Chicago Innerview
Know before the show
Lines Facebook Twitter RSS
  • Shows
  • News
  • Features
  • Magazine
  • About
  • Archives
  • Advertise

Debating the Debates

January 2008 Issue
Chicago Innerview

by James H. Ewert Jr.

Here’s an analogy: The recent televised exchanges between Republican and Democratic candidates for president are to debates as dry humping is to sex. You always finish unsatisfied, frustrated and feeling a little dirty. Just how dry humping isn’t sex, the charade that is purported to be informative political debate is not a debate at all. Actual debates offer a structural discussion on the merits of an issue. Actual debates have winners and losers. Actual debates are everything presidential debates are not. What most call presidential debates, actually, are more like group press conferences.

Let us just go ahead and start with the recent CNN/YouTube debates. These little ditties were heralded by CNN as an unprecedented step forward in revolutionizing the way political debates are conducted — and it certainly was. For the first time in history, it was the same irrelevant questions and the dimwitted questioners who stole the stage from the candidates and their evasive answers. Of course, CNN handpicked the questions instead of letting the YouTube users generate them like the public was led to believe. CNN’s senior vice president David Borhman, who was among those selecting the questions, was quoted as saying, “If you would have taken the most-viewed questions…The top question would have been whether Arnold Schwarzenegger was a cyborg sent to save the planet Earth. The second-most-viewed video question was: Will you convene a national meeting on UFOs?”

We see his point, but that actually may have been more interesting than hearing the same dull answers to questions about immigration, abortion, healthcare, gays, guns and Iraq. Not to say that those questions aren’t of value, but candidates’ positions on those issues are all readily available. The few curveballs weaved into the debates were trivial, unimportant and had nothing to do with how capable someone is to become president. Here are a few that were asked: “How would you define the word ‘liberal’?”, “Do you believe every word of the Holy Bible?”, “Do you believe in a conspiracy to make a new union?”, “Yankees vs. Red Sox?”

The country is spending billions of dollars each week fighting two wars overseas, climate change is threatening to forever alter the course of humanity and we’re asking presidential candidates if they’re Yankees or Red Sox fans? Not once during these debates was there a question asked about net neutrality, a topic that might have gone well with a debate emphasizing the Internet’s influence on politics. Not once was there a question asked about the about the government’s handling of Hurricane Katrina, etc. As if that wasn’t enough, there was the soft-spoken moderators, Wolf Blitzer and Anderson Cooper, who outside the comfy confines of their television studios suddenly lost all will to hold candidates’ feet to the fire. Blitzer and Cooper usually have no problem skewering guests on their shows, but during the debates, neither held any authority in enforcing time limits. This detail effectively wiped out any semblance the debates still had of being debates. If candidates are allowed to simply ignore the moderator and finish their campaign platform speeches, what is the point of even having moderators?

Well folks, if you think the recent primary season debates have been stilted, just wait until the actual presidential debates begin later this year. For these debacles, look up the Commission on Presidential Debates, the self-described “independent” group entrusted with the responsibility of selecting the participants, locations, and parameters of possibly the most important element of a presidential election.

In 1987 the New York Times published a story explaining that Democratic and Republican party leaders colluded to usurp the nonpartisan League of Women Voters’ role in organizing the presidential debates. The story reported that co-chairman Paul G. Kirk and Frank J. Fahrenkopf Jr., the Democratic and Republican national chairmen respectively, would not favor the inclusion of third-party candidates in the debates. Since then, no third-party candidate has ever made it to the presidential debates. Green Party candidate Ralph Nader, who tried unsuccessfully to participate in the 2000 and 2004 debates, made the most recent attempt. In 2000, the commission even went so far as to circulate a face-sheet of people, many of whom were independent political voices, who were barred from the event. Nader had a ticket to watch the debate from a viewing room and an interview invitation from FoxNews, but was nearly arrested when he tried to enter. Nader promptly sued the Commission for using state police officers to enforce a political agenda and within weeks was given a formal apology from the co-chairmen, who pledged to allow him to enter next time if he had a ticket. Nader’s story exemplifies the intrusive and sometimes disturbing nature of the Commission on Political Debates.

To participate in the debates, the Commission requires that a candidate be nationally polling at 15 percent, far more than the five percent threshold that the League of Women Voters required — and much more than the one percent required in primary debates. What makes this criterion even more appalling is the fact that the federal government only requires that a candidate be nationally polling at five percent to receive money from the taxpayer-generated public campaign financing coffers. Thus, the American voters’ money is being wasted, their time disregarded, and their standards circumvented — all in the name of the two-party system’s duopoly.

Just when you thought it couldn’t get any worse, it does. It goes without saying that the CPD’s claim of nonpartisanship is questionable, if not downright bullshit. Each of the 12 board members is from a political party and in fact, five of them have been donating money to presidential campaigns this season alone. This should give immediate pause to any self-respecting potential voter. With the members of the CPD investing their money into political races, what would lead anyone to believe that they are acting as an independent entity responsible for administering informative debate? Unfortunately the conflicting interests do not stop there. This wouldn’t be a political column without mentioning the role big business plays in all of this. Further complicating the supposed independent interests of the Commission on Political Debates are some of the United States’ largest corporations like Ford, AT&T, Anheuser-Busch, Sprint, J.P. Morgan, and IBM, who are listed as “national debate sponsors” on the Commission’s website, www.debates.org.

Until we make radical changes to our electoral system, the American public will continue to be marginalized and disenfranchised by corporate interests with a stranglehold on our prized political system. If something isn’t done soon, everyone labeled “apathetic” will be right in saying that there are no differences between puppet A and puppet B. As we fight wars in the name of democratic ideals, it is truly amazing that the United States, of all countries, is not only allowing but perpetuating such injustices within the very same electoral system that men and women are dying for. Lady Liberty would be ashamed.

CI Political File #003

Metro Turns 25

story by Chris Castaneda

In what was once a Swedish Community Center built in 1927 now resides one of the most celebrated and respected clubs not only in Chicago, but in the country if not the world. In the case of Joe Shanahan, owner of Metro, it is a place that for 25 years has brought all walks of life together for one common reason: music.

At the age of 50, Shanahan has spent half of his existence on this planet showing up to the same job. During our Friday morning conversation on the past and future of Metro, that point isn’t lost on Shanahan. Once fired from his record store job at the Evergreen Plaza Shopping Center on the city’s South Side for skipping work to see George Harrison in concert, Shanahan now can skip (or stroll) out of Metro’s office, grab a beer, and watch any concert on any given night without ever being told he was ditching his work. In Shanahan’s mind, he is at work.

Today, Shanahan is a pillar in the Chicago music community and has been recognized as one of its strongest defenders. Simply raise the question of Chicago’s place among other “music” cities in the United States and Shanahan doesn’t hold back. “A lot of people have come out and said things like ‘the music scene in this city is just hanging on by its fingernails’, and that is so wrong,” says Shanahan with utter disgust in his voice. “It is so erroneous. That person is not plugged in and does not know what’s going on. It’s so vibrant and so much alive that if you were a part of it, you would know.”

Now, when someone demands you turn your tape recorder back ON after concluding an interview, it should be a good indication that they’re about to say something, really, really good. I wasn’t about to say “no” to a fellow South Sider. That said, what say Mr. Shanahan about some of the current pop-culture obsessions? “‘American Idol’ is a mean-spirited barely karaoke-style television show that makes my stomach turn,” says Shanahan while possibly preparing a baseball bat for action. “And of course the Hannah Montana thing is just even more obscene, especially when we’re talking about the kind of money people are spending for tickets. It shows a bad side of our society, to be really honest. It’s so not right.”

As a kid growing up in the Beverly/Evergreen neighborhood, Shanahan was blind to musical genres; if he thought what he heard was good, then that’s all that mattered. If you consider for a moment that Metro, along with the adjacent SmartBar, has brought DJ Frankie Knuckles, Prince, R.E.M., Tom Jones, Bob Dylan, and the Smashing Pumpkins through its doors, then it is without doubt that Shanahan’s attitude about music continues to give the club its driving force. Shanahan gives credit to his parents for raising him in a house that was filled with a variety of music, not to mention older siblings that arranged mini-sock hops in the garage. “I’d go out there and see all these teenagers dancing to music,” says Shanahan. “At seven or eight years old, I was thinking, ‘That’s cool! I like that! Maybe if I got myself a turntable and some records, maybe I could throw a party.’ I think that’s maybe the genesis of how I became really interested in bringing music to people.”

Spending time between Chicago and New York in the ’70s, Shanahan pulled DJ duties spinning records with friends, working at bars and passing out concert flyers around the clubs. Surrounded by musicians, promoters, and club owners, Shanahan strengthened his knowledge and saw first-hand the mistakes that could be made when it came to running a club. Soon, Shanahan began scouting possible venue locations around Chicago. Although there were three other venue sites being considered, Shanahan waited for the right moment to act. Asking Shanahan what it was like stepping inside the former community center at 3730 N Clark St. for the first time, he automatically responds: “cold.”

“The place was a fucking mess. It was a wreck,” says Shanahan with a laugh. “There were holes in the walls, plumbing didn’t work, and the electricity didn’t work. We had a landlord that was somewhat supportive, but he was in bad shape because he didn’t have money to fix the place up because no one was paying any rent. It was a real cat-and-mouse kind of game…The city issues were always there. I feel we’ve been smart by following the rules and understanding the rules. The alderman that was here when I first started was a guy by the name of Bernie Hansen. Bernie just told me, ‘Keep your nose clean, don’t do anything stupid, don’t do anything illegal and you’re fine. You’ll be okay.’ He didn’t get along with everyone in this ward as far as clubs, but I kind of took him at his word.”

What is now a prime location on the North Side of the city, back then, could almost be described as a demilitarized zone. “Wrigleyville was dead,” says Shanahan thinking back to those early days. “It was gang-ridden, there were lots of drugs, and the Cubs were probably drawing 6,000 a game until they got to the playoffs in ’84. It’s changed a lot. We’ve kind of watched the neighborhood grow up around us a little bit.”

With his original partner and co-owner, Joe Prino, and an estimated 10 people on staff (mostly made up of friends), Shanahan made the step to promote what would be his first show for Metro (then the Cabaret Metro) while seeing a small group out of the college town of Athens, Georgia, during a weekend in New York. That band was R.E.M. “They had lost a club show; a promoter had pulled out on them,” says Shanahan. “I had met them at the Danceteria in New York. I went backstage and introduced myself to Mike [Mills], Michael [Stipe], Peter [Buck], Bill [Berry], and Jefferson [Holt]. I said, ‘If you ever come through Chicago, I’m going to be opening a club someday and you’re the kind of band I’d love to have play for me.’ And they were like, ‘Who the hell is this guy?’ You can just imagine what they were thinking. But someone remembered that. When I think about the fact that they are the cornerstone of this company and this club, I’m still proud of that today.”

The resume of artists that have come to perform at Metro over the course of 25 years is absolutely stunning. From artists just starting out to established icons, Shanahan and his staff made sure that Metro provided the stage. But once in a while there’s an artist that Shanahan can’t catch fast enough. “Wilco became so successful so quickly in Chicago that we didn’t get to work with them as much as maybe I would have liked to,” says Shanahan. “Uncle Tupelo played here. But with the Wilco evolution they were big enough to play the Vic almost right out of the box. I’m a huge fan of that band. They were just sort of out of our reach.”

A key asset to Metro from the beginning has continued to be SmartBar. Still a DJ himself, SmartBar was the basement spot of Metro where Shanahan could keep the party going with solid talent behind the turntable and create the revenue to keep the bands coming back. “One thing that I think is important for people to know is that SmartBar is the little engine that makes it all go,” says Shanahan. “It’s a lower-cost, lower-overhead [endeavor] —just a DJ, couple doormen, and a bartender. That fueled a lot of our dreams. You have a couple good strong weekends, the following month we’d reach out and put a deposit down for a band like New Order.”

Still, with no regrets, Shanahan looks forward to closing out the club’s year-long 25th anniversary celebration that began last March with more special shows in the coming months and a live album of performances recorded at Metro. “Metro’s in for the long term,” says Shanahan, “or we wouldn’t be doing this for 25 years.”

CI Special Report #017

Environmental Encroachment, The New Fuse, Plane, White/Light


ENVIRONMENTAL ENCROACHMENT
Like fellow Chicagoans Mucca Pazza, Environmental Encroachment is a many member performance art/punk rock marching band who describe their live show as featuring “multi-media stage performance antics including dancers, hooping, juggling and skits.” EE are also known for dressing up as bunny rabbits and pretty much laying to waste any venue at which they show up. ‘Venue’ is a term to be used loosely when referring to EE’s live show, as the term could mean the Kinetic Playground, NASCAR rallies, art shows, protests, Buddhist Peace and Happiness Parades, or your backyard. One of these days, they may even conquer lucid dreaming and show up to play a gig in your subconscious. Should they appear to you, be at least armed with the knowledge that you’re about to experience one of the more exciting, creative and truly unpredictable live acts that Chicago has to offer. (Appearing with Black Bear Combo at Kinetic Playground on Jan. 5) –text: Jon Graef–photo: Bob Goins


THE NEW FUSE
The music of The New Fuse is as thoughtful and well-constructed as the name implies, and is backed up with an intent rarely executed in our hurried world. The band melds the musical skills and experiences of Chicago’s very own Shane Davies, Brent Kimbrough and Chris Morrow — three men with extensive and wildly divergent musical resumes fusing together to achieve oneness. A seamless medley of jazz, funk, blues and rock, The New Fuse delivers a steady, chill sound laced with a sense of urgency. Not pompous or showy, it impresses a casual mood that respects its listeners: both the music snobs and the curious alike. This ensemble has curried much favor with Chicagoans who simply appreciate the power of good, live music since 2004. And soon The New Fuse will give fans something good they can take home with them, in the form of their debut album In the Now. (Appearing with Super American Happy Fun Good Time Jam Band at Double Door on Jan. 11) –text: Jen Fischer


PLANE
Chicago-based Plane, led by producer and Blue Room Studio owner Edgar Legzdins on guitar and vocals, is hardly an undiscovered act on the scene. On the heels of the release of their second album I See Love in the Future, the band noted by Pitchfork for being too eclectic for catchy-ass electro pop forges ahead on the road of what some have declared the new indie — a psychedelic new wave revival of sorts in which the addition of newcomers Joe London and Justin Boyd only solidifies Plane’s transition. No stranger to grassroots musical fundamentals, Legzdins (whose father was a Latvia political folk singer and activist during his childhood) brings that same type of freethinking thought process to the table with Plane. Part soulful and glistening with other parts moody and full of despair, this record is captivating from start to finish. (Appearing with Welcome to Ashley at Subterranean on Jan. 4) –text: Jyn Radakovits


WHITE/LIGHT
You know that feeling when you stand up too quickly, and it feels like the room is spinning around you, and all you can hear is a faint buzzing in your ear that sounds like a hearing aid being tuned? That’s basically White/Light, minus the dizziness. Chicago’s own Jeremy Lemos (Lacerati) and Matt Clark (Ambulette) kick up the frequencies to create an atmosphere in which white noise reverberates in a dense black hole. With the hand-held shruti box, an Indian wind instrument similar to a harmonium, Lemos manually oscillates static fuzz at varying intervals while a dissonant Clark heavily crashes guitar chords which begin spontaneously but gain melody through repetition. Sometimes appearing with Lichens’ Robert AA. Lowe (90 Day Men, TV on the Radio) as White/Lichens and with storms of sound that last anywhere from five to 20 minutes, this band is definitely not for the impatient or hard of hearing. (Appearing with Teith and Head of Skulls at Empty Bottle on Jan. 7) –text: Amy Kaufman

The Bird & The Bee, Necro, Roommate, Track A Tiger


THE BIRD AND THE BEE
You’ll never witness so many boyfriends being dragged to a show as when you see The Bird and The Bee. But even the boyfriends will be discretely bobbing their heads when the slew of brightly-clad backup singers are summoned by their spritely leader, Inara George. Along with bandmate Greg Kurstin and a myriad of rotating guest stars (including Sia), George mixes ’60s, Bossa Nova-inspired ear candy with gritty, satirical lyrics. Her live vocals achieve studio perfection and gracefully unify everything from tambourine breakdowns to brash synth solos to lines about atom bombs. The Los Angeles-based duo comfortably glides between retro dance music and naively charming love ballads. The production of TBATB’s self-titled debut LP lights a fire under George’s more subdued solo work, yet preserves the best of her skills. (Appearing with Charlie Wadhams at Schubas on Jan. 11) –text: Elissa Pociask


NECRO
Ron Braunstein, a.k.a. the infamous “death rapper” Necro, grew up in Brooklyn’s Glenwood projects and got into rap music as well as death and thrash metal at a very young age. Legend has it that he used to blast Metallica’s Kill ‘Em All out of his bedroom window for all the neighborhood kids to hear. This rebellious nature helped Necro become an underground rap legend (and record label founder) both praised and abhorred for his gore, death and sex-obsessed rhymes. In 1994, while opening for Run-DMC, he was booed off the stage for sporting a Charles Mason “Charlie Saves” t-shirt. Now over 10 years later and with several successful records under his belt, Necro’s still at it — getting heckled at and threatened by Hot Topic brats on Sounds of the Underground Tour and giving it right back to them with every name and insult in the book. Long live death rap. (Appearing with Psycho Realm and Danny Diablo at Subterranean on Jan. 12) –text: Mike Scales


ROOMMATE
Any artist still brandishing a keytar is greeted with a swift assumption of irony these days, but Kent Lambert isn’t fooling around. Initially a one-man blip-pop band based out of Brooklyn, Lambert moved his operation to Chicago in 2004, where his Roommate constituency grew to include guests from about a dozen other reputable bands. The group’s current live lineup includes a violinist, banjo player, bassist, synth-man, and percussionist, but both on stage and particularly in the studio, Lambert — the keytarist extraordinaire — remains squarely in control. Roommate’s 2006 release, Songs the Animals Taught Us, offered a nice set of moody, Atari-laden tunes more akin to the work of the Mobius Band than Postal Service. The follow-up EP New Steam, however, shows signs of a warmer, more organic sound, which may or may not foreshadow what’s to come on the band’s next effort, due in April. (Appearing with Till By Turning at Empty Bottle on Jan. 12) –text: Andrew Clayman–photo: Jason Halprin


TRACK A TIGER
Known by day as the mild-mannered Roosevelt High School special education teacher “Mr. Vallet”, Jim Vallet lives a somewhat secretive double life as the equally mild-mannered frontman of Track a Tiger, one of Chicago’s more promising indie-pop outfits. Like many bands in the modern DIY era, Track a Tiger began with Vallet hammering out some lovely acoustic ruminations in 4-track solitude back in 2003. Eventually, he upgraded his technology and invited a few friends along, including several other members of Roosevelt’s musically-gifted faculty. The additional manpower led to the production of two lovely albums, 2006’s Woke Up Early the Day I Died and 2007’s We Moved Like Ghosts. Like any good teacher, Vallet understands how the past influences the present, but Track a Tiger’s reference points sometime emerge more in mood than in style: think Yo La Tengo’s Autumn Sweater, Whiskeytown’s Don’t Be Sad, or The Sea & Cake’s The Sporting Life. (Appearing with Vulgar Boatmen at Schubas on Jan. 12) –text: Andrew Clayman–photo: Tuan Bui

More Posts

Live Music and Tour Dates
  • Most Read
  • Recent
  • Day
  • Week
  • Month
  • Year
  • Hangout Music Fest Announces 2013 Lineup
  • Taste of Randolph Street Announces 2013 Lineup
  • GRINGO STAR
  • Riot Fest Announces Lineup for 2013 Punk Rock Carnival
  • Hideout Announces New Bellwether Fest June 8-9
  • THE DANDY WARHOLS
  • Mike Reed to Open New Club In Viaduct Theater Space
  • Lollapalooza 2013 Schedule Released
  • Maha Music Festival Helps Put Omaha On the Map
  • THE HUSH SOUND
  • Hangout Music Fest Announces 2013 Lineup
  • Riot Fest Announces Lineup for 2013 Punk Rock Carnival
  • Taste of Randolph Street Announces 2013 Lineup
  • GRINGO STAR
  • Dan Deacon, Matmos, Dawes to Play Free Shows in Millennium Park
  • THE DANDY WARHOLS
  • TWIN SHADOW
  • THE HUSH SOUND
  • Edward Sharpe to Headline Old St. Pat’s Block Party
  • Green Dolphin Street to Re-Open As Dolphin Nightclub
  • THE HUSH SOUND
  • Hangout Music Fest Announces 2013 Lineup
  • Taste of Randolph Street Announces 2013 Lineup
  • GRINGO STAR
  • Riot Fest Announces Lineup for 2013 Punk Rock Carnival
  • Maha Music Festival Helps Put Omaha On the Map
  • Bob Dylan, Wilco, My Morning Jacket To Play Toyota Park
  • THE DANDY WARHOLS
  • Green Dolphin Street to Re-Open As Dolphin Nightclub
  • Wicker Park Fest Announces Phase One Lineup
  • THE HUSH SOUND
  • GRINGO STAR
  • Taste of Randolph Street Announces 2013 Lineup
  • Hangout Music Fest Announces 2013 Lineup
  • Green Dolphin Street to Re-Open As Dolphin Nightclub
  • HOODIE ALLEN
  • Osheaga Announces 2013 Lineup on Lollapalooza Weekend
  • Mumford & Sons, The National, Postal Service to Headline Lollapalooza
  • Lollapalooza Tickets Go On Sale March 26, Secret Sale This Week
  • LOW
  • Hideout Announces New Bellwether Fest June 8-9
  • Riot Fest Announces Lineup for 2013 Punk Rock Carnival
  • Lollapalooza 2013 Schedule Released
  • Tortoise, Javelin, Born Ruffians to Play West Fest
  • Heading to L.A. for FYF Fest? Fuck Yeah.
  • Australian Music Festival Sets Up Shop In…Detroit?
  • Pygmalion Music Festival Announces Initial 2013 Lineup
  • Austin City Limits Announces 2013 Lineup
  • Beck, Frank Ocean, The Breeders Added to Osheaga
  • Summer Set Announces 2013 Lineup

Join Email List

Know before the show

© INNERVIEW Media, Inc. • 1300 N. Ashland Ave., #221630 • Chicago, IL 60622 • 773.904.8903