#Elijah Iles House

[uniqueartisanconnoisseur]

History in my Backyard -Springfield, IL

Illinois’ capital city is full of reasons to visit. There are the Route 66 stops, plus all the government draws, but for me, the biggest pull in this Land of Lincoln is the history! While I have lived outside the city all of my adult life, I have learned I have not done, and seen it all! Hosted by Visit Springfield the last weekend in June, my husband Keith and I enjoyed a visit downtown and…

[deanwasalwaysbi]

23 Republican Senators & 124 Congressmen signed an amicus brief to the Supreme Court asking for a 50 state ban on mifepristone, a drug safer than tylenol that is standard treatment for abortion & miscarriages, "due to safety concerns". The brief DARES to argue that banning the life saving drug would save women from 'reproductive control'. (x) These 147 people would rather have women die of sepsis than let women control their own bodies. If your representatives are on this list, call them and tell their office you will be voting against them in the next election because they asked SCOTUS to throw the US medical drug system into chaos at the cost of American lives.

United States Senate

Lead Senator: Cindy Hyde-Smith (MS) John Barrasso (WY) Mike Braun (IN) Katie Britt (AL) Ted Budd (NC) Bill Cassidy (LA) Kevin Cramer (ND) Mike Crapo (ID) Ted Cruz (TX) Steve Daines (MT) Josh Hawley (MO) John Hoeven (ND) James Lankford (OK) Mike Lee (UT) Cynthia Lummis (WY) Roger Marshall (KS) Markwayne Mullin (OK) James Risch (ID) Marco Rubio (FL) Rich Scott (FL) John Thune (SD) Tommy Tuberville (AL) Roger Wicker (MS)

United States House of Representatives

Lead Representative: August Pfluger (TX–11) Robert Aderholt (AL–04) Mark Alford (MO–04) Rick Allen (GA–12) Jodey Arrington (TX–19) Brian Babin (TX–36) Troy Balderson (OH–12) Jim Banks (IN–03) Aaron Bean (FL–04) Cliff Bentz (OR–02) Jack Bergman (MI–01) Andy Biggs (AZ–05) Gus Bilirakis (FL–12) Dan Bishop (NC–08) Lauren Boebert (CO–03) Mike Bost (IL–12) Josh Brecheen (OK–02) Ken Buck (CO–04) Tim Burchett (TN–02) Michael Burgess, M.D. (TX–26) Eric Burlison (MO–07) Kat Cammack (FL–03) Mike Carey (OH–15) Jerry Carl (AL–01) Earl L. “Buddy” Carter (GA–01) John Carter (TX–31) Ben Cline (VA–06) Michael Cloud (TX–27) Andrew Clyde (GA–09) Mike Collins (GA–10) Elijah Crane (AZ–02) Eric A. “Rick” Crawford (AR–01) John Curtis (UT–03) Warren Davidson (OH–08) Monica De La Cruz (TX–15) Jeff Duncan (SC–03) Jake Ellzey (TX–06) Ron Estes (KS–04) Mike Ezell (MS–04) Pat Fallon (TX–04) Randy Feenstra (IA–04) Brad Finstad (MN–01) Michelle Fischbach (MN–07) Scott Fitzgerald (WI–05) Mike Flood (NE–01) Virginia Foxx (NC–05) Scott Franklin (FL–18) Russell Fry (SC–07) Russ Fulcher (ID–01) Tony Gonzales (TX–23) Bob Good (VA–05) Paul Gosar (AZ–09) Garret Graves (LA–06) Mark Green (TN–07) Marjorie Taylor Greene (GA–14) H. Morgan Griffith (VA–09) Glenn Grothman (WI–06) Michael Guest (MS–03) Harriet Hageman (WY) Andy Harris, M.D. (MD–01) Diana Harshbarger (TN–01) Kevin Hern (OK–01) Clay Higgins (LA–03) Ashley Hinson (IA–02) Erin Houchin (IN–02) Richard Hudson (NC–09) Bill Huizenga (MI–04) Bill Johnson (OH–06) Mike Johnson (LA–04) Jim Jordan (OH–04) Mike Kelly (PA–16) Trent Kelly (MS–01) Doug LaMalfa (CA–01) Doug Lamborn (CO–05) Nicholas Langworthy (NY–23) Jake LaTurner (KS–02) Debbie Lesko (AZ–08) Barry Loudermilk (GA–11) Blaine Luetkemeyer (MO–03) Tracey Mann (KS–01) Lisa McClain (MI–09) Dr. Rich McCormick (GA–06) Patrick McHenry (NC–10) Carol Miller (WV–01) Mary Miller (IL–15) Max Miller (OH–07) Cory Mills (FL–07) John Moolenar (MI–02) Alex X. Mooney (WV–02) Barry Moore (AL–02) Blake Moore (UT–01) Gregory F. Murphy, M.D. (NC–03) Troy Nehls (TX–22) Ralph Norman (SC–05) Andy Ogles (TN–05) Gary Palmer (AL–06) Bill Posey (FL–08) Guy Reschenthaler (PA–14) Mike Rogers (AL–03) John Rose (TN–06) Matthew Rosendale, Sr. (MT–02) David Rouzer (NC–07) Steve Scalise (LA–01) Keith Self (TX–03) Pete Sessions (TX–17) Adrian Smith (NE–03) Christopher H. Smith (NJ–04) Lloyd Smucker (PA–11) Pete Stauber (MN–08) Elise Stefanik (NY–21) Dale Strong (AL–05) Claudia Tenney (NY–24) Glenn Thompson (PA–15) William Timmons, IV (SC–04) Beth Van Duyne (TX–24) Tim Walberg (MI–05) Michael Waltz (FL–05) Randy Weber, Sr. (TX–14) Daniel Webster (FL–11) Brad R. Wenstrup, D.P.M. (OH–02) Bruce Westerman (AR–04) Roger Williams (TX–25) Joe Wilson (SC–02) Rudy Yakym (IN–02)

If your representatives are on this list, call them and tell their office you will be voting against them in the next election because they asked SCOTUS to throw the US medical drug system into chaos at the cost of American lives.

Help to patients who have to cross state lines to get medical care by donating to your local abortion fund here. (x)

[chrisryanspeaks]

Closebye Unveils Haunting New Track 'Two Knocks' Ahead of Upcoming Album Release

NYC gauzy indie rockers Closebye unveil "Two Knocks" from their upcoming album Hammer of My Own, accompanied by a captivating music video. This track underscores the band's distinct talents, particularly highlighting Margaux Bouchegnies of Margaux. Songwriter Jonah Paul Smith provides insight into "Two Knocks," explaining, "The song is about ghosts—or the absence of them. The lyrics stem from a phone conversation with a loved one gripped by the fear of a ghost in their house. Initially, I wanted to reassure them by saying, ‘ghosts aren’t real, you’re safe, it’s all in your head.’ But then I realized that whether or not ghosts exist, the fear remains very real. If these ghosts are all in your head, doesn’t that make them even more terrifying? The psychological horrors we create can be more frightening than any external, amorphous ghost. We can't escape from ourselves.” Check out “Two Knocks” below and let us know what you think: Hammer of My Own is set to release on August 23, 2024. Upcoming Tour Dates: 9/16 – Queens, NY @ TV Eye (album release with Sex Week & Zero Point Energy) 9/24 – Chicago, IL @ Sleeping Village (with Robber Robber, Oyeme, & Elijah Berlow) 9/25 – Indianapolis, IN @ State Street Pub (with Robber Robber) 9/26 – Columbus, OH @ Cafe Bourbon St. (with Robber Robber, Neil, & Abel) 10/2 – Dallas, TX @ Club Dada 10/12 – Los Angeles, CA @ Gold Diggers (LA Album Release with Mal Not Bad) Read the full article

[audiofuzz]

Closebye Unveils Haunting New Track 'Two Knocks' Ahead of Upcoming Album Release

NYC gauzy indie rockers Closebye unveil "Two Knocks" from their upcoming album Hammer of My Own, accompanied by a captivating music video. This track underscores the band's distinct talents, particularly highlighting Margaux Bouchegnies of Margaux. Songwriter Jonah Paul Smith provides insight into "Two Knocks," explaining, "The song is about ghosts—or the absence of them. The lyrics stem from a phone conversation with a loved one gripped by the fear of a ghost in their house. Initially, I wanted to reassure them by saying, ‘ghosts aren’t real, you’re safe, it’s all in your head.’ But then I realized that whether or not ghosts exist, the fear remains very real. If these ghosts are all in your head, doesn’t that make them even more terrifying? The psychological horrors we create can be more frightening than any external, amorphous ghost. We can't escape from ourselves.” Check out “Two Knocks” below and let us know what you think: Hammer of My Own is set to release on August 23, 2024. Upcoming Tour Dates: 9/16 – Queens, NY @ TV Eye (album release with Sex Week & Zero Point Energy) 9/24 – Chicago, IL @ Sleeping Village (with Robber Robber, Oyeme, & Elijah Berlow) 9/25 – Indianapolis, IN @ State Street Pub (with Robber Robber) 9/26 – Columbus, OH @ Cafe Bourbon St. (with Robber Robber, Neil, & Abel) 10/2 – Dallas, TX @ Club Dada 10/12 – Los Angeles, CA @ Gold Diggers (LA Album Release with Mal Not Bad) Read the full article

[prattlinpeach]

Start with a Ride...End with a Seder

Start with a Ride…End with a Seder

Sounds like the perfect Sunday to me, right?! It’s the second night of Passover, but the seder isn’t until the evening, so we planned a motorcycle ride with some of the guys from our group and another group. It was supposed to get warm, up to about 57 today, sounds good. I layered up, had my Cuddl Duds on under my jeans, high-top sneaker knee socks, a long sleeve Indian Motorcycle shirt, my…

[kdramachitchat]

Episode 6 - Suspicion against Yohan

Yohan is missing and the story behind the fire

Yohan gone missing after being kidnapped by Ms. Jung. Elijah realizes and alerts Gaon. She says that Yohan never stayed out overnight ever since the accident. He’s always home by night. Gaon and Elijah talks about Yohan. Yohan breaks away from the people who care about him. Elijah doesnt want to be like that. She mentions that he’s been that way since he’s a kid and made a maid who likes him jump of the second floor. Not only the maid but Elijah as well too. Then a flashback appears with the story of a young Yohan and Ms. Jung. Ms. Jung sarcastically complimented Yohan on how he escaped during the fire. He saved Elijah so that it wouldnt like he started the fire.

Elijah mentioned when she was 12, she looked into Yohan’s computer. She was able to open the hidden file, its the application form to cancel the deed of covenant. The day it was filled in was the week before the fire. 

As the trio gets to know each other during a meal, Elijah asked Gaon why he cooked so well. He is a son of a restaurant owner and has lived by himself for 13 years. Elijah then innocently asked about his parents and why they stopped owning the restaurant. Gaon answered that things happened. The maid came back in the morning and is shocked by the sight she was seeing and is not used to this environment in this house. Elijah and Gaon meets outside and talks about the file and Yohan goes berserk looking for her and exploding on Gaon for “kidnapping” her.

Tensions are high with Yohan and Gaon both protective respectively of Elijah and Soohyun. We skip to Gaon catching up with the female riding the bike taking pictures of his Professor. For the first time in a while he finally was able to use a bike to catch on the mysterious woman. The woman eventually escaped. Its the same person who works for Ms. Jung.

Ms. Jung and Judge Oh meets at the Supreme Court. Ms. Jung tells Ms. Oh how once a poor person can always notice another. Ms. Jung makes another observation why its always stern old men works at the Supreme Court. Ms Jung encourages her to be more ambitious during the live shows. Maybe she doesnt want Yohan to be the star of the show?

Back at home Yohan watching a “fan” clip of people reenacting scenes torturing someone and making fun of it. He’s probably thinking if the sentences he does create bad influences to people.

Soohyun investigates Dr. Safety

Remember the witness Jang Kiyong from the first live show (Jang Il Do)? Soohyun notices him taking hundred thousands of cash secretly from the bank. Soohyun plans to give a arrest warrant but Gaon warns her that Yohan knows all of her personal information. The same lady who works for Ms. Jung is taking pictures of Soohyun from afar. Soohyun also ask her superior about this case she’s building up. The superior says that if they go on Yohan’s bad side it’ll be terrible for the police. She was sent away and informed Yohan’s detective. Yohan is updated with her move and that she knows about the money transfer. Yohan tells the detective to move forward with the plan and Soohyun has a bad feeling about it. Yohan passes by Gaon while he was talking to Soohyun. Did he overhear? Ms. Oh notices that something is strange with Yohan and that his mind is somewhere else. She thinks that Yohan doesnt trust team. Jang Kiyong suddenly disappears and left his home. Gaon warns Soohyun to get out and suddenly she gets attacked from behind. She ends up in the hospital.

News broke out with Ms Cha informing the press that the witness from the first trial received a large amount of money and valuables from Judge Kang Yohan. If he was perjured in returning for receiving money this makes a serious crime. 

The board has a meeting with Yohan and calls him a scan. How can a judge give money to a witness? Once the public figures out they will stone the Supreme Court for protecting him. This is going to turn ugly. He’s requested to turn over his resignation and to halt the live show program. He sets up a press conference and puts himself in the place of a defendant. The associate judges shouldnt take the blame. He admitted that they were all true and apologizes to the public. Ms Cha smiled with glee until someone interrupted and defended him. Jang appeared and told the press that his testimony in court is true and that Kang took pity on him because he was fired from the job he was working at and showed a copy of his dismissal report. He ask the public to make a choice, he will resign as a judge if the votes ended up negative. The results is innocent with a 92.6. Yohan then shows a video of the Dream project explaining that the SRF is using the money somewhere else instead on the project. Even exposed the people running the project. OMG.

[opera-ghosts]

Emma Albani, soprano (1847-1930). Marie-Louise-Emma-Cécile Lajeunesse was born on November 1, 1847, in Chambly, Quebec, where she lived until 1851. Emma received her first music lessons from her mother, but began studying music with her father when she turned five. In Paris, Emma studied with Gilbert-Louis Duprez, a teacher at the Paris Conservatoire and principal tenor of the Paris Opera. Six months later, she moved to Italy to study with Francesco Lamperti, a teacher renowned for his mastery of the Italian method of singing. In April of 1870, at the age of 22, Albani debuted in the city of Messina in Vincenzo Bellini's La Sonnambula. As she recalled in her autobiography, the Sicilian audience responded to her debut performance with wild enthusiasm. She wrote, "I was literally loaded with flowers, presents, and poetry, the detached sheets of which were sent fluttering down in every direction on the heads of the audience; and among the numberless bouquets of every shape was a basket in which was concealed a live dove. They had painted it red, and the dear little bird rose and flew all over the theatre." After fulfilling her contract at Messina, Albani returned to Milan to resume her studies with Lamperti. It was not long before she accepted another engagement in Cento, where she appeared in Rigoletto for the first time. Albani next performed in Florence and then in Malta, singing in La Sonnambula, Lucia di Lammermoor, Robert il Diavolo, Il Barbiere di Siviglia and in Meyerbeer's L'Africaine. While in Malta, Albani made the acquaintance of a number of British soldiers who were stationed there, and they persuaded her to go to London to pursue an engagement at Covent Garden. In June of 1871, one year after her debut in Messina, Albani arrived in London to audition at Covent Garden. After hearing her sing, Frederick Gye, the manager of the prestigious opera company, offered the young singer a five-year contract and scheduled her Covent Garden debut for the following spring. While waiting for her debut, Albani attended Covent Garden performances and heard some of the singers (among them opera legend Adelina Patti) with whom she would share the stage in the following season. She remained in London for a short time before returning to Italy to continue her studies with Lamperti. Together they studied Ambroise Thomas' Mignon and Rossini's Conte d'Ory in preparation for another engagement at the Pergola Theatre in Florence. Whenever she could find a spare moment in her busy schedule of performance and studies, Albani endeavoured to experience other aspects of the rich culture of Milan, Sicily and London by visiting their art galleries and museums. The Pergola Theatre engagement, which included performances of La Sonnambula and Lucia di Lammermoor, was a resounding success and Albani made her way back to London for her first Covent Garden season. On April 2, 1872, Albani debuted at Covent Garden as Amina in La Sonnambula and her performance deeply impressed both the audience and critics. Her admirers showered her with gifts of flowers and jewellery, and one reviewer wrote, "The great event of the month has been the success of Mlle. Albani, who made her debut as Amina in 'La Sonnambula'. With a genuine soprano voice, a facile and unexaggerated execution, and a remarkable power of sostenuto in the higher part of her register, this young vocalist at once secured the good opinion of her audience . . . . there can be no doubt that future performances will fully justify the verdict so unanimously and unmistakably pronounced upon her first appearance." Although only 24 years old when she debuted at Covent Garden, Albani had already performed publicly in as many as eight different operas in five European cities. Albani became interested in oratorio (large-scale musical works on a sacred theme) through two musicians she met during her first season at Covent Garden. Composer/conductor Sir Julius Benedict and Covent Garden organist Joseph Pitman encouraged Albani to perform oratorios in order to

expand her vocal repertoire. Opportunities for singing both oratorio and secular music were in abundance, due to the numerous music festivals held each year throughout the English provinces. So when she was offered a minor role at the Norwich Festival in October of 1872, Albani eagerly accepted. She sang "Angels, ever bright and fair" from Handel's Theodora, and thus began a career in oratorio performance that would endure long after the conclusion of her career in opera. After singing at the Norwich Festival, Albani travelled to Paris for an engagement at the Salle Ventadour and then returned to London for her second season at Covent Garden. During this season, she sang the roles of Ophelia in Hamlet and the Countess in The Marriage of Figaro for the first time. Her next engagement took her far from London—in November of 1873, she departed for Russia, appearing first in Moscow in the operas La Sonnambula, Rigoletto, Hamlet and Lucia di Lammermoor, and then performing in St. Petersburg, where the Tsar attended the performances and personally congratulated the singers. Albani was overwhelmed by the enthusiastic response of the Russian audience who, more than once, applauded Albani through 20 curtain calls in one evening. During her third season at Covent Garden (1874-75), Albani sang much of the same repertoire as in the first two years: La Sonnambula, Lucia di Lammermoor, Linda di Chamounix and Flotow's Marta. Just after the end of her third season at Covent Garden, one such opportunity occurred that especially delighted Albani—Queen Victoria commanded the young singer to perform at Windsor Castle. In July of 1874, Albani met the Queen for the first time and sang "Caro Nome" from Rigoletto, "Robin Adair", "Ave Maria" by Gounod, and "Home, Sweet Home". Queen Victoria was both an appreciative and well-informed patron of music. At one time, Felix Mendelssohn had been her teacher and through her studies, she had developed an interest in a wide variety of musical styles. On subsequent performances for the Queen, Albani was asked to sing French and Scottish songs, as well as works by Brahms, Grieg, Handel and Mendelssohn. In the autumn of 1874, Albani embarked on another ambitious tour, this time to the American cities of New York, Boston, Philadelphia, Baltimore, Washington and Chicago. The highlight of her American engagement was a production of Wagner's Lohengrin, in which Albani appeared in the role of Elsa. The management in New York had decided to produce the opera at the last minute, thus Albani had had only 15 days to study her role. She sang the role in Italian, as was the custom at that time, and a review from the New York paper Republic stated, "The worst enemies of Wagner -- and he has many obdurate ones -- cannot but admit that there is a peculiar spell of fascination about his melodious harmonies, and of these Mlle. Albani looks, acts, and sings as the very priestess of them might.". By the time Albani had started her fourth season at Covent Garden in 1875. For the next 4 years, she continued to appear at Covent Garden, adding to her repertoire such roles as Marguerite from Gounod's Faust, Elisabeth from Wagner's Tannhäuser and Senta in Wagner's Der Fliegende Hollander. In addition to her Covent Garden appearances, Albani continued to tour ambitiously, singing in Venice, Paris, Nice, Ireland, Scotland and the English provinces. She also secured yearly engagements at the English music festivals. In 1875, she appeared at the Norwich festival, singing in Mendelssohn's Hymn of Praise and Sir Julius Benedict's St. Cecilia. She sang in both the Bristol and Birmingham festivals in the following year, appearing in Elijah, Beethoven's Engedi (Mount of Olives) and Handel's Messiah. Other oratorio engagements included performances at the Leeds Festival (1876), the Gloucester Musical Festival (Sept. 1877) and the Worcester Festival (1878). On August 6, 1878, at the age of 30, Albani married Ernest Gye in London. She became pregnant with her first and only child shortly thereafter,

but continued to perform, appearing at the Norwich Festival and then embarking on another tour of Russia. While in Russia, Albani was devastated to learn that her father-in-law, Frederick Gye, had passed away as a result of a hunting accident. The manager of Covent Garden never had the opportunity to see his grandson, Frederick Ernest, who was born on June 4, 1879. Albani did not appear in any operas during the year her son was born, but by the spring of 1880, she was back on the Covent Garden stage performing a new role in Herold's Le Pré aux Clercs. Concert tours took Albani to Florence, Nice and Brussels, and in 1881, she was invited to sing in Wagner's Lohengrin at the Royal Opera in Berlin. Emma had sung the role of Elsa on numerous occasions, but only in Italian. For the Berlin performance, she restudied the part in German and gave her first performance in the German language in front of a receptive audience in Berlin. A Berlin correspondent of the Times reported, "Madame Albani appeared to-night as Elsa in Wagner's Lohengrin, singing her part in the native German. The house was crowded to the very ceiling, and extravagant prices were paid for seats. The Emperor and his Court were present, and all the leaders of Berlin society. Madame Albani achieved what may well be called a complete triumph, greater even than any she has won hitherto. After the first and second acts she was recalled thrice, and when the curtain finally dropped, four times, the audience cheering enthusiastically." A few years later, in 1884, Albani sang the part of Elsa in German at Convent Garden. Opera companies had been chastised by critics for their practice of performing all opera in the Italian language and in order to keep up with the changing tide, they had begun to produce operas in their original language. During the 1880s, Albani had a number of encounters with renowned composers. In March of 1886, she met composer/pianist Franz Liszt at a London reception and he expressed his admiration for her talent after she sang the lead in his oratorio The Legend of St. Elisabeth. Albani also had a close relationship with composer Sir Arthur Sullivan (of Gilbert and Sullivan) and sang in his oratorio Golden Legend at the 1886 Leeds Festival. She met Johannes Brahms on a visit to Vienna and her performance of an excerpt from his German Requiem moved the composer to tears. Albani's final season at Covent Garden (1896) included yet another new role -- Isolde from Wagner's Tristan und Isolde. She appeared opposite the famous tenor Jean de Reszke and both received rave reviews. Albani retired from the Covent Garden stage soon after this performance, but her singing career was far from over. She embarked on a nation-wide tour of Canada in 1896, concertizing in Halifax, Montréal, Toronto, Ottawa, Winnipeg and Vancouver. In 1898, she appeared before a crowd of 3,000 in Sydney Australia, before moving on to Brisbane, Melbourne and Adelaide. (Albani, p. 164) She continued to receive invitations from Queen Victoria to sing at Windsor Castle and when the Queen died in January of 1901, Albani was the soloist at the final services at St. George's Chapel. Near the end of her career, Albani's concert engagements brought her to Tasmania, New Zealand, South Africa and India. She also made several recordings dating from around 1904. Included in the recordings are arias by Handel, Gounod's "Ave Maria", and "L'Eté" by composer Cécile Chaminade. Albani was already past her prime when she made these recordings—in fact, as early as 1896, there was evidence that her voice was beginning to deteriorate. A review of a concert that took place at Toronto's Massey Hall described her performance in this way: "Albani is still wondrous in her volume and braviture, but the music has gone a little out of her voice; the fatal hardness that tells of wear and tear and strain is creeping in." On October 14, 1911, at the age of 54, Albani performed publicly for the last time. One year later, she published Forty Years of Song, in which she

recorded her lengthy and eventful career that included over 35 operatic roles. After her retirement, Emma and her husband continued to live in their house in Kensington, but as a result of some poor investments, they experienced devastating financial difficulties. Albani began teaching and even performed in music halls to earn money, but by the mid-1920s, her situation was quite desperate. Fortunately, benefit concerts held in Montréal, London and Emma's hometown of Chambly, raised enough funds to allow the aging singer to live in comfort until she died in 1930.

[steliosagapitos]

            Million Dollar Doors [Tiffany] ~ House of Peacock ~ Chicago Il

   This world renowned door, actually a piece of unusual real estate art, is one of three in creation called the "Peacock Doors". While the design reflects the majestic and mystical bird, the door actually pays homage to the famed "House of Peacock" - Chicago's historic and celebrated emporium of fine jewelry, fine china and imported gifts of silver and gold, founded by Elijah Peacock in 1837, Chicago's first incorporated business. The House of Peacock in the Palmer House flourished throughout most of the 20th century under the leadership of C.D. Peacock (Charles Daniel), Elijah's son. The design is that of Louis Comfort Tiffany. Each of the three doors weigh more than a half-ton, and all three are valued at more than a million dollars. Chicago Landmark Loop Retail Historic District.  

[polarishq]

Meet ELIJAH JIMENEZ. They are TWENTY-SEVEN years old and hail from CHICAGO, IL. Elijah embodies the constellation, TELESCOPIUM. They use he/him pronouns. Their faceclaim is ALBERTO ROSENDE.

Telescopium reminds me of nervous laughter, blue light blocking glasses, always telling the long version of a story, comic con, questioning the teacher, a photographic memory, speed reading, memorizing lines of code, BECAUSE SCIENCE, sending in a video to go on the mars mission, learning how to knit , the worst jokes you’ve ever heard, idolizing Spencer Reid, nervous twitches, being too smart for your own good.

BIOGRAPHY

Okay so you’re saying to yourself, how did this non-magic believing asshole worm his way into the most happenin’ magical institution in the entire world? And you’re totally right in that assumption, mostly that Elijah is an asshole, because he is. Also, Polaris is happenin’ and Elijah would 100% use that word to describe it. So Elijah is born to Miguel Jimenez and Alessandra Romero, but they’re not married. Alessandra is... lowkey (read: highkey) obsessed with Miguel, and does everything in her power to keep him around. Do you think he sticks around? He doesn’t. So Elijah is left without a father at the age of three, and Alessandra basically... lost it. She really thought Miguel was going to marry her and they’d be a happy family forever and ever.

Elijah’s effervescent (read: annoying) personality stems from his identity as an only child, his desire to constantly cheer his mom up (and then the crushing failure of never being enough for her), and the fact that he’s too smart for his own good. He was sent to a gifted and talented school, made his way through human standards of excellence like grades, and always had a knack for computers. He was a part of a pilot robotics program in Chicago, could always help teachers with their malfunctioning equipment, and messed around with toy trains. 

In school Elijah was about as popular as a nerd could get-- sports team weren’t his thing (but he had a lot of fun running the scoreboard), and he had a wide array of friends thanks to his charisma and aloof nature. He kept everyone at arm’s length. If they don’t get close to you, they can’t hurt you. After seeing his mom’s heartbreak, Elijah didn’t want anyone to hurt her like that again. He didn’t want anyone to hurt him like that, either.

College was a no-brainer for Elijah. Of course he was going to go, and of course he would have his pick of schools, but when it all came down to it, he ended up going to MIT for his degree in Robotics and Biochemical Engineering. He had big dreams, honestly. He wanted to start doing ride mechanics for Disney World, or maybe create a robot that could perform surgeries, or solve world hunger with a complex irrigation system. The sky was the limit.

It was college that Elijah started hacking.

At first it was a way to make money. College was expensive, and he kept most of the cash he made in a loose floorboard by his bed. But once he realized how easy it was to lock into a computer, become one with the machine, and rewrite code to make it do whatever he wanted it to, the possibilities were endless. He hacked into the school website, changed grades, rewrote essays, and did whatever he could for money. He sent home hundred dollar bills to his mother, who struggled to pay rent and everything else, and finally started giving her the life she deserved.

Things got really bad when he started hacking into the government. Does he know everything about Area 51? Yes. Can he tell you that the President’s Book of Secrets is a real thing? He sure can. JFK’s assassination? Child’s play. And he got found out, too.

The FBI Agent took him into custody and at his questioning sat Celestina Morganstern. She explained that as community service for the crimes he’d committed, he’d be attending a halfway house in Vermont, stripped of his degrees and achievements, to pay for the crimes he committed.

Elijah pretty much freaked the fuck out when he found out that these people thought they were magical. And to be honest, he went super out of his way to explain the science behind everything. Elijah’s coming around, now, but it’s taken him longer than normal to get used to what his new life needs to be.

INCLINATION

Of all things, Telescopium resides in the transfer of matter particles and energy. Therefore, Telescopium has always been fond of science, and typically used their powers to further the magical ability of themselves and others. The current Telescopium is an absolute whiz (no pun intended) when it comes to computers and other forms of technology.

CONNECTIONS

Best Friend: Elijah could be best friends with a rock (actually as a kid, he used to paint faces on rocks and would talk to them and make funny voices so that they’d be able to talk back to him) but at Polaris, he’s very quickly managed to roll himself into this muse’s inner circle. Maybe it’s his charm, maybe it’s his ability to bake cookies and knit scarves, maybe it’s because he’s cute in and out of glasses. Whatever reason, these two are pretty inseparable and Elijah wouldn’t have it any other way.

Shun the Non-Believer: This muse doesn’t know why Elijah is at Polaris because he’s a NONBELIEVER and we hate him for it. Maybe they try to convince him that magic is real and that he isn’t on Punk’D and no, he’s not gonna meet Ashton. Maybe they become friends! Who knows.

Teacher’s Pet: Elijah is good at school. He’s always been good at school. So this teacher or TA loves Elijah for reasons we truly do not know.

Penned by Leigh★

[theliberaltony]

via Politics – FiveThirtyEight

On Tuesday afternoon, House Speaker Nancy Pelosi announced her plans to open an official impeachment inquiry against President Trump. Although she and others in House leadership positions have resisted opening formal impeachment proceedings for months, a deluge of new calls from more moderate members of her party may have cemented her decision to move forward.

More than two-thirds of the Democratic caucus now favor beginning an impeachment investigation in response to allegations that Trump attempted to pressure Ukrainian President Volodymyr Zelensky into investigating former Vice President Joe Biden, and may have threatened to withhold foreign aid.

This is a huge change from the end of July, when we last checked in on where impeachment stood among House Democrats. At that point, just a few days after special counsel Robert Mueller’s testimony before two House committees about his investigation into Russian interference in the 2016 campaign, 109 Democrats were in support of impeachment. Granted, more than half of House Democrats have been in favor of impeachment since early August, but that number has now risen to 179, according to the New York Times,1 which means a solid majority of the Democratic caucus now supports impeachment.

Of course, a lot could depend on how the next few days unfold — in particular, whether the White House turns over the transcript of Trump’s July 25 call with Zelensky or the whistleblower complaint (which the administration has so far refused to share with Congress, despite a subpoena). After all, some moderates have hedged saying they’d support impeachment if the allegations prove true. But if the accusations against Trump are borne out, the remaining Democratic holdouts could face increasing pressure to support the impeachment inquiry — for one thing, Democrats are still short of the 218 votes they need for an impeachment resolution.

So how did we get here? The dramatic uptick in support for impeachment since July is due to two main shifts. First, during the August recess, a steady trickle of Democrats announced their support for impeachment, perhaps in response to pressure from people in their districts. And second, in just the past few days, dozens of Democrats have lined up in support of an impeachment inquiry for the first time, including a significant number from red and purple districts that Clinton either lost or won by 10 points. In fact, more than half of the Democrats who recently joined the pro-impeachment column come from districts that Democrats lost or won by less than 10 percentage points. These are the members who have the most at stake electorally if an impeachment inquiry backfires against Democrats, so their support is especially noteworthy.

More Democrats from swing districts support impeachment

Democratic House members who have announced their support for impeachment since September 13*

Name Congressional District Clinton’s Margin Antonio Delgado NY-19 -7 Elissa Slotkin MI-8 -7 Abigail Spanberger VA-7 -7 Andy Kim NJ-3 -6 Dave Loebsack IA-2 -4 Haley Stevens MI-11 -4 Elaine Luria VA-2 -3 Sean Patrick Maloney NY-18 -2 Susie Lee NV-3 -1 Angie Craig MN-2 -1 Mikie Sherrill NJ-11 -1 Lizzie Fletcher TX-7 +1 Joe Courtney CT-2 +3 Charlie Crist FL-13 +3 Josh Harder CA-10 +3 Jahana Hayes CT-5 +4 Steven Horsford NV-4 +5 Tom Suozzi NY-3 +6 Katie Hill CA-25 +7 Raul Ruiz CA-36 +9 Gil Cisneros CA-39 +9 Chrissy Houlahan PA-6 +9 Dean Phillips MN-3 +9 Ami Bera CA-7 +11 Ed Perlmutter CO-7 +12 David Trone MD-6 +15 Frank Pallone Jr NJ-6 +16 Joseph D Morelle NY-25 +16 Kathy Castor FL-14 +18 Jim Cooper TN-5 +18 Lois Frankel FL-21 +20 A Donald McEachin VA-4 +22 Debbie Dingell MI-12 +26 John Sarbanes MD-3 +31 Susan A Davis CA-53 +35 Mike Thompson CA-5 +45 Marc Veasey TX-33 +49 Hank Johnson GA-4 +53 Albio Sires NJ-8 +54 Elijah E Cummings MD-7 +56 Alcee L Hastings FL-20 +62 Gregory W Meeks NY-5 +73 John Lewis GA-5 +73

*Date that Acting Director of National Intelligence Joseph Maguire announced he would not hand over a whistleblower complaint about President Trump’s conversation with Ukrainian President Volodymyr Zelensky, in defiance of a subpoena issued by House Intelligence Committee Chairman Adam Schiff.

Source: The New York Times

This means the base of support for impeachment has become more ideologically diverse. For instance, if we look at the districts where House members now support impeachment, Trump lost these districts in 2016 by around 31 percentage points. But in July, his average loss in these pro-impeachment districts was 38 percentage points, showing that members from more moderate districts have joined the cause. (For reference, Trump lost the average Democratic-held seat by 28 percentage points, and he lost the districts of Democratic members who are currently not supporting impeachment by an average of 18 percentage points.)

And while some moderates have been careful to say their support is conditional on the allegations being true, some potentially vulnerable Democrats seem to be in favor of an impeachment inquiry regardless of what happens next. For example, Rep. Antonio Delgado, who represents a district in upstate New York that Trump won by 7 points in 2016, said that asking the Ukrainian president to investigate Biden was “in itself an impeachable offense.”

The new supporters for impeachment also include a significant number of Democrats from very liberal districts who had previously resisted calls for impeachment. As the table below shows, only 18 Democrats from very liberal districts continue to oppose (or remain undecided/refuse to comment) on impeachment — down significantly from the end of July:

Impeachment holdouts in very blue districts

Democratic House members who don’t support impeachment in districts that Hillary Clinton won by more than her margin (31.9 percentage points) in the average district with a pro-impeachment representative

Name CD Margin Nancy Pelosi CA-12 +78 Karen Bass CA-37 +76 Frederica S Wilson FL-24 +68 Eddie Bernice Johnson TX-30 +61 Anna G Eshoo CA-18 +53 Zoe Lofgren CA-19 +51 Adam B Schiff CA-28 +50 Jimmy Panetta CA-20 +47 Sylvia R Garcia TX-29 +46 David Scott GA-13 +44 Terri A Sewell AL-7 +41 Linda T Sánchez CA-38 +40 J Luis Correa CA-46 +38 James E Clyburn SC-6 +37 Ed Case HI-1 +33 Tulsi Gabbard HI-2 +32 Robert C Scott VA-3 +32 Steny H Hoyer MD-5 +32

Source: The New York times

Some recent switchers from the more liberal camp include Georgia civil rights icon Rep. John Lewis, a Pelosi ally who called for impeachment proceedings in a dramatic speech on the House floor on Tuesday, and Rep. Debbie Dingell of Michigan, who had previously argued that impeachment would “tear the country apart.” It seems that for many of these Democrats, the gravity and scale of the allegations against Trump finally outweighed concerns about whether an impeachment push without bipartisan support would be too divisive, or if it would be useless to impeach Trump given that Senate Republicans are highly unlikely to vote to remove him from office. (Although there was a flicker of bipartisan energy in the Senate on Tuesday evening, when a nonbinding resolution calling on the Trump administration to release the whistleblower complaint passed unanimously.)

Opposition to impeachment among Democrats from red and blue districts has also fallen over the past few days, but there are still a significant number who do not represent very liberal districts and who haven’t yet endorsed an impeachment inquiry. Of the 64 Democrats from districts that Hillary Clinton won or lost by 10 points or fewer in 2016, more than half now support impeachment. That’s more than twice as many than at the end of July, but a sizeable chunk still haven’t gotten on board. And as the table below shows, many of these Democrats hail from districts that Clinton lost:

Impeachment holdouts in red and purple districts

Democratic House members who don’t support impeachment in districts that Hillary Clinton either lost or won by 10 percentage points or less

Name CD Margin Collin C Peterson MN-7 -31 Anthony Brindisi NY-22 -16 Joe Cunningham SC-1 -13 Kendra Horn OK-5 -13 Jared Golden ME-2 -10 Max Rose NY-11 -10 Xochitl Torres Small NM-2 -10 Matt Cartwright PA-8 -10 Ben McAdams UT-4 -7 Ron Kind WI-3 -5 Jeff Van Drew NJ-2 -5 Cindy Axne IA-3 -4 Abby Finkenauer IA-1 -4 Conor Lamb PA-17 -3 Lucy McBath GA-6 -2 Cheri Bustos IL-17 -1 Tom O’Halleran AZ-1 -1 Josh Gottheimer NJ-5 -1 Susan Wild PA-7 +1 Sharice Davids KS-3 +1 Colin Allred TX-32 +2 Kurt Schrader OR-5 +4 Stephanie Murphy FL-7 +7

Source: The New York Times

Some of these Democrats may remain wary of embracing impeachment — and that could be tricky for House leadership down the road, if they do decide to pursue an impeachment resolution. But the fact that Democrats like Delgado, Rep. Elissa Slotkin, and Rep. Abigail Spanberger, who are all from districts that Trump won by 7 points in 2016, are newly supporting impeachment could embolden other moderates to join them.

Regardless of what happens next, it’s clear that the political ground on impeachment has shifted dramatically among Democrats in a very short period of time. Even Biden, who previously said that impeachment proceedings would be a “giant distraction,” said that the House should move forward with impeachment if the Trump administration refuses to turn over information about the call with the Ukrainian president. And as FiveThirtyEight’s editor in chief, Nate Silver, wrote Tuesday, pursuing impeachment is a big risk for the Democrats, considering how unpopular it remained throughout the course of the Mueller investigation. But for the first time, the vast majority of House Democrats seem willing to take that risk.

[fymonsta-x]

[!] Starship Entertainment to take legal action against malicious comments in order to protect their artists, starting from May 23

Label artists include K.Will, Soyou, Duetto, Mind U, Mad Clown, MONSTA X, Boyfriend, Brother Su, #Gun, Cosmic Girls, Yoo Seung Woo, Jung Se Woon, Jooyoung, Lee Gwang Hyun, Ahn Yoo Jin, Jang Won Young, Cho Ga Kyun, Park Hyun Jin, Achillo, King Kong by Starship artists Kim Bum, Kim Ji Won, Dasom, Park Hee Soon, Yoo Yeon Suk, Lee Kwang Soo, Lee Mi Yeon, Lee Dong Wook, Cho Yoon Hee, Kang Eun Ah, Park Min Woo, Oh Ah Yeon, Oh Hye Won, Yoon Jin Yi, Lee Elijah, Jang Jung Yeon, Jung Joon Won, Cho Yoon Woo, Ji Il Joo, Choi Won Myung, Choi Hee Jin, Han Min, and House of Music artists Moon Moon and DJ Soda.

If you want to report malicious comments, compile proof (such as documents or screenshots) and send it to @starship-ent@daum.net. If possible, and if it’s the case, always include the link to the original malicious content.

[stratamuzak]

CANE HILL DROP "ACID RAIN" VIDEO — WATCH

BAND TO RELEASE KILL THE SUN ON JANUARY 18, 2019 VIA RISE RECORDS

BAND TOURING WITH SEVENDUST THIS WINTER

New Orleans four-piece Cane Hill will release a brand new record titled Kill the Sun via Rise Records on January 18, 2019. The band has just shared the new video for the trippy track "Acid Rain." Watch it here. Cane Hill previously shared the video for the title track, which is a brilliant and unexpected artistic left turn. Watch it here.

"We spent the summer working on new Cane Hill music," the band said. "We've embraced the weirder and mellower side of what we do, as it's something we think is important to our band. With that in mind, we've been in the studio with the incredibly talented Kris Crummett, working on music that embellishes those elements. It's six songs of dark, twisted, and semi-acoustic beauty. We're incredibly proud of it and can't wait for you to hear it."

The band continued, “We wanted to embrace some leftover emotions we've been dealing with since getting our shit together while exploring our own musical limitations. We made this semi-acoustic record because we needed to for ourselves — and because honestly, why the fuck not?"

Cane Hill will hit the road again this winter supporting Sevendust. All confirmed Cane Hill dates are below.

KILL THE SUN TRACK LISTING: 1. "86d - No Escort" 2. "Empty" 3. "Save Me" 4. "Kill the Sun" 5. "Acid Rain" 6. "Smoking Man" CANE HILL ON TOUR: WITH SEVENDUST: 2/1 — Houston, TX — Scout Bar 2/2 — New Orleans, LA — Southport Music Hall 2/4 — Ft. Lauderdale, FL — Revolution 2/5 — St. Petersburg, FL — Jannus Live 2/6 — Greenville, SC — The Firmament 2/8 — Greensboro, NC — Blind Tiger 2/9 — Norfolk, VA — The NorVa 2/10 — Baltimore, MD — Rams Head Live 2/13 — Huntington, NY — The Paramount 2/14 — Boston, MA — House of Blues 2/15 — Providence, RI — The Strand 2/16 — Sayreville, NJ — Starland Ballroom 2/18 — New Haven, CT — Toad's Place 2/19 — Poughkeepsie, NY — The Chance 2/20 — Buffalo, NY — Rapids 2/22 — Flint, MI — Machine Shop 2/25 — Columbus, OH — Newport Music Hall 2/26 — Chicago, IL — House of Blues 2/27 — Columbia, MO — The Blue Note 3/1 — Wichita, KS — The Cotillion 3/2 — Oklahoma City, OK — Diamond Ballroom 3/3 — San Antonio, TX — Vibes Event Center

ABOUT CANE HILL: 2018 has proven to be quite a year for Cane Hill and 2019 looks equally as promising. The band released Too Far Gone to much acclaim in January. The album was selected by Revolver as one of the best metal albums of 2018 so far. In April, Cane Hill were chosen as a #NXTLOUD artist by the WWE. They performed at NXT Take Over: New Orleans, as part of WWE's WrestleMania Weekend. The band opened NXT TakeOver with "It Follows," one of the event's Official Theme Songs, inside the sold-out Smoothie King Center in their hometown of New Orleans. The band also performed with Halestorm frontwoman Lzzy Hale, playing NXT Superstar Ember Moon's entrance theme "Free the Flame" before her Championship match. CANE HILL ARE: Elijah Witt — Vocals Elijah James Barnett —  Guitar Ryan Henriquez — Bass Devin Clark — Drums

CANE HILL ONLINE:

[hiphopscriptures]

Fresh Artist Fridays: Elijah Thomas

Elijah Thomas has that 2000s R&B vibe you are looking for. If we could describe him in one sentence, he would be Chris Brown and Usher’s love child. The Kansas City native has delivered his new song “What Am I To Do”, a soulful and smooth sort-of love song. The song deals with feelings of insecurity and doubt in a relationship. "What Am I To Do was inspired by the thought of what decisions can be made when the person you are really in love with questions your love for them due to insecurities." mentions Elijah. "It is finding that one woman who is secure enough to know, I chose her," he adds. The track has all the ingredients of a catchy R&B song that you’ll be humming around the house all day.

"What Am I to Do" was written by Elijah Thomas, Barshay Clay and Brandon Sims and produced by De-Capo. The song is accompanied with visuals that were directed by Slick 23. The single is globally available now on all streaming platforms via the SRG ILS/Bully Park Records label imprint. Check out his music through the links above and connect with Elijah Thomas through his socials to make sure you never miss new music. Remember to follow Hip Hop Scriptures to stay updated on the latest Fresh Artist Friday.

ARTIST BIO:

Elijah “Eli” Thomas knew music was his true love at a young age. Eli’s commitment to his music became more of a passion rather than a pastime. He often found himself sharing the piano keys with his father, a talented musician and Army veteran. It was in these moments he developed the capacity to learn music from both an instrumental and vocal standpoint. Over time, he began singing at church while emulating Jackie Wilson, Prince, and Michael Jackson at home.

At 15, Eli auditioned for America’s Got Talent and at the age of 17 auditioned for The Voice. These experiences gave Eli the confidence he needed to pursue a career in the music industry. Since then, he has performed on numerous occasions throughout his hometown of Kansas City and began meeting with industry veterans and record labels in the hopes of securing a recording contract.

As one who has had to deal with identity and self-confidence issues, Eli plans to use his platform showing young adults they can be themselves without having to compromise. As an artist, he recognizes his dreams are not just for him, but to be shared with those in need of encouragement and inspiration.

Eli has been focused on a major musical project which is sure to secure his spot as a new-age, urban, game changer. The project includes work from the likes of Rey Reel, Lyrica Anderson, Slikk Muzik, Eric Bellinger, Ye Ali, Tasha Catour, Sheldon Body Jr, Courtlin Jabrae, Kove', Omeretta and Joe Capo. With this project Eli is expected to reintroduce real R&B and pop music to this upcoming generation. He’s a true 360 artist, singer, songwriter, producer and performer.

STAY CONNECTED WITH ELIJAH THOMAS ON SOCIAL MEDIA:

Instagram: @EliOfficial__ - Twitter: @EliOfficial__ - Facebook: /EliOfficial__ - Tiktok: @EliOfficial__

STAY CONNECTED WITH HIP HOP SCRIPTURES ON SOCIAL MEDIA:

[kpopviralblog]

Starship Entertainment announces they will be taking legal action against malicious comments to protect their artists

On May 23, Starship Entertainment announced that they will be taking legal action against malicious comments to protect their artists.

It is to advise that anyone who will defame or spread malicious misinformation about Starship Entertainment and it’s affiliates can be punishable by law.

This will be towards artists under Starship Entertainment, Kingkong by Starship, House of Music, which is starting from May 23, 2018. Fans are advised that they will be able to send information related to the defamation of their artists.

Starship Entertainment houses artists like K.Will, Soyu, Duetto, Mind U, Mad Clown, MONSTA X, Boyfriend, Brother Su, #Gun, WJSN/Cosmic Girls, Yoo Seung Woo, Jung Se Woon, Jooyoung, Lee Gwang Hyun, Ahn Yoo Jin, Jang Won Young, Cho Ga Kyun, Park Hyun Jin, Achillo, and King Kong by Starship artists like Kim Bum, Kim Ji Won, Dasom, Park Hee Soon, Yoo Yeon Suk, Lee Kwang Soo, Lee Mi Yeon, Lee Dong Wook, Cho Yoon Hee, Kang Eun Ah, Park Min Woo, Oh Ah Yeon, Oh Hye Won, Yoon Jin Yi, Lee Elijah, Jang Jung Yeon, Jung Joon Won, Cho Yoon Woo, Ji Il Joo, Choi Won Myung, Choi Hee Jin, Han Min, and House of Music artists like Moon Moon and DJ Soda

The statement reads:

“Hello, this is Starship Entertainment.”

“Our label, King Kong by Starship and our subsidiary House of Music will be taking strict legal action on malicious rumours, the spread of false information, posts that attack character and hate comments toward our label artists starting from May 23rd, 2018.”

“We have decided that we can no longer stand by as our label artists, and House of Music artists are hurt through some netizens' distorted criticism, the spread of false rumours, and defamation of character.”

“Recently, the judicial branch has been handing out severe sentences such as imprisonment for illegal, problematic malicious rumours that break the Information Communications Network Act.”

“Accordingly, the label will protect our artists' precious and basic rights. We are currently preparing legal action through our law firm on posts that defame character and spread false rumours.

We will continue to take legal action toward future cases of defamation of character and spread of false rumours about our artists. We also request continuous reports from fans as your reports help us greatly in our legal action.”

pic.twitter.com/Dk6nB3BlBg

— STARSHIP Ent. (@STARSHIPent) May 23, 2018

[zeldaspeaksmindfulness]

Lookingglass Theatre Company

In Collaboration with WBEZ Chicago present the World Premiere Audio Play of

Her Honor Jane Byrne

Written and Directed by Ensemble Member J. Nicole Brooks

Thanksgiving Day at 11am and Saturday, November 28 at 2pm

Chicago, IL–Lookingglass Theatre Company, in collaboration with WBEZ 91.5 Chicago, presents a World Premiere audio play of Her Honor Jane Byrne, written and directed by Ensemble Member and Mellon Playwright in Residence J. Nicole Brooks. Her Honor Jane Byrne will air on Chicago’s NPR news station WBEZ 91.5 FM and wbez,org on Thanksgiving Day, Thursday, November 26 from 11am-1pm CT and Saturday, November 28 from 2pm-4pm CT.

Chicago is “The City That Works”—but does it work for everybody? It’s 1981, the city’s simmering pot of neglected problems boils over, and Chicago’s first woman mayor is moving into Cabrini-Green. Is this just a P.R. stunt, or will it bring the City together? For the next three weeks, residents, activists, media, the “Machine,” and the Mayor herself will collide as the City’s raw truths are exposed. Tune in to find out who will come out on top in Lookingglass Ensemble Member J. Nicole Brooks’ bold new work, Her Honor Jane Byrne?

Her Honor Jane Byrne premiered on the Lookingglass stage in March 2020 just five days before the Theatre had to close due to the COVID-19 pandemic. Lookingglass Theatre Company has partnered with WBEZ, Chicago’s National Public Radio Station, to present Her Honor Jane Byrne as a radio play.

The cast features Ensemble Members Christine Mary Dunford (Jane Byrne), Thomas J. Cox (Alderman Roti, Swibel, Photographer, Evidence Tech) and Tracy Walsh (Reporter, Kathy, Claudia) with Robert Cornelius (Black Che, Seller), Nicole Michelle Haskins (Tiger, Rival Kid), Renee Lockett (Mabel Foley), Frank Nall (O’Donnell, Jay McMullen, Daley, Spilotro), Josh Odor (Superintendent Brzcek, Tavern Owner, Bodyguard, Pilot, Host), Taron Patton (Marion Stamps), Willie “Mudlife Roc” Round (Kid, Tral).

The creative team includes Michael Huey (composer), Christopher M. LaPorte (sound designer), Artistic Associate Wendy Mateo (associate director) Jason K. Martin (dialect specialist), Sarah Burnham (production manager), Jeremy Phillips (production assistant) and Ensemble Member Philip R. Smith (casting).

“Our play joins history to myth. Some of it is dramatic interpretation, and some of it is real,” comments J. Nicole Brooks. “When you grow up in a city that’s hyper segregated, run amuck with corruption, and political stunts and discord, you have to work hard to love it. I love the city of Chicago. I love the history. I’m fascinated by ethnic clans. I’m curious about patronage, councils, aldermen, and committeemen. Who gets elected and how? Who gets to lead us, and will they actually listen to us? Though I was very little, I can remember when it was announced that Mayor Jane Byrne was moving into Cabrini-Green. Can she stop the violence? Well, no one person can. Here we are decades later, asking the same questions. I hope our audiences walk away with a bit of the past, so they may know how to shape our future.”

““It was devastating to close Her Honor Jane Byrne last Spring just after it opened.  A play takes years of work to get it to the point of production, and this play was speaking directly to our city about our city.  So we are thrilled and grateful to WBEZ for giving us a new platform to share J. Nicole Brooks’ timely and brilliant play in its new audio form,” comments Artistic Director Heidi Stillman. “Over the past months since the show closed, it’s subject matter has only become more relevant. Her Honor Jane Byrne is ambitious, timely, and an important piece of work about the way geography, race and inequality line up in Chicago – and how choices made in the past are still playing out in our city today.”  

This project is supported in part by an award from the National Endowment for the Arts. The following sponsors generously supported the premiere of Her Honor Jane Byrne on the Lookingglass stage last spring: Production Sponsors—National Endowment for the Arts and Edgerton Foundation; Lead Sponsors—Melinda McMullen and Duncan Kime; Production Support—Leigh and Henry Bienen, Linda Karn, Rachel E. Kraft and Douglas R. Brown, and Abbie Roth.

About the Artists

J. NICOLE BROOKS (Playwright/Director/Lookingglass Ensemble Member) is an actor, playwright, and director. Recent theatrical credits include Lottery Day (Goodman Theatre), Beyond Caring (Lookingglass Theatre Company), and Immediate Family (Mark Taper Forum, Goodman Theatre). Directing credits at Lookingglass include: Thaddeus & Slocum: A Vaudeville Adventure (co-directed with Krissy Vanderwarker), Mr. Rickey Calls A Meeting, and Black Diamond. J. Nicole is author of Fedra: Queen of Haiti, Black Diamond: The Years the Locusts Have Eaten, The Incredible Adventures of Yuri Kochiyama, HeLa, and Her Honor Jane Byrne.

ROBERT CORNELIUS (Black Che, Seller) is making his Lookingglass Theatre debut with the world premiere of Her Honor Jane Byrne. Other Chicago credits include the world premiere of Lottery Day at Goodman Theatre; The Total Bent at Haven Theatre in association with About Face Theatre; Rightlynd, Spiele 36, On the Block and Whitley at Victory Gardens Theater; Picnic with American Theatre Company, W;t with The Hypocrites, Raisin with Court Theatre, Taming of the Shrew at First Folio Theatre, Hamlet at The Gift Theatre, and Aida at Drury Lane Theatre. Regionally, Robert has worked at Indiana Repertory Theatre, Milwaukee Repertory Theater, Madison Repertory Theatre, Montana Repertory Theatre, and St. Louis Black Repertory Theatre. Film/TV credits include: Chicago PD, South Side, Shameless, Hoodlum, and The Chi.

THOMAS J. COX (Alderman Roti, Swibel, Photographer, Evidence Tech/Lookingglass Ensemble Member) most recently appeared at Lookingglass in 20,000 Leagues Under the Seas. A founding Ensemble Member, Thom has appeared in many productions since 1988, including: Cascabel, The Jungle, The Odyssey, West, The Arabian Nights, The Master and Margarita, The Great Fire, Nelson Algren: For Keeps and a Single Day, 1984, The Old Curiosity Shop, and Peter Pan (A Play). Regionally, he has appeared at Goodman Theatre, Writers Theatre, Steppenwolf Theatre Company, Northlight Theatre, The House Theatre of Chicago, Court Theatre, The Gift Theatre, Victory Gardens Theater, and Milwaukee Repertory Theater. Most recently, Thom was seen in Bernhardt/Hamlet and A Christmas Carol (Goodman Theatre) and Ma Rainey’s Black Bottom (Writers Theatre). TV/Film: Brotherhood (Showtime), Chicago Fire (NBC), Since You’ve Been Gone (Miramax).

CHRISTINE MARY DUNFORD (Jane Byrne/Lookingglass Ensemble Member) has appeared in nearly two dozen Lookingglass productions. Christine’s three most recent productions include Blood Wedding, Trust, and Our Town. For Lookingglass’ 25th Anniversary Season in 2013, she directed her own original adaptation (Jeff nominated) of Still Alice, based on the book by Lisa Genova, which has been translated into multiple languages and is being produced in small theatres across the world. Over the years Christine has served the company as managing director and director of development, and she co-founded and taught with Lookingglass’ Education and Community program. Christine is Director of the School of Theatre and Music at the University of Illinois at Chicago; and she co-founded and helps run the Memory Ensemble—a partnership between Lookingglass and Northwestern’s Alzheimer’s Disease Center (CNADC)—that uses improvisational performance activities to improve life for people with memory loss.

NICOLE MICHELLE HASKINS (Tiger, Rival Kid) is making her Lookingglass debut! Acting credits include: The Color Purple (Drury Lane Theatre), U.S. Premiere of Hopelessly Devoted (Piven Theatre Workshop, Jeff nomination: Best Actor in a Play), Caroline, or Change (Firebrand Theatre, Black Theatre Alliance Award nomination: Best Supporting Actress in a Musical), Spitfire Grill (Refuge Theatre Project, Jeff Award Nomination: Best Supporting Actress in a Musical), World Premiere of HeLa (Sideshow Theatre Company); Music Man, Father Comes Home from the Wars Parts 1,2 & 3, and How to Catch Creation (Goodman Theatre), The Wiz (Kokandy Productions, Jeff Award nomination: Best Supporting Actress in a Musical), Parade (Writers Theatre), and RENT (Theo Ubique Caberet Theatre). Proudly represented by Shirley Hamilton. School at Steppenwolf Acting Fellow 2014, Associate Artist with Black Lives, Black Words, International Theatre Collective, and MOSAIC Youth Theatre of Detroit Alum.

RENEE LOCKETT (Mabel Foley) is making her Lookingglass debut. Last seen in First Floor Theater’s Jeff recommended Sugar in our Wounds. Other Chicago credits include: Familiar (Steppenwolf Theatre Company, Jeff nomination: Ensemble), Surely, Goodness and Mercy (Redtwist Theatre, Jeff nomination: Performer in a Drama, Black Theatre Alliance Award nomination: Best Actress), A Wonder in My Soul (Victory Gardens Theater), Crowns (Fleetwood-Jourdain Theatre, Black Theatre Alliance Award nomination: Best Ensemble). Renee has also worked with Babes with Blades, Court Theatre, Northlight Theatre, MPAACT, Prologue Theatre, Collaboraction Theatre Company, Three Cat Productions, Black Ensemble Theater, ETA  Creative Arts, and Black Lives, Black Words. Renee is an ensemble member of MPAACT and an Artistic Associate with Black Lives, Black Words. Most recent Film credits include: The Plow and Freelancers Anonymous, as well as TV roles on The Chi and a recurring guest star role on Comedy Central’s South Side. Renee is represented by DDO Artists Agency.

FRANK NALL (O’Donnell, Jay McMullen, Daley, Spilotro) is making his Lookingglass debut in this powerful piece by J. Nicole Brooks. A member of the Artistic Home Ensemble, Frank was last seen in their production of Vanya on the Plains as Elijah. Other Chicago credits include: Frankenstein (Remy Bumppo Theatre Company, Jeff Award winner) and Traitor as Howard (A Red Orchid Theatre, Jeff Award winner). Film and TV credits include: the CNN reporter from Spygame, Transplant surgeon on Empire, Carlisle on Boss, and assorted commercials. Frank has an MFA from the University of Illinois Urbana–Champaign.

JOSH ODOR (Superintendent Brzcek, Tavern Owner, Bodyguard, Pilot, Host) is working with Lookingglass for the first time. Chicago credits include: To Catch a Fish and Blood and Gifts (TimeLine Theatre), El Grito del Bronx (Goodman Theatre/Collaboraction Theatre Company), Oorah! (Steppenwolf Theatre Company/LiveWire Chicago), Scientific Method and The Firebirds Take the Field (Rivendell Theatre Ensemble), Welcome to Jesus (American Theater Company), Moment, The Last Days of Judas Iscariot, and The Resistable Rise of Arturo Ui (Steep Theatre), You on the Moors Now (The Hypocrites), Life On Paper (Jackalope Theatre), Hit the Wall (The Inconvenience), Winterset (Griffin Theatre), The Nutcracker (The House Theatre of Chicago) and Sweet Bird of Youth and The Time of Your Life (The Artistic Home). Regionally Josh has worked at the Long Wharf Theatre. TV/ Film credits: The Chi, Chicago Med/PD/Fire, Boss, Betrayal, Janie Jones, Empire, and The Express.

TARON PATTON (Marion Stamps) returns to the stage in Her Honor Jane Byrne. Producer credits includes: N (Greenhouse Theater Center) and Misty Tanner (Q&A Productions). Directing credits: N (Greenhouse Theater Center) Saturday Night, Sunday Morning (Steppenwolf Garage Rep), Bulrusher and Nativity Tribute (Congo Square Theatre). Acting credits: Meet Vera Stark (Goodman Theatre), Hot L Baltimore (Steppenwolf Theatre Company); The Bluest Eye (Steppenwolf Theatre Company and New Victory Theater), King Hedley II (Congo Square Theatre), and Joe Turner’s Come and Gone (Goodman Theatre). Television credits: The Chi, Empire, Chicago PD, Chicago Fire, Chicago Med, A Different World.

WILLIE "MUDLIFE ROC" ROUND (Kid, Tral) is a songwriter, playwright, videographer, mentor, and hip-hop artist hailing from the West Side of Chicago, who has performed across the country and opened for Grammy Award-winning artist Lil Wayne as well as Gucci Mane. He does extensive outreach in the North Lawndale neighborhood in Chicago (also known as “The Holy City”) and has mentored inner city youth as part of the College Mentoring Experience, as well as his own youth movement called MUD LIFE (Motivating the Urban to be Determined). He holds a B.A. in Communications, Radio, and Television Broadcasting from Central State University. His play Broke Down Drone (also co-written with G. Riley Mills) played during the 2019 Peacebook.

TRACY WALSH (Reporter, Kathy, Claudia/Lookingglass Ensemble Member) is a Lookingglass Ensemble Member where she has performed in, choreographed, directed, and written many plays on the Main Stage and for the Lookingglass Young Ensemble. In recent seasons at Lookingglass, Tracy provided dances for The Steadfast Tin Soldier, wrote, directed, and choreographed Cassandra for the Young Ensemble, provided intimacy choreography for Beyond Caring, movement for Acts of God, and choreographed Blood Wedding. She appeared in and choreographed Iphigenia in Aulis (Court Theatre/Getty Villa in Los Angeles), choreographed Agamemnon (Court Theatre) and appeared in and choreographed Electra (Court Theatre). Other Chicago choreography credits include: Arcadia and All’s Well that Ends Well (The Goodman Theatre), The Jewel Box and Don Giovanni (Chicago Opera Theatre), Carmen (Court Theatre) and the Napoleonade (Eclipse Theatre Company). Tracy and her husband own and teach at Lighthouse Yoga in Evanston.

FACT SHEET

Her Honor Jane Byrne will air on Chicago’s NPR news station WBEZ 91.5 FM and wbez,org.

Title:                                        Her Honor Jane Byrne

Written and Directed by:         Ensemble Member J. Nicole Brooks

Featuring:                               Ensemble Members Christine Mary Dunford, Thomas J. Cox and Tracy Walsh with Robert Cornelius, Nicole Michelle Haskins, Renee Lockett, Frank Nall, Josh Odor, Taron Patton, and Willie “Mudlife Roc” Round.

Creative Team:                        Michael Huey (composer), Christopher M. LaPorte (sound designer), Artistic Associate Wendy Mateo (associate director) Jason K. Martin (dialect specialist), Sarah Burnham (production manager), Jeremy Phillips (production assistant) and Ensemble Member Philip R. Smith (casting).

Dates:               Thanksgiving Day, Thursday, November 26 from 11am-1pm CT and Saturday, November 28 from 2pm-4pm CT.

                      Also happening online with Lookingglass

The Steadfast Tin Soldier

Lookingglass Theatre Company presents the holiday stream of Ensemble Member Mary Zimmerman’s The Steadfast Tin Soldier. Experience Chicago’s beloved holiday tradition with your family this holiday season, as the production streams into your home this December! Based on Hans Christian Andersen’s story about a little tin soldier who never gives up, this production is a gorgeous spectacle of music and movement that is perfect for the whole family.

Online access to the production is $25 and includes Livestream and On Demand. An Opening Night Livestream will take place December 1, 2020 at 6:30PM Central. Opening night is $75 and includes a pre-show event with live music hosted by Ensemble Member Kasey Foster, who plays the Ballerina in The Steadfast Tin Soldier. Following the show, Artistic Producer Kareem Bandealy will host a Q&A with Adaptor/Director and Ensemble Member Mary Zimmerman, Co-Sound Designer, Composer and Ensemble Member Andre Pluess, and Costume Designer Ana Kuzmanic.

Tickets are on sale now at www.lookingglasstheatre.org.                                                                    

The cast of The Steadfast Tin Soldier features Ensemble Members Kasey Foster (Ballerina) and Anthony Irons (Goblin), with Joe Dempsey (Nursemaid), John Gregorio (Rat), and Alex Stein (Steadfast Tin Soldier).

Original music for The Steadfast Tin Soldier is composed by Ensemble Member Andre Pluess and Amanda Dehnert. Musicians include Leandro López Várady (Music Director/Piano), Greg Hirte (Violin), Juan Horie (Cello), and Constance Volk (Flutes).

The creative team includes Todd Rosenthal (scenic design), Ana Kuzmanic (costume design), TJ Gerckens (lighting design), Ensemble Member Andre Pluess and Christopher M. LaPorte (sound design), Leandro López Várady (associate arranger), Ensemble Member Tracy Walsh (choreography), Ensemble Member Sylvia Hernandez-DiStasi (circus choreography), Chicago Puppet Studio (puppet design), Amanda Herrmann (properties),Rigability Inc. (rigging design), Katrina Herrmann (stage manager) and Liz Anne Larsen (assistant stage manager). The production was filmed in 2019 by HMS Media.

The Secret Passage

The Secret Passage is a digital membership that reveals a corridor of hidden doors. And behind each door lives an exclusive peek into the Lookingglass process. From mind-expanding artist conversations to first-ever play workshops to archival audio recordings of our former glories to discounts on classes and public Lookingglass events, the perks of the pass will cast you as a true “insider” and a key player in preserving our future.  

The Secret Passage memberships are $50, for access through August 2021, or $8 monthly. Members will receive a discount to The Steadfast Tin Soldier, along with access to the following monthly programming, plus more to be announced:

The Jungle Radio Play by Upton Sinclair, adapted and directed by Ensemble Member David Schwimmer

The Master and Margarita Radio Play, by Mikhail Bulgakov’s adapted by Artistic Director/Ensemble member Heidi Stillman, directed by Heidi Stillman and Ensemble Member David Catlin, featuring many Ensemble Members including David Schwimmer, Philip R. Smith, Joy Gregory, and our beloved friend and Steppenwolf ensemble member Mariann Mayberry.

           The Scarlet Letter Radio Play by Nathaniel Hawthorne, adapted by Ensemble Member Thomas J. Cox

Lucy and Charlie’s Honeymoon Sneek Peek, a new musical by Artistic Associate Matthew C. Yee

The Hidden Door: Artist Conversations: Online conversations featuring exclusive conversations with Ensemble Members David Schwimmer, Kevin Douglas, Mary Zimmerman, Mellon Playwright in Residence J. Nicole Brooks, Anthony Fleming, Kareem Bandealy, and David Catlin, among others.  

Live Concerts: Coffeehouse and House Party, features Artistic Associates Matt Yee and Sully Ratke, with a special appearance by Ensemble Member Kareem Bandealy. House Party is an intimate concert by Ensemble Member Kasey Foster and partner Charlie Otto.

For more information on The Secret Passage, visit lookingglasstheatre.org/secret-passage

About Lookingglass Theatre Company Inventive. Collaborative. Transformative. Lookingglass Theatre Company, recipient of the 2011 Regional Theatre Tony Award, was founded in 1988 by eight Northwestern University students. Now in its 32nd Season, Lookingglass is home to a multi-disciplined ensemble of artists who create story-centered theatrical work that is physical, aurally rich and visually metaphoric. The Company, located in Chicago’s landmark Water Tower Water Works, has staged 70 world premieres, received 161 Joseph Jefferson Award Nominations, and produced work all across the United States. In 2016, Lookingglass received the MacArthur Award for Creative and Effective Institutions and in 2017, was the recipient of the League of Chicago Theatres’ Artistic Achievement Award.  

Lookingglass continues to expand its artistic, financial, and institutional boundaries under the guidance of Artistic Director Heidi Stillman, Executive Director Rachel L. Fink, a 29-member artistic ensemble, 22 artistic associates, an administrative staff, and a dedicated board of directors led by Chair Nancy Timmers and President Richard Chapman. For more information, visit lookingglasstheatre.org.  

About WBEZ Chicago

WBEZ, Chicago’s NPR news station, serves the community with fact-based, objective news and information. WBEZ’s award-winning journalists ask tough questions, dig deep for answers and expose truths that spark change and foster understanding. In addition to its local and national news programming, WBEZ Chicago is home to a growing portfolio of popular podcasts, including the “Making” series of Making Beyoncé, Making Obama and Making Oprah; an investigative podcast series, Motive; 16 Shots: A podcast about the fatal police shooting of Laquan McDonald; Nerdette; and Curious City. WBEZ Chicago has a legacy of innovation as the birthplace of nationally acclaimed programs such as This American Life, and Wait Wait...Don’t Tell Me! and the ground-breaking podcast, Serial.

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We Asked 15 Bartenders: What’s Your Go-To Bourbon?

As bars and restaurants continue to navigate the coronavirus pandemic and reopening phases, VinePair asked the bartenders below to provide a virtual tip jar or fund of their choice. More resources for helping hospitality professionals are available here.

As cooler weather beckons, so too does the sultry thrill of dark spirits. Whether enjoyed neat, on the rocks, or in a classic cocktail like the Old Fashioned, bourbon’s notes of vanilla, caramel, and spice are the perfect complement for crisp fall evenings.

Thankfully, there is an abundance of bourbon available on the market hailing from across the country — not just Kentucky. For insider tips to help sort through the myriad options, VinePair reached out to drink professionals to find out which bottles of bourbon bartenders are currently crushing on.

“I have a few go-to bourbons. There’s always great value in Evan Williams Black Label — there’s usually a bottle of that at my house. Fighting Cock is a 103 proof bourbon from Heaven Hill that is great for mixing in stirred cocktails, and Weller Special Reserve if you can find it at a reasonable price. It was a well pour for us at Covina.” — David A. Roth, Former Head Bartender, Covina, NYC

“My go-to bourbon is Elijah Craig Small Batch. It’s a beautiful spirit with notes of caramel, oak, and spice. The bourbon is aged in charred oak barrels, which gives it a bit more depth and a slight smokiness. I enjoy making an Old Fashioned or sipping it over some ice.” — Michell Boyd, Beverage Manager, Hampton + Hudson, Atlanta

Donate: Hampton + Hudson Small Business Relief Fund; Relief for Hampton + Hudson STAFF; or Michell Boyd Venmo

“Old Tub: It used to be available only at the Jim Beam distillery, but now is available in select markets. It’s the best bang for [your] buck!” — Alex Negranza, Bar Manager, MARCH, Houston

“Eagle Rare: Hodges Bend (my bar) recently got a barrel of ER and I can’t stop drinking it.” — Noah Bush, Mixologist/Co-Owner, Hodge’s Bend, Tulsa, Okla.

“Been [really] into this sourced bottle lately — the Pinhook Vertical Series #4, ‘Bourbon War.’ Even if they just bought it and bottled it, it’s delish.” — Jeremy Allen, Beverage Director, MiniBar Hollywood, Los Angeles

“In terms of bourbon, I’ve always been a fan of Evan Williams and Four Roses for different reasons. Evan Williams is a workhorse because it plays well with others in terms of cocktails, while maintaining that quintessential oakiness. Four Roses, particularly their single barrel, is a favorite because I think the higher content of rye in it allows more fruit and spice notes to shine.” — Shannon Grant, Bartender, Lost Lake, Chicago

Donate: Lost Lake Relief Fund

“The bourbon world is historically competitive, but I love that the (relatively new) Breckenridge Distillery is pushing the boundaries on innovation in bourbon and beyond. They’ve won plenty of awards, but the Port cask-finished variety adds a lovely layer of mapley richness; or, the PX Sherry cask’s complex — but not overpowering — fruit makes it super approachable.” — Chris Keller, Bartender, Osaka Ramen, Denver

“Willett Distillery makes a $40 bottle of bourbon that tastes like a $60 bottle of bourbon. And if you don’t know that, well, that’s just fine. I’d prefer to continue paying $40 for it.” — Lee Mayfield, Bartender, Brick Store Pub, Decatur, Ga.

“Buffalo Trace: It’s such a great everyday bourbon for the price. It’s a great candidate for an Old Fashioned or Manhattan or as a co-pilot to a cold beer. It has a complex structure of fruit and [its] sturdy finish blows away its competition in the flagship bourbon range.” — Pete Stanton, Head Bartender, Ai Fiori, The Langham, NYC

“My go-to bourbon would be most anything from Laws [Whiskey House]. The four grain straight bonded is a favorite flavor to drink straight since I prefer my bourbon usually on the rocks. Laws is a local Denver brand that made the first bonded bourbon in Colorado history, which is pretty cool.” — Hanna Stickler, Bartender/Events Manager, ll Posto, Denver

Donate: Il Posto Relief Fund

“I don’t drink bourbon often, but if I were to have a bottle in the house, it would be Weller Special Reserve. It’s part of the Buffalo Trace family, which includes Pappy Van Winkle and Blanton’s, but at a fraction of the cost. Weller uses wheat in their mash instead of rye, giving it a smoother and softer finish.” — Emmanuelle Massicot, Assistant General Manager, Kata Robata, Houston

“Old Grand-Dad bottled-in-bond bourbon is for sure my favorite. It’s another underrated option in this category. For those who don’t know, it uses the same recipe as Basil Hayden, so it’s basically a cheaper version of a great bourbon. A great versatile bourbon to have at home.” — Damian Langarica, Head Bartender, a.bar, Philadelphia

“Go-to bourbon? Whichever one you’re pouring! Jokes aside, there are so many amazing bourbons, it’s hard to pick just one. BUT since I have to, it’ll be Weller 12 Year. It’s extremely hard to find for good reason. Its mash bill is close to Pappy’s, so whenever it’s available, folks buy it up quickly.” — Allen Parker, Bartender, Good Word Brewing, Duluth, Ga.

“Blanton’s would have to be my first love. It is round, warm, and delicate. Although great in mixed drinks, I recommend enjoying this one neat.” — Nick Merrifield, Head Bartender, Portale, NYC

“Wild Turkey 101 Bourbon. Complex flavors that don’t overwhelm. Robust proof that holds up in mixed drinks and tastes just right solo. It was good enough [for] Hunter S. Thompson. I imagine it’s good enough for me, too.” — Justin Koch, Bartender/Manager, Curio/Denver Central Market, Denver

Donate: Justin Koch Venmo

The article We Asked 15 Bartenders: What’s Your Go-To Bourbon? appeared first on VinePair.

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