Gillian Welch returned to the State Theatre after a five-year absence, bringing her longtime musical companion David Rawlings as well as a two-set show that interspersed her greatest hits with a large chunk of new songs from her recently-released record “The Harrow and the Harvest.”
Almost 40 years from the date of his first recorded music, Jonathan Richman is still singing with his heart on his sleeve. The only thing that has changed is the color of his hair. An appreciation by Luke Fenchel
Peter Yarrow on the Occupy Wall Street movement, peace and protest.
The Kitchen Theatre’s twenty-first season continues with a production of “Neat” a compelling one-woman show.
Cornell University’s Johnson Museum welcomed the public to the opening of its new wing, an expansion that remains architecturally true to the integrity of the original I.M.Pei building while adding more space to include a lecture hall, two new galleries and a grand swirling staircase. Ed Dittenhoefer was there for the opening.
Can such soul-cultivating lead to genuine community-building on a massive scale, or might we get stuck in a Baudrillardian nightmare of ongoing protest-process, pursuing the discourse of desire and mistaking it for Reality? By Danielle Winterton
Can we stop this unfeeling dictator and her unrelenting seasons? A cartoon by Amelia Sauter.
For twenty years Chicago’s Thrill Jockey label has been a home to some of the most experimental of mainstream rock; at 6:00 p.m. on Thursday, October 13, two of the roster’s bands will drop by Angry Mom Records for a free in-store. ALSO: Another installment in the Experiment Without Borders Series, with Hyrrokkin, Nick Millevoi, Alter Koker, and Keir Neuringer.
Heather Ainsworth catches Wilco and Nick Lowe at Merriweather Post Pavilion in Maryland, September 25, 2011.
A dance and music collage titled “In The Company of Dancers,” Rachel Lampert’s new piece is framed as the reminisces of an older dancer, presumably retired, played with zest and customary wryness by the wonderful Norma Fire.