somewhat related piece) or flipping through physical dictionaries, I'm not saying that the internet is solely responsible.

Also, while I don't think they provide quite the same type of peripheral information-ingesting and interest-prompting that physical encyclopedias, book/record stores, newspapers, magazines, bulletin boards, etc. once did, I should note that websites like Amazon, Pandora, Netflix, Spotify and, less actively, Wikipedia do try to turn users onto things not overtly sought.

And, theoretically, Facebook, Twitter and other web vehicles have exponentially mushroomed the concept of "word of mouth." Though I can't recall the last time I've seen anyone recommend a good book.

Hopefully, in this day of ubiquitous text messaging, status reporting and headphone wearing, people--including parents and kids--still occasionally communicate verbally...and even share interests and ideas.

For interpersonal interaction can be even more influential than encyclopedias, magazines, etc. in introducing one to possible new interests and passions.

Parents, aunts, uncles, teachers, other adults and even friends of the same age can hugely influence a child's sphere of interests, and even their interest in having interests. It's no accident that the early-twentysomething daughter of a friend of mine older than me loves Cream and Hendrix and old blues players.

My father certainly influenced my interest in baseball, Broadway musicals and more, and introduced me to Bridge on the River Kwai before I hit high school. And an aunt who always seemed to be traveling the world is undoubtedly part of why I so love to do so. Her apartment was always filled with books and travel mementos, and I directly trace my desire to visit Australia—which I did in 2001—to having seen a photo of the Sydney Opera House in one of her Time-Life books over 20 years earlier.

But, without being a parent nor having much conversation about this with those who are, my perception is that even interpersonal enlightenment seems not to burn as bright as it once did.

The reasons for this could likely fill a whole other essay, and I won't dig deep into them here. Certainly the advent of electronic communication, personal entertainment devices and myriad distractions have likely cut down on verbal interaction--and overt bonding moments--between parents and teenage children.

It's hard to imagine a dad influencing, perhaps even passively, his kids to watch, say, The Honeymooners, as it would have been 30 years ago, when reruns would've been on 1 of 10 available VHF or UHF channels, not a lot harder to find among hundreds of cable channels and infinite other viewing options.

I also think there's something to entertainment choices being so abundant, and thereby fractionalized, that fewer things become part of the mass zeitgeist, or at least noticed by a hefty portion of the population. Parents who grew up with Elvis, the Beatles, Stones and/or Dylan would be conceivably more likely to introduce their kids to their--and in some ways, everyone's music--than, say, 40-year-old parents of teenagers today. Because with the parents being teens between '86-'92, perhaps they don't feel the need to expose their children to Ratt or Extreme or The Outfield or Fine Young Cannibals or Bananarama or Milli Vanilli or whoever they were listening to. And all of those artists were in heavy rotation on MTV, and thus fairly mainstream. With music options in the internet age even far more individualized, there's likely to be even fewer common touchstones passed down from generation to generation.

How Cultural Literacy Can Provide a Psychological Foundation

Shocking, I know, but I never spent much time going to high school parties, or hanging out on Chicago's Lincoln Avenue (or other bar-besieged “hot spots”) or even dating a whole lot. Thus, I had plenty of time and some kind of "chicken or egg" inclination to read books, watch old movies, listen to—and constantly explore--music and otherwise indulge my creative curiosities.

Hypothesizing that some of the popular and/or stoner kids, frat boys and bar sceners may now be blissful, well-adjusted adults, I'm not saying that the only route to “happiness” involves exploring the various components of the “Paul is Dead” hoax from years ago. Especially as it's rather difficult to spin an MP3 backwards.

But I don't believe it's coincidence that despite not having, in the past and/or present tense, many of the
traditional trappings of happiness, success, fulfillment, etc.--popularity, romance, great jobs, wealth, a wonderful physique, big house, fancy car, spouse, children or even a pet—I have generally been pretty happy and, without meaning to suggest there is anything wrong with doing so, have never used psychiatric or recreational drugs, nor indulged much in alcohol.

Understanding that behavioral health issues have myriad underlying factors, I don't mean to over-imply that the seeming dearth of associative learning--and the resulting lack of life-sustaining pursuits and passions--is a significant factor in tragic number of suicides, substance addictions, cases of depression or even just insecurities and self-esteem issues among teens, young adults and, well, everyone.

But it's quite likely I wouldn't be here if I didn't have Bruce Springsteen or a good book or a classic movie to turn to when things weren't going so great, or even when I would've otherwise just been bored.

i.e., There's nothing wrong with Facebook in itself, but if it's all you have, life can be a bit harder to face, particularly through the tough times.

Encourage Looking Beyond the Instant to Find Other Interests

I certainly can't turn back the clock, and I'm not suggesting all households start subscribing to physical newspapers again (though it couldn't hurt) or that physical bookstores be supported by the government if no longer fiscally viable.

But though I admittedly have more consternation than answers, I do think there are ways to encourage a re-acclimation to associative learning.

With apologies to parents and teachers and librarians and others who are already actively trying to expand the “field of focus” among young people, I believe moms, dads and educators need to expressly stimulate additional interests, as the days of seeing other encyclopedia entries or perusing record stores is long gone.

Part of this whole diatribe was prompted by hearing that one of my nephews had to do a report on a famous person. I forget who his subject was, but I thought this was pretty cool, even if his point of reference was WorldBook.com. But when I asked if he would be reading his report to the class, he said no, that wasn't part of the assignment.

So instead of learning about 30 great, famous and/or interesting people, he learned about just one. The solution to this seems pretty obvious, though I'm not naïve enough to think that if kids hear a classmate's report on Charlie Parker, they're instantly going to become bebop afficianados.

But if you know a teen who loves 'The Hunger Games,' recommend that they look up Wilma Rudolph or Jesse Owens on Wikipedia.

If they like Jay-Z or whatever rap star I should be naming, suggest they seek out Grandmaster Flash, or even Gil Scott-Heron, on Spotify.

If they go to high school football games, bring up clips of Walter Payton, Jim Brown and Joe Namath on YouTube.

If they've seen Wicked on stage or liked the Les Miserables movie or watch Glee, show them Singin' in the Rain, My Fair Lady and West Side Story, or even take them to other live shows. 

If they love seeing the latest superhero blockbusters, find a Bruce Lee movie on Netflix or Amazon.

And if they spend excessive time staring into space--when not staring at their phones--download a book by Carl Sagan or Stephen Hawkins to their smartphone. 

You see, the tools to support associative learning are more readily available—and easily accessible--than ever.

What needs a good bit of updating for the digital age, however, is the power of suggestion.

---
If You Want to Know...Learn

In the spirit of stimulating associative learning, I thought I'd conclude this by throwing out 30 names that I'm glad I've come to know.

I'm not saying these are all people that everyone needs to know--and certainly not teenagers, as my awareness of many came much later--nor necessarily the foremost practitioners in their respective fields.

But depending on your age and interests, there may be several names below with which you're unfamiliar; as they have all enriched my existence to some degree, perhaps you'd like to learn more about some.

Each name is linked to their Wikipedia entry, with an additional "(more)" link that provides examples of their work. I've also written about many of these people here, so just use the search field at right if interested in what I had to share.

In turn, in addition to providing comments on my thoughts above, I'd be happy to hear of people and topics that I may be oblivious to, especially as my focus is heavily on practitioners of entertainment and athletic arts. And even in those fields, I'm either largely or completely unaware of any active painters, poets, sculptors, cartoonists, columnists, jazz musicians or classical composers I should be paying attention to.

So feel free to bookmark this, and return to expand your horizons--and mine--when time and inclination allow. And, just maybe, share it with your kids.

Gary Larson (more)
Norman Lear (more, "All in the Family")

Susie McMonagle and Superb Castmates Render 'Next To Normal' Next to Perfect -- Chicago Theater Review

Theater Review

Next to Normal
Drury Lane Oakbrook
Thru October 6
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As firmly reiterated by a terrific local production at Drury Lane Oakbrook, coming just two years after I saw the first National Tour (which came to Chicago just months after the show closed on Broadway and featured the original star), Next to Normal is a great musical.

Despite not meeting my #1 prerequisite for great musicals.

So perhaps I should more accurately say that Next to Normal is a musical that is a great piece of theater, even if not quite a great musical in terms of its score. 

Typically, the foremost criteria for me to consider a stage musical truly superb is for it to have great music, including several songs that rise above being tuneful & narrative to the point of being hummable and memorable.

A show can be funny, touching, well-acted and terrifically choreographed--and even abundantly enjoyable in the moment--but without a number of really terrific songs, it generally can't compare to the really classic musicals. This is true, IMHO, about several musicals I've seen, even just this year, including Catch Me If You Can, Big Fish and Flashdance the Musical.

And as I opined two years ago in seeing the national tour with Alice Ripley in it, Next to Normal has a strong set of storytelling songs, but only two or three you're likely to remember the next day.

This was particularly notable Saturday afternoon in the unusually undersold Drury Lane Oakbrook, where classic musicals with oodles of songs well-known to the older crowd (that comprises a large percentage of subscribers and group attendees) are standard fare.

But while Drury Lane and its artistic director William Osetek, who helms this production, clearly took a chance in scheduling such a dark, non-normal, modern musical, I applaud them for it, as literally did everyone in the house in instantly bestowing a standing ovation at the end of Next to Normal.

For while it may be a far cry from My Fair Lady, with only "I Am the One" and "I'm Alive" being truly standout tunes, Next to Normal is one of those rare musicals that works as drama.

Written expressly for the Broadway stage (i.e. not based on a popular movie) Next to Normal tells the story of the Goodmans, a modern-day family in which the mom, Diana, has been beset by behavioral health problems for several years--and remains in crisis throughout the show.

Susie McMonagle stars as Diana, the role originated by Ripley, who ironically also starred on Broadway in Side Show, a local production of which first brought McMonagle to my attention back in 2000.

I've seen her in several musicals throughout Chicagoland since then--from playing the lead in Evita, to key roles in touring versions of Mamma Mia and Billy Elliot, to originating the lead in Snapshots, a brilliant revue of Stephen Schwartz showtunes set to a new story in a world premiere production at Northlight--and she has always been superb, in both her acting and singing.

But I don't recall McMonagle being any better than she is here, and while I remember Ripley also being outstanding--she won a Tony for the role on Broadway--my much closer vantage point in the more intimate Drury Lane Theatre (vs. the Bank of America, nee Shubert) helped me to really appreciate the nuances an actress must bring to Diana, a role I imagine it could be tempting to overact.

But the Pulitzer Prize-winning Next to Normal is far from a one-woman show, and the six-member, mostly Equity cast in Oak Brook is sensational throughout. Local veteran Rod Thomas is terrific as Diana's steadfast husband, Dan, and with the performances given by Callie Johnson and Josh Tolle as their children, one wouldn't suspect they are both recent college grads in either their first or most prominent Chicago-area roles.

Johnson is especially convincing--and well-sung--as Natalie, a 16-year-old girl dealing both with her mother's increasing instability and a first-time romance, with Henry (Skyler Adams, who is also excellent).

And for reasons I won't divulge, Tolle's take on playing the Goodman's son is even trickier, and he pulls it off quite well. 

Colte Julian rounds out the cast in dual roles of Diana's therapists, and his recent turn as Jerry Lee Lewis in The Million Dollar Quartet serves him especially well in one number here.

While the serious themes and narrative are what truly elevate Next to Normal, I don't mean to imply that the music is bad. It's actually pretty strong, just not Leonard Bernstein or Richard Rogers strong. 

So while this is a marvelous musical that takes the art form in a dramatic new direction, the Drury Lane Oakbrook rendition is likely as good a production as you'll ever again be able to see and I liked it to the point of eagerly anticipating standing to applaud at the end, the stellar-but-not-scintillating score is what prompts me to deem Next to Normal right next door to perfect, but not quite there.

(As with my review in 2011, I feel it necessary to explain why I didn't give Next to Normal a full @@@@1/2.)

Still, especially if you haven't seen NTN elsewhere, I strongly suggest you get to Oak Brook before October 6. Particularly as discounted tickets seem to be available for every performance on Goldstar.

Saturday, September 07, 2013

The Chicago Dining World Tour: A Big-Plated Introduction to Bulgarian Food in Des Plaines

Mehanata
Bulgarian
1141 Lee, Des Plaines
847.824.0100
This is exactly the way my Chicago Dining World Tour is supposed to work.

My friend Ken has accompanied me on several ethnic eating excursions, and has read about many more on this blog.

In turn, he has taken his friend Ed to one of the places we tried—Staropolska for Polish food, as both of them are—and has looped Ed into both my blog recaps and the gastro-ethnic expedition in general.

After earlier this year recommending The Magic Jug (Ukrainian), which Ken and I visited, Ed more recently passed along word—based on a suggestion from a cigarette store clerk—of a Bulgarian restaurant in Des Plaines called Mehanata.

And on Labor Day, Ken, I and Ed went there.

With plenty of leftovers for each of us to take home, it was one of the largest feasts yet of my local international dining initiative, and proved to be as savory as it was sumptuous.

Ed conveyed that the Chicago area has the largest Bulgarian population outside of Bulgaria (I believe similar statements are true about the local Polish and Irish communities), so he surmised that there are a number of Bulgarian restaurants in the region, but Mehanata was the first I've ever come across.

A little geography lesson, because I needed one: Bulgaria is in southeast Europe, on the western shore of the Black Sea, with Romania to the north and Greece and Turkey to the south. It was part of the Ottoman Empire for nearly 500 years, and after a tempestuous 20th Century (Wikipedia), is now a democracy officially known as the Republic of Bulgaria.

The Mehanata restaurant seems to be open every day from 9am—its vast menu includes breakfast dishes—to either 1 or 2am.

We arrived around 2:00pm and found the outdoor patio to be fully-populated with diners (and smokers). So we went inside, where only one other table would be occupied during our visit.

The spacious interior was well-appointed in an Eastern European style, and the tables all featured bright red tablecloths.

With apparently just two waitresses working both the indoor and outdoor sections, service was a bit slow, but we were in no hurry and our server, Toni, was friendly and informative.

She helped Ed select a grape Bulgarian brandy (a.k.a. Rakia) called Slivenska Perla—he reported it had a good flavor—and provided entree recommendations as well. (Ken and I opted for Diet Pepsi as our beverage.)

In addition to having a vast selection of items in a variety of categories—"Sach" (clay pan dishes), "Chicken or Pork Specialties," "From the Grill," "Sandwiches" and more—the menu included a photo of every dish.

Per Toni's recommendation, Ed and Ken ordered a Pork Combo Grill and a Chicken & Pork Combo Grill, respectively.

I preferred the look of the Chorbadjiysky Sach (choice of pork or chicken, bacon, onions, mushrooms, pickles, mozzarella cheese & french fries cooked in a clay pan) and ordered it with Pork.

It was very good, although the portion was somewhat intimidatingly large. I wound up bringing home more than half of it home.

I might not get this exactly right, but Ed's Pork Grill Combo included a couple of pork cutlets, a pork kabob, a sausage strip (kebapche) and a coiled sausage link (karnache). Ken's Chicken & Pork combo included a chicken kabob along with several pork items. Both left with sizable take-home portions.

Part of the reason for that is also ordering an appetizer: Stuffed Peppers "Burek."

I'm familiar with the term "burek" as a Serbian/Bosnian food--usually with meat or spinach & cheese within something akin to a pastry shell--that I've had at exactly 3 places: Deta's Cafe in Rogers Park, Djerdan in New York (the Manhattan location I visited is now closed) and Three Brothers in Milwaukee.

As a breaded and fried red pepper stuffed with feta cheese, this Bulgarian burek was rather different than the others. And though two came as a single appetizer order--we were about to order a second appetizer before Toni assured us our entrees would be filling--between the three of us, hearty eaters all, we could only share one of the bureks.

But like our main dishes, it too was delicious.

Overall, it was a highly satisfying meal, and a pleasant place to leisurely hang out on Labor Day.

Ken declared Mehanata "excellent," and said he loved the "old European ambiance," while Ed offered that it was "more than I expected in more ways than one."

And though it may have seemed unnecessary, when Ed stepped outside for a smoke, Ken and I indulged our own vices as we each ordered Garash, a wonderful Bulgarian chocolate cake with some kind of wafer lacing.

Ed abstained from a dessert of his own, but he and Ken each got “long espressos."

Quite an abundant introduction to Bulgarian food. In fact, as I write this 6 days later, I can't help but feeling full once again.

But that's a good thing. As was our meal at Mehanata.

Monday, September 02, 2013

Michael Shannon Just One Reason 'Simpatico' Shines -- Chicago Theater Review

Theater Review

Simpatico
a play by Sam Shepard
directed by Dado
A Red Orchid Theatre, Chicago
Thru September 15
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Michael Shannon should probably be on any shortlist of the world's best actors.

His IMDB filmography is rather extensive, with stellar supporting roles--including Revolutionary Road, for which he was Oscar-nominated, The Runaways, Mud and Man of Steel, in which he played the primary villain--a few top billing credits, such as in the superb Take Shelter and The Iceman (which I look forward to seeing), and a series regular on HBO's Boardwalk Empire.

But the Kentucky-born, Chicago-bred stage actor still seems to relish working in local theater, particularly at A Red Orchid Theatre in Old Town, where he was a founding ensemble member and now paired with another--Guy Van Swearingen, still a full-time Chicago firefighter--in Sam Shepard's 1993 play Simpatico.

So even though Shannon's prominence meant discount tickets were an impossibility, when an extension made new tickets available to the sold-out run, I snatched one up for Sunday night. (I had seen Shannon in a few past local productions--The Pillowman at Steppenwolf in 2006; Lady at Northlight in 2007 and, before I or most knew who he was, in the original staging of Killer Joe at Next Theatre Lab in 1993.)

Unless you already have a ticket to an upcoming performance to Simpatico, or are willing to attempt to get stand-by tickets (there aren't any seats even listed on StubHub), chances are you won't get to heed this review, even if you want to. Which is a shame, because while the play itself is engaging if a tad confusing, it's the performances--not just by Shannon--that truly make this production shine.

The play opens with a 20-minute dialogue between old friends Shannon and Van Swearingen as old friends Carter and Vinnie.

Sharp-dressed, well-heeled and now residing in Kentucky, Carter visits Vinnie in his dingy apartment in Rancho Cucamonga, California, where the two had years ago been partners in horse racing schemes, which seemingly culminated in manipulating the dismissal of a racing official.

Although, as the Tribune's Chris Jones noted in his review, Van Swearingen is an honored lieutenant in the Chicago Fire Department and Shannon still doesn't qualify as a household name, it's hard not to imagine certain real-life parallels between them and their characters here.

Yet while Shannon is every bit as good as one could imagine, Van Swearingen is very much his equal--with Vinnie more likely the heart of the play--and it is a joy to watch the two of them act.

As well as the terrific supporting cast, including Mierka Girten as Cecilia, Vinnie's romantic interest, Doug Vickers as Simms, the disgraced racing official, and Jennifer Engstrom as Rosie, Carter's wife and formerly that of Vinnie. Kristin E. Ellis rounds out the cast as Kelly, a house servant for Rosie in Lexington, Kentucky, where some of the action shifts from California (and coincidentally, where Michael Shannon was born).

Although it was never uninteresting across two acts and 2-1/2 hours, the plotline is somewhat complicated, even convoluted. This is the first time I've come across this Shepard play, which feels a bit like a David Mamet movie.

I'm not even exactly clear how everything unfolds at the end, but while this may be a bit insulting to say about a work by one of America's most esteemed playwrights, Simpatico seems to work better as a character study and acting showcase than as a coherent, suspenseful narrative.

So I won't tell you anymore that happens, even if I could, but the storyline specifics are not why I'm recommending Simpatico, and in fact account for my @@@@ (out of 5) rating, when the performances themselves merit more.

Some might think seeing a movie star in a 75-seat theater is a treat, but really, just seeing acting this good --and while everyone is terrific, the magnetic Shannon is front & center, even if with considerably less stage time in Act II--in an intimate setting is well-worth the (full) price of admission.

If you can get a ticket.

I'm glad I did.

Sunday, September 01, 2013

Beloved Band, Classic Albums Make for Stellar Show, but Abrupt Ending Feels Like a Cheap Trick -- Chicago Concert Review

Concert Review

Cheap Trick
w/ Ravinia Festival Orchestra
Ravinia Festival, Highland Park, IL
August 31, 2013
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With their concert at Ravinia capping a week that saw the demolition of the the iconic Purple Hotel in Lincolnwood and the UBAA Tap--which had stood at Harrison & Crawford, near both my childhood and current home, since 1936--it was nice to see Cheap Trick standing as an enduring vestige of my childhood. (Though my best friend since kindergarten turning 45 would also count in that regard.)

Cheap Trick at Budokan was the first album I ever bought with my own money--at age 10--and "Surrender" the first song whose lyrics I memorized.

I remember getting the subsequent Dream Police and All Shook Up albums--and most thereafter--and seeing a TV broadcast of the band's appearance at ChicagoFest in 1981. I also recall a girl in a junior high social studies class wearing a Cheap Trick '81 concert jersey after their show at the Granada Theater, and feeling jealous. (The Granada wound up getting demolished; the girl wound up marrying Eddie Vedder.)

On August 21, 1983, I saw Cheap Trick live for the first time, at the last ChicagoFest--the one at Soldier
Field--on a bill with Joe Walsh and Steve Dahl & Teenage Radiation. 

And I've seen them 9 times in the intervening years, from headlining gigs at Ravinia to their 1999 "Silver Anniversary" show in their hometown of Rockford to a free show at a lakefront festival in Hammond to opening slots for Ratt--in 1986--Def Leppard (and Poison, in 2009) and Aerosmith, a couple times.

Though there were assuredly even more hardcore Cheap Trick fans in attendance Saturday night at Ravinia--as evidenced by some of the T-shirts--I was excited to see them once again, especially in getting half-price pavilion seats through Goldstar for me and my friend Dave. 

Though I would have been fine with a typical mixed-bag set of songs, particularly as old faves like "Stop This Game" and "Voices" seemed fairly common in 2013 setlists, given my affinity for At Budokan, it was appealing to note that Cheap Trick would be playing it in full, as well as The Beatles' classic Sgt. Pepper's Lonely Hearts Club Band, which the band has performed in Las Vegas. (Their Beatles connection also includes having recorded Double Fantasy demos with John Lennon.)

Also a bit unique was having longstanding Tricksters Rick Nielsen, Robin Zander and Tom Peterson (with Nielsen's son Daxx on drums in place of the no-longer-touring Bun E. Carlos, who was never mentioned, perhaps because of this) accompanied by an orchestra.

With the Ravinia Festival Orchestra already seated, the show started promptly at 7:30 with Sgt. Pepper's title track. Coming soon after I've seen Paul McCartney and tribute band American English, and Dave had seen Tributosaurus performing The White Album, it was a bit odd seeing Cheap Trick devoting 45 minutes of their show to covering the Beatles. 

But the songs all sounded great, with a second guitarist, keyboardist and four Beatle-suited backup singers joining the band and orchestra in ensuring the classic album's lush soundscape was faithfully re-created. 

For George Harrison's Eastern-influenced "Within You Without You," a 3-piece Indian combo was rolled onstage on a trolley, and bassist Petersen sang the lead vocal. 

And like much of the rest, the album-closing "A Day in the Life" was truly sublime. 

After a short break, Cheap Trick returned sans orchestra to perform 1979's At Budokan ("The Complete Concert" was later released, but the band stuck to the 10 songs on their most successful album, a live one recorded on tour in Japan after, Heaven Tonight, their third studio album). 

This too sounded terrific, with Daxx Nielsen faithfully handling Carlos' classic drum opening on "Ain't That a Shame."

The last, drum and vocal-only verse of "I Want You To Want Me" remains one of my favorite musical moments, and in closing my eyes during "Surrender," it was suddenly 1979 again, with Zander still in superb voice. 

Speaking of 1979, at the "got my KISS records out" line of "Surrender," Nielsen slung a vinyl copy of At Budokan into the crowd (he's been doing likewise for 30+ years). Though I couldn't quite see it at the time, Nielsen later revealed from the stage that the album had been caught, quite randomly, by Billy Corgan, an avid CT fan who was in the pavilion crowd. 

Given the dual albums played in full, the show lacked the spontaneity that truly transcendent concerts often entail, but as a blast-from-the-past, the music was very well-played and perfectly pleasing. 

The performance lasted nearly 2 hours, so for just $37 (including Goldstar fees), I didn't feel too shortchanged, but the way the night ended was nonetheless disappointing.

Early in the show, Nielsen--always the band's stage spokesman, not Zander--told that in addition to playing Sgt. Pepper's and At Budokan, the orchestra would subsequently join them for more Beatles songs and more Cheap Trick songs. 

This didn't prove to be entirely true. After "Clock Strikes Ten" brought At Budokan to an end around 9:15pm, Cheap Trick and the Ravinia orchestra performed the Beatles' "Golden Slumbers/Carry That Weight/The End," which wraps up the Abbey Road album.

This too sounded excellent, but after "The End," the band said goodnight and walked off-stage. Despite heavy and prolonged applause, the only people who came back onstage were roadies who started unplugging the microphones.

What happened to Nielsen's promise of "more Cheap Trick songs?"

Couldn't they do "Dream Police," "If You Want My Love," "Baby Loves to Rock," "Voices" and/or a couple others, perhaps bringing Corgan up on stage?

I'm not suggesting this ruined the show, merely abbreviated it. Dave and I, and another friend we encountered, sufficiently enjoyed the performance, yet all agreed that "points should be taken off" for the abrupt ending--hence my @@@@, not @@@@1/2 rating.

Here was a band, long past its peak popularity, playing a heavily-attended show in its home state, and it opts not to reward the raucous ovation with even one encore?

Plus, while I love the Beatles, I paid to see Cheap Trick and heard just 10 of their songs vs. 16 Beatle covers (while noting that "Ain't That a Shame" is also a cover, of Fats Domino).

Anyway, having now spent more than 1,000 words basically saying that Cheap Trick put on a highly enjoyable show that ended a few songs too soon, I'll end by saying that I still love the band from Rockford, and have enjoyed the ride. Like with Depeche Mode, who I saw last Saturday, I have no idea why Cheap Trick isn't in the Rock 'n Roll Hall of Fame, nor ever even nominated.

As always, I look forward to seeing them again, and since YouTube can now serve as some kind of substitute for the real thing, for those of us who felt it was missing, here's "Dream Police" from a recent Cheap Trick show: