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Loretta Simonet, one half of the Minneapolis-based folk duo Curtis and Loretta, considers stops at Valparaiso’s Front Porch Music to be a longtime highlight of their regular touring regiment.
For Jason Utesch, helming Valparaiso’s Chicago Street Theatre’s production of “Play it Again, Sam” is an ideal fit.
Wayne Puchkors, director of Hammond Community Theatre’s production of “Laughter on the 23rd Floor,” is admittedly not a fan of plays with gratuitous foul language.
Kate Ryan, director of Crown Point Community Theatre’s “Time Stands Still,” saw an immediate connection with the four actors and their respective characters in her production of the acclaimed drama.
With his Jazz 101 multimedia extravaganza, Big Apple-based composer and pianist Jesse Lynch is doing his part in keeping the music exciting for present and future generations.
Jeff Casey, director of Hammond’s Towle Theater’s production of “Adrift in Macao,” has had nothing but fun with his cast being “Adrift" for their latest musical production.
Bonnie Johnson, director of Hammond’s Beatniks on Conkey’s fundraising production of “The Vagina Monologues,” has an idea why the women-themed play has been a smash with audiences throughout the world.
Valerie Wotkun, director of Hammond Community Theatre’s production of “The Mousetrap,” came across Agatha Christie’s beloved murder mystery by unconventional means.
“The Beauty Queen of Leenane” is often referred to as a dark comedy or adult comedy, but Traci Brandt, co-director of Valparaiso’s Chicago Street Theatre’s production of “Leenane,” sees more to the story than just laughs.
Angie Lowe, co-director of L’arc en Ciel Theatre Group’s production of “Sister Mary Amnesia’s Country Western Nunsense Jamboree,” has an idea why the “Nunsense” series has been a habit with many area theatergoers.
Angie Lowe, co-director of L'arc en Ciel Theatre Group’s “Rumors,” is putting her own touch on Neil Simon’s acclaimed farcical comedy to make it appealing to a wider audience.
Over the course of the last several years, the New York Times bestseller list has regularly read more like Billboard’s album charts, circa 1975.
“History of The Eagles,” a three-hour documentary on the long-beloved classic country rock band, is both the best and worst music documentary released this year.
If no one has yet to opine that, in the event of an apocalypse, cockroaches and “Weird Al” Yankovic would pull through, I’m throwing that one out there now.
Ever want to upset a musical artist straying outside of the entity he or she is best known for? Call that endeavor a “side project.”
While separated by a massive body of water and varying stylistically, North Mississippi Allstars and Stereophonics, at critical junctures in their still-evolving careers, made past musical benchmarks sound like the next big thing.
For better or for worse, Ke$ha has managed to stand out amongst her pop peers at a time where they are manufactured, marketed and managed to where pretty much anything unique has been rung out.
From the Rolling Stones to Taylor Swift to Beyonce, many a household name is making their way to venues throughout the country this summer, with Chicago stops on their schedule.
The Ramones have become trendy with the last few young generations of punk appreciators.
Referring to the Rolling Stones as the “Mt. Rushmore of Rock and Roll” takes on more than one meaning, depending on your point of view.
Jason Newsted’s tenure with Metallica may have lasted a decade and a half with tens of millions of albums sold, but his input was anything but prodigious.
Depending on what side of the fence you sit on, the upcoming 15th anniversary of Limp Bizkit’s first hit, a cover of George Michael’s “Faith,” is something to acknowledge or scour over.
Mike Konieczny, co-chair of Southern Shore Art Association’s “Tomorrow, Back and Beyond” exhibit, had a specific instruction to the artists who submitted their works to his show.
The year 1975,, in terms of the pop music landscape, doesn’t stand out in the way benchmark years such as 1963, 1977 and 1992 did, but its impact would be felt for years to follow.
Tyler McMahon, director of Chicago Heights’ Drama Group’s production of “The Wiz,” holds the beloved musical in high regard for both personal and artistic reasons.
Marty Grubbs, director of Hammond’s Towle Theater’s production of “Jewtopia,” sees an important moral in his production of the acclaimed comedy.
For Hammond Community Theatre’s Earle Howe, the comedy “All in the Timing” is an ideal play for him to bring to the stage.
Portage songsmith, musician, and performer Jeff Trathen had to travel more than a thousand miles to rediscover his musical mojo.
It’s quite possible that Smiths alumni have made more headlines in the quarter century since they called it a day than they did in their brief, but influential time together in the early and mid-'80s.
You’ve got to hand it to conglomerate music marketers. They sure know how to make a classic rock anniversary an event.
Becky Jascoviak, director of Crown Point Community Theatre’s “All I Really Need to Know I Learned in Kindergarten,” knows why the book and stage version has endured with readers and audiences for a quarter century.
Gloria Ruff, assistant curator of Valparaiso’s Brauer Museum of Art, noted the diversity in the styles of the works showcased there by faculty and students at China’s Renmin University.
The glitz and the glamour may be missing when theater companies present play readings, but Vicki High, director of Chicago Heights’ Drama Group’s reading of the drama “Love Letters,” appreciates what comes to the forefront.
Billy Bragg’s current stateside tour, which brings him to Chicago’s City Winery for a three night stand April 12-14, comes after a decade of little activity, new music-wise, from the beloved British songsmith.
Living Colour’s rise to hard rock royalty with their 1988 debut “Vivid” came with no small amount of unfortunate hype.
Steve Rohe, director of Michigan City’s Footlight Players’ production of “Cat on a Hot Tin Roof,” has an idea why the Tennessee Williams-penned classic has endured for generations of actors and audiences.
It’s common, in a music group of any genre, for a single member to emerge as its creative leader, but, in alt-poppers Garbage, all four members are truly forces to be reckoned with.
With her exhibit “Reflections of Life in the Country” at South Shore Arts’ Substation No. 9 in Hammond, artist Lyn Wellsand hopes to bring a little country life to the region’s urban viewers.
Danny Radovanovic, a Chicago-based poet performing and writing as Stutterbot, hopes his showcase next week with three fellow creative minds at Valparaiso’s Cornucopia Coffee Company, hopes to do more than merely entertain with his words.
At a time where lone songs make up music listeners’ purchases, Alan White, drummer of Yes, sees many listeners missing out on a bigger picture by ignoring full-fledged albums of original music as a whole.
It’s one thing for a band to venture artistically past its origins, but the last nine years has seen Green Day flourish by leaps and bounds.
Being deemed “living history up close” can be seen as an insult to many a veteran artist, especially those who are still pursuing their crafts with dignity.
It’s common for the folks at Hammond’s Paul Henry’s Gallery to accommodate their artists in terms of making space when setting up exhibits, but for East Chicago abstract artist Thomas Frank, they are going the extra mile.
To Jessica Freudenberg-Segal, gallery director of Chicago Heights’ Union Street Gallery, odd is good – and relatively new - when it comes to the abstract and surreal pieces that make up their "Mad World” exhibit.
In the popular music strata, only a small handful of artists have remained relevant as they cross their 70-year threshold.
Susan Block, curator of Michigan City’s Southern Shore Art Association’s “Fifty Shades of Female” exhibit, sees her show as creating what she referred to as “a bit of cultural history in this region.”
To Genesius Guild director David Long, staging the musical “The Pirates of Penzance,” is truly a collaborative effort between he and his cast.
Craig Golbesky, director of Valparaiso’s Memorial Opera House’s production of “Guys and Dolls,” described the beloved musical as “quintessential American theater at it’s best.”
The origins of Chicago artists Mark Zlotkowski and Sergio Gomez’ traveling exhibit, “Presence/Absence,” can be traced to a lucky hanging.
Like sports, popular music has its share of legends and all-stars, and is also choc full of support players who don’t get the recognition but are as worthy of the household named greats they backed.
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