Creepers, Rumors, and Due Process in Punk

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A friend DMed me a link to a Facebook post a few days ago.

Kimya Dawson had made a public post about shit she saw going down for years in the scene in Olympia. Bands getting ripped off by a beloved label, allegedly to the tune of half a million dollars, with several commenters also alluding to creepiness toward young women at shows and parties on the part of the label’s head. All of this bad behavior had been ignored by the scene for years, with people going as far as to ostracize anyone who had pointed it out publicly.

(Teenage Hotdog is doing an excellent investigative piece on this, which I encourage you to read. I’ve linked the most recent post.)

Now Kimya and her friends were making these secrets public. Or at least trying to. In response, my friends and I passed the post around via direct message, debating whether we should still go to the guy’s show at a DIY space next week.

You may notice I’ve named the victim of financial wrongdoing here, but I haven’t named the alleged perpetrator. This wasn’t an intentional move, and it’s illustrative of some internal fuckery in how we process accusations: tacitly, unconsciously, we are willing to give famous (“indie famous”/”local famous”/”I went to high school with him and he seemed so nice”) men the benefit of the doubt in every accusation of wrongdoing.

So we say:

Calvin Johnson–I fucking love Beat Happening–is playing a show on Saturday, rolling with a trunkful of K Records merch and god I wish I wasn’t so broke right now. Hey, did you hear what Kimya said about him? Do you think it’s true?

If he had less cred, if he hadn’t done things that we valued, would this be the story? Or would it be more like:

I heard that Calvin Johnson owes people money, is a real dick about it, and has maybe been using his cred to creep on young girls. I know he makes good records, but dude kinda sounds like a toxic force in the Olympia punk scene. And we don’t even know the money for the records he sells is going to the bands. That’s fucked up.

When someone has stature, we flip from “jeez, it sounds like a pain in the ass to do business with him, is that what I want?” to some Law & Order version of due process: we have to hear both sides and prove beyond a shadow of a doubt that the rumors are true.

This is you right now, reading this.

Safe Spaces v. Due Process

Complicating things further, the DIY space he’s playing endeavors to be a safe space, designated by the Feminist Action Support Network as a place where “oppressive or harmful behavior is not welcome.” They state: “oppressive behavior includes any action that perpetuates racism, misogyny, heterosexism, transphobia and other systemic oppressions through antagonism, silencing, intimidation, or coercion.”

Setting aside the more troubling rumors for a second, one doesn’t exactly have to be a feminist scholar argue that a label run by a man not paying artists their fair due in a timely manner, especially artists who belong to historically disadvantaged groups, is oppressive behavior. And if this guy has other accusations piled on top of that, it’s not unreasonable to assume he might not be the best fit to play a feminist safe space.

But in the nature of due process, the folks who booked the show reached out to Calvin after the opening band Plus Sign saw Kimya’s post and dropped off the show. The Pinky Swear team released the following thoughtful, measured statement:

We at Pinky Swear have decided that we will be hosting this show. This decision was reached after much thought and discussion in regards to Kimya’s post and the comments that followed.

We made Calvin aware of what has been said of himself and K on facebook and felt that this conversation was missing his voice. With his permission to post here, Calvin says: “We do owe Kimya some back royalties and have a payment plan in place. She has expressed some dissatisfaction; it and we offered to renegotiate but have heard nothing back from her since.”

We take no sides in the situation and recognize that financial harm was done to Kimya. However, both Kimya (in the comments of her post) and Calvin state that there is a process of accountability/repayment in place at this time. It sounds like it is not perfect, but is being addressed and commitments have been made. Of course we empower folks who have questions for Calvin to (respectfully) bring them up in-person at the show if they choose.

In approaching this decision we looked to the feelings, writing, and actions of fellow community members. We take the responsibility of running a safer space very seriously and our obligations to our friends and community here are of the greatest importance to us. The primary wrong expressed by Kimya was financial, however, we do recognize that there were a range of accusations expressed on Kimya’s thread and have given those consideration as well. At this time and to our best knowledge we do not feel that it would be a threat to the safety of attendees to host this show.

Some folks have brought up the role of Feminist Action Support Network in influencing the decision to host or not host this show (as a FASN designated Pistachio Level Space). It should be made clear that this particular situation/resolution is not in the scope of FASN, which is an organization that works to address sexual and gendered violence in Chicago. We made this decision as an autonomous venue, however this decision is not being made in spite of or without the principles of the wonderful work that FASN does. We will have FASN Support Liaisons present at the show.

Thank you for your patience and of course, the conversation is always open–reach out privately or post below.

So Pinky Swear did their due diligence, heard both sides, decided the payment plan Calvin had offered Kimya (after legal action was threatened, to the exclusion of other artists affected) constituted an accountability process, and that the other rumors expressed in the comments did not rise above rumors. [Note: Kimya has clarified that this payment plan only covers a fraction of the artists owed money–she chose to speak out because other people continue to be ripped off.] While frustrating, this is a respectable show of impartiality in the face of a difficult question. They know it’s ambiguous and they left the conversation open. They’re obviously really good people struggling with a really tough issue. But does that make a space safe?

As far as an outside observer can tell, everything troubling has now been addressed and there’s no wrongdoing to worry about. It’s easy to assume that because you’re not hearing about something, it isn’t happening.

Kimya Dawson shouldn’t have to fight to get paid for her work.

Rumors v. Accountability

2015-16 seems to be the time for brave women and trans* and non-binary people to speak out against harassment, assault, financial wrongdoing, and more of the bullshit they face trying to exist in a music scene that is dominated by men who feel entitled based on their success. We praise oppressed people for coming forward with their stories and effecting change, but usually the moment we finally listen and believe comes only after years of vague rumors, whispered warnings, and DMed links to FB posts.

So those of us weighing the decision to go to the show on Saturday are left wondering: Is Calvin a missing stair or just a guy who got overwhelmed by success, picked up some haters, and is trying his best to do what’s right? Despite the handful of recent, high-profile gains we’ve made in believing marginalized people who speak out, we still live in a culture that goes out of its way to protect famous men at the expense of everyone.

This hyperextended benefit of the doubt does a disservice to marginalized people trying to chill at a show that’s supposed to be fun in a space that’s supposed to have their backs. It does a disservice to fans who want to know whether the person whose art we’re buying is engaged in ethical behavior. It’s not even really helping the people who do shitty things, as we enable them to toss out their humanity and help feed their belief that their actions are beyond reproach. Instead of members of the community calling them in the first time we see messed up behavior, they’re given permission keep operating in the same garbage ways for years. Eventually, they either sort it out on their own or (more likely) there’s no option left but to call them out and cut them out of our lives when their victims finally come forward en masse. Nobody wins in that scenario, but it’s the one we keep repeating.

By giving our heroes a pass on problematic behavior because we like their work, we’re creating unsafe spaces, feeding a culture of silence, incentivizing further bad behavior, and denying the possibility of accountability and growth in our communities. Can you imagine anything less punk rock?

The Art v. The Artist

This dilemma is by no means unusual in DIY scenes. Jes Skolnik pointed out on Twitter yesterday: 

twitter.com/modernistwitch/status/689577468869644288

As Jes says, it is easier to believe that someone simply engaged in the capitalistic end of music is a bad guy. When it comes to someone who makes art that you love and helps promote artists that you love, it’s harder to believe they could do good work but also do bad things. We identify with their work and their taste, so we want to give them a pass.

Cupcake has written about the problems involved in separating the art from the artist. In this case, it’s particularly hard to ignore wrongdoing and just keep going to shows and buying records, since the issues are literally his behavior at shows and what he does with money from record sales. But because the full extent of what the artist has done is unknown, we perform this weird mental math: is x thing bad enough to never buy his records again?

If this were a perfect world, I’d have some truth bomb to drop at the end of this piece that would better settle the question: an outspoken victim or a compelling origin story for the rumors, one where amends have been made and it wasn’t as bad as all that. But it isn’t a perfect world. And we don’t know the whole truth. As Teenage Hotdog said, it’s hard to investigate vibes. As they continue digging and soliciting comment, we might get a definitive answer, or at least a large enough collection of stories that the “dun dun” sound finally plays.

But we may also have to live with the uncertainty and decide how we feel: do we trust our hero is a good person because he likes the things we like? Or do we by default believe that someone who is called a creep is probably a creep? How do we navigate rumors when safety is at stake?

Cupcake has made some important suggestions for ways we can work to spruce up this garbage world and make safer spaces, but many of the implementations so far have focused on instances where the situation is clear. We can run it through our internal court of law and spit out a clear verdict and an appropriate response. But does that still leave us potentially complicit in more ambiguous cases? What is our obligation when we just don’t know the whole story?

Do we go to the show on Saturday?

Do we keep buying K Records?

Do we pass the story along?

[Editor’s note: this post was updated to better clarify the financial issues between K and assorted artists. Please check Kimya’s post and Teenage Hotdog’s article for fuller details.]

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Monthly Agenda: January 2016: New Year, Same Ole Shit

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I know it’s really tempting to spend the next three months curled like a cat around a space heater, but if no one fills venues with wet boots and cigarette-scented wool coats the punk rock fairies die. With no applause to sustain them or flying beer droplets to keep them nourished, there’s no belief in rock-n-roll to keep their twinkling lights from dimming.

Here’s my recommendations of some shows to see in January that will keep the magic alive.

The Glyders, Bingers, Soft Candy
Kind of one of those inoffensive 1960s influenced soft and fuzzy-furry rock kind of bills, should be fun.
East Room, 2354 N Milwaukee
Wed, January 6, 9pm / free / 21+

The Malskys, Not For You, Glamour Hotline, Thanks For Coming
I’ve never been to this venue but I’ve previously expressed my love for earnest, unpolished spooky cool band Glamour Hotline and their vulnerable compositions about girl-on-girl admiration and skater rats.
The Keep UPDATE: MOVED TO THE OBSERVATORY
Sat, January 16, 8pm / $5 donation / byob

Negative Scanner, Walking Bicycles, Beat Drun Juel
Donna of Beat Drun Juel’s focused intensity is what takes their sound past a grungy 90s alt-rock sound into howling aggression. She’s a force of nature; I think I saw a picture of her from Ian’s Party this past weekend playing her guitar with garden shears?
The Empty Bottle, 1035 N Western Ave
Wed, January 20, 9pm / 21+ / $5

Protomartyr, Amanda X, Negative Scanner
This was rescheduled after a member of Protomartyr experienced a family emergency, so if you were holding tickets, make sure this is on your calendar. Protomartyr is the perfect post punk to decend into the throes of a bummer with.
Lincoln Hall, 2424 N Lincoln Ave
Sun, January 24, 8pm / $15, 18+

Sleep, Bongripper
Thalia Hall, 1807 S Allport St
Tue, January 26 / 21+ / 17+ / $25 / $30

Sleep, Bongripper
Thalia Hall, 1807 S Allport St
Wed, January 27 / 17+ / $25 / $30

Two nights of doom. Play “who’s vaping weed” on the sidewalk outside between bands.

Chicago Psych Fest VII
I don’t have a ton of knowledge about the more wooly and trippy and noodlier parts of weirdo guitar music, but if you enjoy it, head on over to The Hideout’s website to find out more about the line up of this Chicago tradition.
The Hideout, 1354 W Wabansia Ave
Thu, January 28 through Sat, Jan 30th / 21+ / $10 one night / $25 fest pass

Ne-Hi, Clearance, Dim
This is on my birthday, and you know I ain’t fuck with that Drynuary shit. If the birthday bad bitch deigns to make an appearance please buy them shots.
The Empty Bottle, 1035 N Western Ave
Fri, January 29, 9pm / 21+ / $10

Absolutely Not, Le Tour, Velocicoptor, Strawberry Jacuzzi
Look at all these much loved locals playing a major venue like The Metro together! Cool.
Metro, 3730 N Clark St
Sat, January 30, 8pm $10 Adv. – $12 Day Of / 18+

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5 Queer Albums I Loved in 2015

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We’re not big on end-of-the-year lists here at SBS. We don’t do top ten lists, or declare an album of the year.

This isn’t a ranking, or a definitive list. It’s just what the title says – 5 albums, released in 2015, that discuss queer themes, whether they be overtly political (the destruction of the cis-sexist patriarchy) or intimately personal (the near-universal desire to find someone who loves you).

I’m already braced for people to say “Why does it have to be 5 queer artists? All that matters is the music, man.” Privileged groups, who don’t have to do anything to gain acceptance, an audience, and bookings besides strumming a few chords, are threatened when the spotlight swings away from them. And marginalized groups are rightly dissatisfied with being herded into a genre ghetto, lumped in with bands that sound nothing like them based on identity.

I could have made this a stunt, stealth list – just say that it was 5 albums I liked. But I’m aware of how the internet works. I, personally, don’t read every piece of music criticism out there, regardless of headline, to find out if it’s something I’m interested in; there’s only so many hours in the day. Whether we like it or not, we live in a world where people make snap decisions about what to read based on Facebook link previews, and I wanted people who need these albums, who would relate to them, to find them.

This is a celebratory list, with everything on it from twee pop to hardcore punk. Queer and trans artists made some incredible art in 2015. We think you should listen to it.

Kt Spit – Combluotion

KT Spit first came to my attention through her now-deleted Tumblr and the above collaboration with Samuel Shanahoy, the modern-day John Waters and occasional pornographer who made the video for Dreamworld Waiting. In the years after the release of Dreamworld Waiting, she worked alone on producing an album that was starkly different.

Combluotion‘s bedroom-produced vocals are emotive, earnest and sweet, circling cold crystalline synths & fairyland drum machinery, girlishly grieving disappointments and evoking dreamland futures beyond the loneliness and pain.

The unapproachable, FKA Twigs inspired single Come Thru boasts a video full of facial piercing & queer cavorting. I enjoyed the the low key chords and sonic splatter of gross, and the eerie, sweet pop melody Hope St.

Closet Burner – Choose Your Weapon

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Still Broken begins with a broken, fuzzy sample, a common motif in hardcore and d-beat. Sylvia Rivera’s voice rings out, addressing the Christopher Street Liberation Day Rally. “I’ve been trying to get up here all day for your gay brothers and your gay sisters in jail that write me every motherfucking week and ask for your help, and you all don’t do a goddamn thing for them.”

Rivera’s speech (which you can view here) encapsulates a lot of the anger being processed in Closet Burner’s 8 minute and 47 second long album Choose Your Weapon.

When I saw Closet Burner play a benefit show for a local queercore fest in a local pizza shop, their lead singer addressed the crowd, explaining how the tendency of queer activist circles to deliberately repel people who aren’t on the same woke level as them can serve to exclude a lot of queer and trans people who aren’t on that level yet for a variety of wide socioeconomic reasons. I could feel tension in the room.

It’s a fine line between creating acceptance and allowing an “anything goes” culture that pressures marginalized groups to endure outsized aggressions. No one wants to tell deeply invested activists to run their own scene differently. They just going to quietly stop going to events where they don’t feel welcome.

When the song Queer Elite began, with Closet Burner screaming “Nose in the fucking air, you don’t seem to care…reciting all the theories, out of touch with reality,” I clapped along.

Peach Kelli Pop – Peach Kelli Pop III

You can no longer find Peach Kelli Pop’s albums on Bandcamp, after they posted a receipt showing $1.52 taken off a $10 MP3 album to Twitter. Guess you better actually buy their records, or go see them next time you have a chance and buy all the stickers, zines, and tapes you can get your hands on.

Remember when we went to Milwaukee to see these dudes play? That’s the sort of addiction their candy-coated twee love pop inspires. If there’s a Peach Kelli Pop XII, I’ll probably love it.

G.L.O.S.S. – Demo

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Released just two weeks in 2015, G.L.O.S.S.’ manifesto had a whole year to threaten the cis-sexist transphobic punk rock status quo. It ruffled more than a few feathers (puke and eyeroll forever) and inspired a whole new generation to take femininity back with lined lips and spiked bats.

There’s pretty much no way you missed this incendiary firebomb, so I want to make sure you also noticed singer Sadie Switchblade’s solo album under the moniker Dyke Drama. Switchblade’s clever lyrics, which channel rage and trans triumph on the G.L.O.S.S. demo, exhibit emotional depth and frank vulnerability while discussing sobriety, depression, and unhappy sexual encounters.

PWR BTTM – Ugly Cherries

PWR BTTM’s drum-and-bass driven Ugly Cherries is less of an album and more of a way of a direct beam into the brains of those gifted with being fluidly genderqueer and floridly queer: you’re not alone. Here are your people. The lyrics beckon in: “We can do our make up in the parking lot…we can drink our beer out of a sippy cup, we can go to Disney Land and fuck shit up.” Once you’re in the slumber party of longing, sex, love, you’re covered in glitter and you’ll never be alone again.

(I can’t recommend John Walker’s excellent piece on PWR BTTM for Fusion highly enough; it’s what made me realize I definitely had to check this album out).

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War on Christmas Fest

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This weekend, HoZac Records is teaming up with DIY space Young Camelot to bring you War on Christmas Fest, a benefit for Chicago Coalition for the Homeless and Greater Chicago Food Depository.

This fest is shaping up to the twinkling star of the holiday season, with two days of stacked line-ups, and higher goals than simple lagered abandon. The $7 ticket price per night is dropped down to $5 if you show up with a canned good, pack of socks, box of tampons, jar of peanut butter, box of pasta, etc.

Each night kicks off at 9pm at Young Camelot. Ask a your local bell-ringer with a mohawk under their Santa cap for the address.

Friday, December 11

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Heavy Times, Indonesian Junk, MAMA, Endless Column, American Breakfast

Don’t chintz out and bring some ancient canned straw mushrooms rescued from a Cold War bomb shelter. Spring for a box of ultra-absorbency tampons, for all those experiencing Heavy Times.

Saturday, December 12th

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The Rubs, Soft Candy, Gross Pointe, The Man, Hawley

War on Christmas Fest continues with an eclectic line-up that includes 60s-pop anachronisms Soft Candy, two flaming tire-fires of garage rock (The Rubs & Grosse Pointe), and The Man’s menacing, no-fucks-given mind-control punk.

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Emily’s Weekend Pop Picks: November 20-22

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As you can see from the SBS Show Calendar, we’re officially moving into winter and the onslaught of awesome shows to try to shoehorn into your week has slowed a bit. Before you pull out the fuzzy blanket and Remembrance of Things Past (or whatever giant book you’ve been totally meaning to read) to settle in for the whole damn winter, stop and check out all the cool things that are still going down. Like the US Postal Service, neither snow nor sleet nor sold out shows will keep Store Brand Soda from sweating profusely in our parkas in a basement all winter long. I’ve got some show picks for the upcoming weekend here and Cupcake has an abbreviated list of must-see shows for the rest of 2015 over at Do312.

coles flyer

 

Friday, November 20

Mitski, Palehound, PWR BTTM
I’ve known about tonight’s STACKED lineup at Beat Kitchen forever. I wrote about Mitski at this year’s SXSW and Palehound was also a SXSW discovery a few years ago. But like the US Postal Service, sometimes I’m just super slow at getting to things, so I totally snoozed on tickets. Happily for these 3 kickass bands, the show is now sold out, but maybe you’ve already got tickets or have a friend who is bailing because of a few snowflakes. If you can get into this one, do it. And please have all the feelings for me.
Beat Kitchen, 2100 W Belmont Ave
8:30 pm / $12 adv / 17+ / SOLD OUT

Fuzz, Walter, Oozing Wound
If you read the above description and thought “the opposite of that” then you probably want to be at the show at Thalia Hall tonight. This was probably already on your radar, but just in case it wasn’t, here are some key words: Ty Segall, garage rock, hard rock, metal. Also sold out, but again it’s supposed to start snowing around 9 pm and you know your friends aren’t going to want to go all the way to Pilsen if there’s weather involved. Start tweeting about how you’ll take an extra ticket and just see what happens. No weak pits, okay?
Thalia Hall, 1807 S Allport St
9:00 pm / $15 / 17+ / SOLD OUT

Dumpster Babies, Fuck Knights, Fire Retarded, The Evictions
Speaking of no weak pits, Tall Pat Records dumb punks Dumpster Babies are headlining another stacked bill of local rock ‘n’ roll at The Empty Bottle. To make it even more killer, 3 of tonight’s bands are featured on the latest 4-Way Freakout cassette, celebrating its release at tonight’s show. Plus the Bottle’s got coat hooks so you can bundle as much as you need to heading to this one and still be comfortable and cool when you go to dance.
Empty Bottle, 1035 N Western Ave
9:00 pm (9:30? 10? The Bottle does what it wants) / $5 / 21+

Mauve, Principality, Star Tropics, Pale Spectre
I’ve written about Star Tropics before and they are still one of my favorite Chicago bands/pop bands/things existing in the universe right now. They’re also playing a free show at Cole’s with Mauve, who are doing a really nice psychedelic/electronic thing, and two Minneapolis bands, Principality and Pale Spectre. The song on Principality’s bandcamp is some straight up 80s goth jam so if you’re moping about missing out on Mitski tix, I think this might be your vibe. And it’s free. Hard to argue with free. I will be at this one so come say hi!
Cole’s Bar, 2338 N Milwaukee Ave
9:00 pm (lol probably 10) / Free / 21+

unicorn fest

Saturday, November 21

Beach Slang, Lithuania, Worriers
I’ve seen Worriers 3x this year and I’m not 100% sure we’ve mentioned them yet on Store Brand Soda. Maybe Cupcake fixed this mistake already, but I’ve definitely fucked up. So let there be no doubt: Worriers are awesome. Pop punk for people with feelings and politics and actual complicated lives and stuff. I know that everyone into sad punk is also all over Beach Slang, but Worriers are the band on this bill I am most enthusiastically evangelizing in 2015. Also sold out, so if you have tickets for this one, don’t be a dingus and just see the headliner.
Subterranean, 2011 W North Ave
8:00 pm / $12 adv / 17+ / SOLD OUT 

Peach Fuzz, The Peekaboos, The Landmarks, Electric Sheep, Nomar
There’s a pretty rad show happening over at Club Soda Saturday night with The Landmarks in town from Michigan and locals Peach Fuzz, The Peekaboos, Electric Sheep, and Nomar also on the bill. I have been into The Peekaboos since like 2011 though I haven’t yet seen them with the latest iteration of their lineup. Super fun sloppy shouty, hooky, garagey Chicago punk. I haven’t caught Peach Fuzz yet but lately they’ve been popping up on all kinds of bills I’m into. Based on their Bandcamp, they’re the kind of local rock band I want an infinite supply of. If you’re bummed you missed Friday’s Mitski show, come check these folks out.
Club Soda
7:30 pm (but probably hella punk time) / $5

Pinky Swear Return of the Unicorn Fest
Okay like I’ve been to Pinky Swear and I have literally no idea how seemingly every musician, artist, poet, and performer in the universe is going to fit into that basement, but I’m on board with the process. This all-day event kicks off with some low-key tea-sipping posi vibes and ambient music at 10 am, followed by an increasingly energetic celebration of the unicorn from 2:30-11 pm. Check out the Facebook page for more context. It sounds like an experience.
Pinky Swear
10:00 am / $5-10 

EGO, Jollys
Hey look another local rock show! EGO are newly back from tour and playing a free show at Cafe Mustache with Jollys.
Cafe Mustache, 2313 N Milwaukee Ave
9:00 pm / free / 21+

SYA773

Sunday, November 22

The Landmarks, Minor Wits
If you liked The Landmarks at Club Soda, you can catch them again at their Bric-a-Brac in-store with Minor Wits, a local power pop/pop punk group I’m just now hearing about but am kind of super into.
Bric-a-Brac, 3156 W Diversey Ave
5:00 pm / free / all ages / BYOB

Hibou, Bloom, Color Card, Jewel Case
I saw Hibou when he came through town a couple years ago and holy fucking shit. If you are into dreamy pop sounds, if you bought my recommendation of Star Tropics, if you have $12 to spend on a show, check out this band. Come early for this one because the supporting bands also rule.
Subterranean, 2011 W North Ave
9:00 pm / $12 / 21+

Outer Minds, Lil Tits, Strawberry Jacuzzi 
Do you like fun? Do you like supporting essential healthcare services? Then you want to be at the SYA773 Fundraiser for Planned Parenthood at The Empty Bottle Sunday night. All ticket sales from this fucking killer lineup of local bands will go to supporting Planned Parenthood, who you may recognize from their low-cost preventative care, birth control, and STI screening services or from some totally bullshit videos Republican lawmakers are obsessed with. Either way, come rock out and feel good about the work you’re supporting.
Empty Bottle, 1035 N Western Ave
9:00 pm / $8 / 21+ 

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Dead DIY Space: Elastic Revolution

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A sinewy, grey haired man is sitting on the floor of an old church in Logan Square surrounded by a ring of weird electronics wired together, like a circle of protection cast in a cyberpunk movie about witchcraft. [This movie does not exist but it obviously should]. The boxes are effects pedals wired to effects pedals wired to nothing else. He’s literally playing freak electronic impulses and looping them into an aggressive industrial freakout, pressing buttons and twiddling knobs with a gleeful, maniac look across his face. The man is Dave Purdie, a member of Verbal Abuse, one the first punk bands to form in Chicago, an intense, increasingly avant-garde no-wave act profiled in the documentary You Weren’t There. Other members would go on to found Naked Raygun and Big Black; another will die in a motorcycle chase with the cops. Dave Purdie will become Satan 2000. I’ll get back to him and his surroundings in a minute, but I’d like to wax theoretical for a few.

I used to get mad at the label “Scene” (with a capital S) because it felt so self-aggrandizing, even when used in derision, as though one group could define youth culture. There is no homogenous art or music or DIY scene in Chicago; maybe there is in Terra Haute or Peoria or wherever but probably not there either. Punk and rap and dance music and art fracture into a million subgenres defined by fashion, politics and BPM’s, creating a multiverse of scenes that parallel, intersect, mirror and overlap, loosely connected by people and places. Sometimes it seems as if the places didn’t need to be created by the people inside, but existed only to be filled by art. Buddy becomes Happy Dog becomes No Nation in Wicker Park. The Azone becomes peopleprojects becomes Papal Projects in Logan Square. Weiser House becomes Fort Kakalak and Treasure Town and Mortville in Lawndale.

If you want to get mystical about it (and boy howdy do I always) you can point to the plethora of places where art has been created across the entirety of Milwaukee Avenue. Before the dirt road was paved over with wood and then brick and then asphalt, before Jean Baptiste Point DuSable founded the city in the 1780’s, and centuries before Robert de la Salle transliterated the Miami-Illinois (Algonquin) word “shikaakwa” into “Chicagou” in the 1670’s, what is now known as Milwaukee Avenue had been a route of travel for half a dozen societies of Indigenous Americans for generations before. The word Milwaukee translates from Potawamie and Ojibwe Algonquin to “the Good Land”, but we already know that because Alice Cooper says so in Wayne’s World , and Wayne’s World is a rad fucking Chicago rock’n’roll movie.

I’m not trying to invoke the mystical exoticism some people like to place around indigenous cultures but I would like to talk about Ley Lines, the concept that the natural pathways that pre-industrial societies developed around, that were livable, farmable, and walkable, were preordained, formed almost intentionally by the cosmos, a cooperation of the stars, waterways and tectonic plates to guide humans towards places where they could thrive. The land is imbued with the elements of creation, and just as certain land works better for farmers, artists and thinkers are drawn to the places where they thrive as well.

If you don’t want to get mystical, if you want to be completely practical, the city of Chicago was built around the established paths because they existed. It was easier and made more sense. Milwaukee Avenue was developed in a way where working class people could easily get back and forth from their homes on the outskirts to the factories clustered around the center. Chain-migration would mean tight knit immigrant communities would settle, assimilate and disperse, leaving new room for new tight knit immigrant communities, and a revolving door of artists could take advantage of newly emptied homes at working class prices. De-industrialization would empty the factories for underground galleries and practice spaces and communes.There is no mysticism, musicians need environments where they can make noise unencumbered and be heard, artists need room to fabricate and be seen, and thinkers need space that they can afford, because ‘thinker’ isn’t a fucking job. Like finds like. Communities form. Art gets commodified. People move in and the live/work/play spaces become condos and artisinal doughnut shops.

So it’s real world, non-theoretical 2005. A few blocks away from Milwaukee Avenue, I’m in a shuttered Pentecostal church watching Satan 2000 exorcise noise from the air like an aggro Jon Cage surrounded by people eating mushrooms and drinking out of paper bags. Mystically, the church was built to focus and refine people’s concentrated energy into a joyful noise. Practically, it’s a big acoustically-sound building in a pretty cheap part of an up-and-coming neighborhood with its own garage parking space.

The place is Elastic Revolution, but it’s alternately known as 3030, 3030 Revolution, and Elastic Arts. It’s not a rowdy or aggressive space; its primary focus is jazz, and the traditional, uncomfortable, long wooden pews make the space untenable for dancing, no matter how aggressive the music gets when jazz gives way to experimental noise, or how bouncy the music gets when there’s a funky drummer at the helm. Marvin Tate does a series of poetry readings, the Cucaracha Cabaret hosts a monthly puppetry series, there’s an electronic music night and an improvised music night; if you’re a fan of local jazz stalwart Ken Vandermark but you’re not a fan of jazz clubs, you can see a whole fuckova lot of Ken Vandermark in duos and trios and quartets.

Elastic Revolution wasn’t felled by a show that got out of hand, an outraged community, or a tragic accident. It was taken down by a single neighbor who didn’t like the flow of people entering, exiting, and going outside to smoke. After calling the cops out on numerous noise complaints, often resulting in no action, the CPD eventually sent two undercover cops to a show. They determined that the place money taken at the door did not qualify as a donation and that the venue was not eligible for the PPA loophole (that a place can hold events with live sound/performance without a Public Place of Amusement license if they follow a bunch of good neighbor/not-acting-as-a-taxable-business rules) because of zoning reasons, but they didn’t show up in court and, though the Elastic Arts Foundation couldn’t operate the church as a performance space anymore, I don’t think they weren’t punished further.

There’s a happy ending to this one. The Elastic Arts crew became a legit nonprofit, and Alderman Rey Colon helped them find a legit space in the neighborhood, first above the Friendship Chinese restaurant on Milwaukee, and then in a nondescript office complex just west of Kedzie on Diversey, where they’re still operating, and kicking ass today.

DISCLAIMER: DIY Dead spaces is done with little-to-no research, unless I take Adderall and spend a whole day reading about the history of Chicago street paving, but everything else is true as remembered and experienced. Memory is fallible and experiences vary. Names and dates may be completely off. People who I remember fondly may have been total monsters. People who were dickheads to me might have been perfect angels having a very, bad day when we met.

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Weekly Agenda: Nov 10 – 14th 2015

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Dude, have you looked at our calendar? The next few weeks fucking rip. Chicago is not yet content to succumb to the lure of carbs, chenille socks, and clicking “Continue Playing” on Netflix over and over.

Tuesday, November 10th

Free Pizza, Radio Shaq, Bloom, Glamour Hotline
I’m really digging on Spooky Cool Girls, an EP Glamour Hotline just uploaded to Soundcloud like 5 days ago.

“Carrie” tells a tale of girl-on-girl longing, idolization & lust. “She is a rebel queen, everyone’s favorite thing,” Hayley Jordanna sings, self-consciously evoking Bikini Kill’s Rebel Girl – again in the lines “I wanna be just like you, wanna do the things that you do.” I’m pretty sure the song’s protagonist also wants to follow Carrie home and try on her clothes. There’s a touch more envy & inadequacy than was cool to share in the ra-ra-riot days; despite the complete lack of sound similarity, it reminded me of the subject matter of Babydoll, Sweet Spirit’s ode to being the girl picked last.

Jordanna’s voice, along with Alex Lukawski and drummer Riley Cavanaugh, warps it’s way around tremulous vulnerabilities, sasses, flirts, and cheerleader-chants. Some the multi-singer back-n-forth & “fuck it, we’re just gonna squeal and swear at you through the mic” vocal styles remind me of Blatz, which is actually a SUPER high compliment from me. That being said, all their songs are mad catchy and SK8R basically sounds like the dream soundtrack to Skate Bitches.
Wally World
$5 / 21+ / byob or cheap bar

BOYTOY, Shah Jahan
BOYTOY has the sunny stoner patina and pure pop tones that seem to be de rigueur in bright young Brooklyn (and Echo Park) bands these days, but that’s not to say I don’t enjoy the effect.
The Empty Bottle, 1035 N Western Ave
Tue, November 10, 9pm / $5, 21+

Beat Drun Juel, Glyders, Ko, Slayerkitty
Not only can you RSVP here for free beer and tokens, the whole night benefits Girls Rock! Chicago, AND it’s free. Best deal in town.
Emporium Arcade Bar, 1366 N Milwaukee Ave
Tue, November 10, 8pm / 21+ / free

Wednesday, November 11th

Vånna Inget, Slopsink
Vanna Inget brought their stormy post-punk/dark pop all the way from Sweden so you will go to both shows, damn it.
Logan Hardware Records, 2532 W Fullerton Ave
Wed, November 11, 7pm/ free / aa / show after at Liar’s Club

Vånna Inget, Rad Payoff, Autonomy, Mystery Actions
Rad Payoff is a punk band that has a song that involves screaming the line “DON’T SHUT MY DICK IN THE CAR DOOR.” I could say more, but that’s basically all you need to know.
Liar’s Club, 1665 W Fullerton Ave
Wed, November 11, 8pm / 21+

Thursday, November 12th

Pink Eyes, Empty Vessels, Ribbonhead
Dude. I’m fucking into Ribbonhead’s new EP. The intensity is relentless, but varied; rather than a monotone slog through homogenous noise, they know when to play up the feedback-on-Mars fuzz, when to highlight a tricky post-punk riff, and when to let loose with a blasting hardcore squall.
Live Wire Lounge, North Milwaukee Avenue
Thu, November 12, 8pm / 21+ / $5

Eight Bit Tiger, Glass Lux
Glass Lux is a Italo Disco informed synth-pop duo that performs with trippy 3D visuals. Should be fun.
The Empty Bottle, 1035 N Western Ave
Thu, November 12, 9pm

Friday, November 13th

Bleach Party, MAMA, Soddy Daisy, The Baby Magic, Rat Hammer
This is the LAST AUXILIARY ART CENTER SHOW EVER, y’all. I think I’m going to cry a little. There’s gonna be tapes of that awesome mix streaming above, so bring some extra cash.
Auxiliary Art Center, 3012 W Belmont Ave
Fri, November 13, 7pm / $7 donation

Uh Bones, The Evictions, Son of a Gun
These fucking guys.
Cole’s Bar, 2338 N Milwaukee Ave
Fri, November 13, 9pm / 21+ / free

Rob Threezy, Gel Set, Aerial Drones, Holy Family
Deadpan, deadspace, disaffected vocals echo over bouncing, clip-clopping synth beats; Gel Set’s tone is as mournful and pervertedly futuristic as the cult classic Liquid Sky.

Holy Family is one of the new projects coming out of Rectal Hygienics. I’m just hoping it’s not the one who wrote their deeply shitty lyrics.
Archer Beach Haus
Fri, November 13, 10pm

Saturday, November 14th

Vånna Inget, The Rubs, BLOOM, The Obleeks
These Swedes again!
Club Soda
Sat, November 14, 8pm

As always, there’s a billion more shows on our calendar.

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Going to Shows Alone: A Roundtable on Living (And Partying) with Social Anxiety

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Lorena Cupcake (Editor of Store Brand Soda / Social Media at Do312): Thank you so much for taking the time to chat with me today. Most of the people reading this probably know this, but my name is Cupcake, and I help run Store Brand Soda. I’ve been going to shows since my face got smushed against Courtney Love’s boob at age 11, and I also am diagnosed with Tourette Syndrome and Generalized Anxiety Disorder.

Salvation Emily (Editor of Store Brand Soda): Hey I’m Salvation Emily. I got a late but enthusiastic start on going to shows in my early 20s and have been at it for the last 10 years!

Emily D (Art Director / Designer / Loner at shows): Hey I’m Emily, I’m an art director / designer with social anxiety and a love for live music. I also got a somewhat late start with going to shows (grew up in rural Kansas so not a lot of opportunity) but it’s one of my favorite things to do now.

Lorena Cupcake: I think there’s this common conception of people as either introverts or extroverts. Either you find being in public totally exhausting, or it revitalizes you and is really important to you. For me, I find it’s really a combination; it takes a lot out of me, but I also get a lot out of it.

Read More About Battling Negative Thoughts, Cool Books to Read at Shows, and The Best Corners to Stand In.

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Show Horoscope: October & November 2015

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0005433637_10Photo via Dilly Dally’s bandcamp

I really love this time of year. The weather is beautiful; you can ride your bike in shirtsleeves on nice days, but you don’t sweat. My dog looks cute as hell in autumn leaves. And there’s a little desperation to get your yah-yahs out before there’s a wall of snow outside your door.

As always, I’ve got your Show Horoscope right here. Pick your poison; are you a soft grunge bunny, an auteur devoteee, punk as fuck, or the coolest teenager who ever discovered an obscure Chicago music blog?

The Soft Grunge Feels

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I really love the current resurgence of fumbling fuzz, no-fucks percussion & raw vocals that’s creeping through the scene these days. In 2015, there’s more Pulp Girls buttons and summery washes on Instagram photos than than the stalwart flannel-clad archetypes of grunge would recognize, and the influence of heavy metal’s been stowed somewhere in a heart shaped box – though you’ll find one notable exception in these selections.

The dreamy feeling of melting ice cream cones, drinking dollar store soda mixed with slugs from a warm handle of vodka, and faded pink and teal hair hasn’t gone anywhere, and the delayed gratification of teen angst finally finding it’s voice is just as sweet.

Glamour Hotline, The Malskys, La Cosa, Pink Bathroom
Pink Bathroom really makes me feel like I did discovering music that made me ache I connected with it so deeply for the first time.
Eco
Fri, October 16, 7pm

Daymaker, Slayer Kitty, Bunny
Slayer Kitty filter portentous and dark drum and bass doom through a cotton-candy cloud of pink glitter.
The Owl, 2521 N Milwaukee Ave, Chicago, IL 60647
Mon, October 19, 10pm / free / 21+

Dilly Dally, Ego
Toronto band Dilly Dally doesn’t have a ton of music online, but the singles on their bandcamp are all rad. It’s a kind of fragile, exposed, unpretty grunge pop in the vein of Cherry Glazerr without some of the twee-tween (dolores) haze. Vocalist Katie Monks can unleash a menacing, unrestrained howl that will blow you away.
The Promontory, 5311 South Lake Park Ave West
Wed, October 21, 9pm / $8 adv / 17+

The Auteurs

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There’s some interesting shows coming up driven by iconoclastic and innovative personalities who have defined their own space in music.

Mac Blackout Band, Jollys, Wet Ones, Sh!t Storm
Mark has a million bands, as well as a bustling career as the artist behind everything from bubble-color stump art and boomboxes to intricate album covers. Mac Blackout Band is his star vehicle, which drifts over time between the psych punk of Functional Blackouts to the unabashed glam of Mickey.
Emporium Arcade Bar, 1366 N Milwaukee Ave
Tue, October 20, 8pm / free / 21+

Sweet Spirit, The Mad Doctors, Flesh Panthers, Skip Church
Sweet Spirit shares the incredible vocalist Sabrina Ellis with A Giant Dog, the sick Austin garage band that just got signed to Merge. Sweet Spirits has a more American roots based sound with the punk snottiness dialed back, but it’s still plenty rock-n-roll.
The Empty Bottle, 1035 North Western Avenue
Wed, October 21, 9pm / $5 / 21+

Fred & Toody Cole
The long-married legends, who have lived a whole life together, raising kids, weathering health crises, and collaborating in some great bands like Dead Moon and Pierced Arrows. They’ll be taking the stage at the Bottle for a super early Sunday matinee show that starts right at 5pm.
The Empty Bottle, 1035 N Western Ave
Sat, November 7, 5pm /$15 / 21+

Too Punk to Fuck

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I’ve felt myself absorbed with a sort of benevolent, tolerant love of music lately. For someone who talks a lot of shit, I am loving a huge amount of what I listen to for the first time, and losing a lot of the knee-jerk irritability that has long kept me leashed to a genre bubble. Mostly this resorts in me listening to shit like Billy Squire – Emotions in Motion without a trace of irony, but maybe I need to revisit hardcore and its four thousand derivatives and report back. I dunno.

Gas Chamber, Sea of Shit, Cave State, Sick/Tired, Mellow Harsher, Clotting
House show!
The Mousetrap
Fri, October 16, 6:30pm / $8

O Inimigo, Bruised, Ritalin OD, Tigress
Also a house show!
Rancho Huevos
Wed, October 21, 7pm / email for address if you’re not a cop / $7-$10

Cult Leader, Moral Void, Ikaray, Clotting
Getcher d-beat on, brah. I feel, but cannot verify, that the 6:30 start time is just doors, but don’t trust me, I literally never go to early shows unless they’re instores.¯\_(ツ)_/¯
Subterranean, 2011 W North Ave
Fri, October 23, 6:30pm / $10 / $12 / 17+

Heavy Times, Nones, Make-Overs, Obnox, The Cartoons
Obnox is such ugly weird awesome punk and in their own ways so are Nones and Make-Overs and I’m so stoked for this show. Second-to-last Make-Overs show before they go back to South Africa!
Auxiliary Art Center, 3012 W Belmont Ave
Fri, October 23 / $7 / 21+

Make-Overs, Final Grin, Den, Rash, Latisha’s Skull Drawing
Last Make-Overs show before they go back to South Africa!
New House on the Northside
Sun, October 25, 8:00pm / $7 / msg for address

NOTS, Froth, Gunshy, The Wolfpac
Kinda a weird pairing between the disaffected hipster Los Angeles surf of Froth and the wild techy skronk of noise punks NOTS, but I’m into it. Plus, it’s free, you gonna complain?
The Empty Bottle, 1035 N Western Ave
Mon, November 2 / 21+ / free

Teenage Wasteland

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As always, I rounded up my personal picks for shows that allow those below drinking age that didn’t fit in any other area. These are not the only cool all ages shows happening; for that, you gotta check out our full calendar. I also HIGHLY recommend the 17+ Dilly Dally show 10/21 at Promontory.

Soddy Daisy, Mr. & Mrs., Wolf Pac, Spike and the Sweet Spots, Clearance
Cassette Store Day is always a blast! We wrote about Clearance’s debut album a minute back, as well as Soddy Daisy’s latest jammer.
Bric-a-Brac Records & Collectibles, 3156 W Diversey Ave
Sat, October 17, 12pm / free / AA / free coffee while it lasts

The Mad Doctors, Swimsuit Addition
Swimsuit Addition is fam! Super cool people who make bummer dark wave dream pop.
Bric-a-Brac Records & Collectibles
Tue, October 20, 5pm / free / AA

The Marshmallow Ghosts, Dreamend
Graveface Autumn Pop-Up! I don’t know anything about these bands, but I love a lot of Graveface bands like Black Moth Super Rainbow and Coffin Girls, so like, I trust their judgement.
The Niche Lab
Fri, October 23, 7pm / AA / donation

The Cut Worms, Wet Wallet
Psst: there’s pretty much like, always free beers at these saki instores. Unless you’re actually a teen! Winners don’t do drugs!!!
saki, 3716 W Fullerton
Sat, October 24, 6pm / free / AA

The Hotelier, Runaway Brother, Oso Oso, The Spirit of the Beehive
I will bow to Salvation Emily’s entry in the calendar for this show, which reads simply “emoooooo.”
Beat Kitchen, 2100 W Belmont Ave
Sat, October 24, 5:30pm / $15, all ages

Cheatahs, Panda Riot
Panda Riot is the twee emotional communion dance party Salvation Emily’s obsessed with. It might be a cult?
Subterranean, 2011 W North Ave
Sat, October 24 / $10, 17+

Shannon and the Clams, Shopping
Did anyone else pick up the recent-ish Guantanamo Baywatch/Shannon and the Clams 7″ off Suicide Squeeze? The Baywatch track, Love Kin, was a country-inflected precursor to their new Darling…It’s Too Late LP, a departure from the acid-soaked surf punk of their debut, Chest Crawl. The Shannon and the Clams track, Mama, on the other hand, is a howling, desperate plea for redemption; the plaintive refrain “Can I come home again?” echoes in my head on the daily.
Subterranean, 2011 West North Avenue
Sat, October 24, 10pm / 17+ / $10 / $12

Ought, Blizzard Babies, Split Feet
Early all ages show with some of Chicago’s raddest bands! Clap some ear protection on your tween, buy them a ginger ale, and prepare for them to come home next week with an alternative lifestyle haircut and detention for the Perfect Pussy patch on their backpack.
Beat Kitchen, 2100 W Belmont Ave
Tue, October 27, 6:30pm / $12 / all ages

The King Khan and BBQ Show, Milk Lines
The caped King Khan brings his solo, Shrines-backed antics to town much more often then he brings longtime collaborator Mark Sultan; don’t miss the rare chance to see the two in tandem.
Subterranean, 2011 West North Avenue
Fri, November 20, 9pm / 17+ / $20

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Dead DIY Spaces: Needlehouse

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needlehouse

10 yrs back this idyllic little Bridgeport apartment building was home to Needle House. The story is that back in the day it was a cop bar and, after that, it was a shooting gallery, earning its name from the stacks of needles the punks who took it over had to sweep up to settle in.

The entirety of the first floor was taken over by a half pipe and the basement was home to sweaty, smelly hardcore shows. The walls were completely covered by spraypainted stencil art by Joe Suta, who played in the house band Raise the Red Lantern, made art under the name Choke, and was the only dude I knew who lived there. About a decade before Sick Fisher was the king of painting murals on the doorways and awnings of hip businesses, Joe was doing the same thing. You can still, I think for now, see some of his work on the now-also-dead Uncle Fun on Belmont and in Threadless warehouse.

This was one of those reliable spots where, like buddY gallery, if you didn’t know of anything specific to do on on a Friday or Saturday night, you could just show up and expect cool punk rock shit and I would frequently trek across town from the Northside to hear bands sight unseen. The spot hosted a lot of shows with Southkore bands like Reaccion and Tras de Nada, touring acts like Iron Lung, and was the first place where I saw that weird whiteboy hardcore dancing where everybody does windmill kicks and calisthenics while facing the same direction and not touching each other. I don’t know where those bands came from but this was the only place I ever saw it in Chicago.

Bridgeport is a weird place, one of the only neighborhoods I know that became more diverse with gentrification. Traditionally, it was home to many of Chicago’s most famous mafia and political families, a place you weren’t supposed to go at night if you weren’t white, where 13-year old Lenard Clark was pulled off his bike and beaten to death in 1997 with one of the witnesses murdered and another disappeared before the trial, a place where I’ve been threatened for being gay (nope), Mexican (nope), AND white (kinda but kinda not, and also a long story) and god help me if any of those angry Catholics knew I was darkish and flamboyantish because I’m Jewish. It’s now the neighborhood that’s neck and neck with my ancestral home of Rogers Park as the most diverse I’m Chicago (I know this is due to some very site specific neighborhood factors that opened up new residential spaces, allowing for Mexican and Chinese American families to expand out of Bridgeport and Pilsen without displacing longtime residents and blah blah blah snore it’s still weird. When I used to show up on a Friday night, the place would be overflowing with grimy scumheads toting forties (and of course I was a grimy scumbag toting a forty too); when I drove by this afternoon, a cute Asian American couple in matching outfits were leaving for a jog.

DIY neighborhood notes: Simultaneous to Needle House, a different group of kids upstairs would sometimes host noise bands and art shows. I know I saw a side project with members of Coughs there but the name of the space completely eludes me. A couple years later, I would see the other Chicago Lab Rat, to be precise at one of at least two other Chicago Lab Rat’s play thrash ska along the lines of  Leftöver Crack in a condemned building some kids squatted in until it was demolished kitty corner on Halsted. After that the kids behind the burner rave zine Brilliantly Mad took over a storefront called the Emerald Palace and threw the type of magickal dance parties that ended in yoga. I don’t think they still throw parties there but they maintain a community garden in the backyard.

DISCLAIMER: I did little-to-no research, but everything is true as remembered and experienced. Memory is fallible and experiences vary. Names and dates may be completely off. People who I remember fondly may have been total monsters. People who were dickheads to me might have been perfect angels having a bad day.

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