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"Pretty Sexy For an Old Man" : The Dead Milkmen Play The House of Vans

When I was a junior in high school, my friends and I walked into the Best Buy that was near one of their houses on Halloween night (we didn't have much to do...). I strolled down the CD aisle and looked at all the new pop albums and classic-rock greatest hits comps and felt kind of dissapointed. Then I noticed a name in the racks that I kind of recognized - The Dead Milkmen - local punk legends in and around Philadelphia, where I grew up. It was their latest album, 2014's Pretty Music For Pretty People, in a Best Buy of all places. "For $11?" I thought. "Sure why not - might be cool." It was either that or Queen Live at the Rainbow '74 that just came out in some deluxe package for $30 or something ridiculous like that. I made the right choice.

So then if you were to tell me while I was in the check-out line that a few years later I'd be sitting backstage at The House of Vans the afternoon of July 12th, before their free show there that night, telling that very story to them, then I might have said to you "Well then now I KNOW I made the right choice tonight!" because on Halloween 2014, I became a Dead Milkmen fan!



I spoke to drummer Dean Sabatino and guitarist Joe Genaro first about the Philly punk scene in the early 80s. "There was a pretty healthy hardcore scene in the city," said Dean. Though admittedly the Milkmen wer enever strictly just "hardcore," the pair recalled back forth playing with those bands, both Philly local and national luminaries - "Sadistic Exploits, The Stick Men, Autistic Behavior...and then bands like Black Flag, Hüsker Dü came and played." 

Now of course there's a link to Chicago early in the band's history. Their 80s releases like Eat Your Paisley, Big Lizard In My Backyard, Punk Rock Girl, were put out by Chicago indeoendent label Fever Records. I wondered the major differences between releasing their records back then compared to putting out an album today. "Well you have to fight now," said Dean "In the 80s, a record company would do a lot or us. They'd send the album around to radio stations and that's how we got out there - through that station network." They cited the now defunct College Music Journal magazine read by almost all college stations around the country. "It's easy to put your music out online, everything's on iTunes or Spotify, but you have to fight to promote it." For their latest EP, Welcome To The End of THe World, th eband teamed with The Giving Groove in Philly to give half the profits to Girls Rock Philadelphia. 

I asked them their experience in Chicago over the years. They referenced playing places like The Cubby bear, The Metro, Congress Theater, and more recently Riot Fest 2009 and 2015. "Chicago reminds me oh Philadelphia in a way," said Dean, "It's a city of neighborhoods, which I think Philadelphia is too. Sort of a working class city like Philadelphia too."

Do a quick Google search of the band and you'll find one main word - "satirical." I asked them if they agreed with the satirical punk label of many of their lyrics. "Maybe before but not so much now...people didn't alway get it...Over time we changed." When asked what they like to write about now they answered "conspiracy theories, political events, history, books..." In fact their song "Somewhere Over Antarctica" off of the album I bought on Halloween was inspired by the H.P. Lovecraft story At The Mountains of Madness.

Finally I asked what they were listening to lately. Joe cited Young Father's newest album Cocoa Sugar, and Dean cited Courtney Barnett's latest Tell Me How You Really Feel.



The Milkmen were next in The Vans House Parties concert series this summer in which headliners and their chosen opening acts play for free in The House of Vans in the Near West Side neighborhood of Chicago. Playing on July 12th were of course The Dead Milkmen, The San Andreas Fault, Caustic, and Youth Code. In the venue, which looked to me like a converted warehouse, everything was free - admission (based on capacity), water, beer, even the concert t-shirts and poster. A Wax Trax pop-up shop set up there too for the audiences' browsing pleasure. 

I leaned against a skate ramp before the first band, drank my free warm bottle, and mouthed along to the words to "Rip It Up" by Orange Juice (A song I love and was glad to hear over the speakers) and looked around at the crowd. A mix of old school punks covered in buttons and patches, some perhaps have been with The Milkmen since the start, and kids my age also in their buttons and patches.

The San Andreas Fault:

First to go on. All instrumentals with a spooky, doom surf, the highlight of which was the clear and fast bass lines. The kind of music you'd expect to hear at the begining and end of some trash surf and/or crime movie. The band introduced themselves only as Joe, Pete, Jay, and Bob. Bob interestingly enough played in Chicago band The Defoliants and goes way back with The Milkmen. They played songs off their new EP Black RIbbon.


"Ok, now I get why Wax Trax is here," I thought when Caustic played their set. They're a four piece industrial band from Madison, WI. An interesting juxtaposition to the Milkmen's jangly punk but still very cool. I will admit I'm, not very well versed in industrial music, but enjoyed the snarled vocals and extreme pulsing of the drums, played standing up next to two synth players. There was a sizeable pit of stomping and dancing and the band was joined by Dead Milkmen singer Rodney Anonymous for two songs. Caustic released their latest album American Carrion earlier this year.

Youth Code:

Sure there were Milkmen fans at the show, but there was for sure a sizeable chunk of industrial fans there too. The duo Youth Code lead the slam dancing crowd through an intense adventure of crunching sheet metal beats and screamed vocals. Lit by red and purple lights, they jumped all around the stage in what was the most energetic set of the night. This was the last Youth Code show of the year, as they're entering the studio soon for a new album.

The Dead Milkmen:

The Milkmen took the stage at 9:30. The band opened with their classic single "Punk Rock Girl," and the crowd, filled with shaved heads, long hair, beards, a mohwak or two - true fans - went off. Beer sprayed and the pit started swirling fast and didn't stop for the entire hour and a half set.

The sound was classic Milkmen: jangled-up punk with a nice pronounced bass from bass player Dan Stevens and snarley vocals with an exaggerated Delco accent (extra points to anyone who knows what I'm refering to). They dip into a few styles; some hardcore, some reggae, power pop, even an electornic beat or two. One thing I took notice of was that there really weren't a lot of pauses or talking between songs (something I appreciate in a band). 

Set highlights included "Tiny Town," "Punk Rock Girl," "Watching Scotty Die," "Big Lizard In My Backyard," "V.F.W." and of course the classic "Bithchin' Camaro." During the intro for that one, Rodney took the opportunity to champoin some local Chicago bands, Hide, Ganser, and Lana Del Rabies. "Lana Del Rabies are your friends...Lana Del Ray not so much," Rodney shouted. He also encouraged the audience to use their voices and register to vote. There was a table at the venue where fans could do just that.

The crowd never stopped for the whole set, Dean didn't stop smiling on the drums, beer kept spraying from somewhere in the audience, and Rodney's last words to us were "And I was surprisigly sexy for an old man!" The House of Vans puts on a fantastically run show and the Dead Milkmen gave us all a fun night! 

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On-Air Interview With Now Now

Now Now is a duo from Blaine, Minnesota who put out their third album, Saved, this past May. They're on tour and are stopping in Chicago to play the Lincoln Hall on July 7th, presented by WLUW and Cacie and Bradley from the band were kind enough to talk to DJs Scott and Olivia on-air last Wednesday, June 27th to discuss the new album, give some background on the band's origins, and to let us know what music and podcasts they've been into lately.

Take a listen to the entire on-air interview HERE and check out the links for info on the July 7th Lincoln Hall Show presented by WLUW and to visit Now Now's website for all their latest! And be sure to check back on to read our coverage of sho


WIN TWO TICKETS TO THE SHOW! - Check out WLUW's Facebook page for info on how to win two tickets to the Now Now show! 



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Best Coast Headlines New Belgium's Tour de Fat

Best Coast Headlines New Belgium's Tour de Fat

It was a very hot day. Not just your average Chicago-summer-day-hot, but hot enough for Chicago to issue an excessive heat warning. Nonetheless, families, bike lovers, and beer connoisseurs alike made the trek out to Humboldt park to partake in the festivities at Tour de Fat. The festival culminated with a slow bike ride through Humboldt park and the surrounding Logan Park area. Hundred of cyclists braved the heat and joined in on the ride. A bike ride wasn’t the only entertainment New Belgium Brewing offered this weekend. They also had life-sized games, including Giant Jenga, and of course, beer. A lot of beer. Throughout the afternoon, different performers took the stage. Some had comedy routines, another coordinated a dance contest to win a free bike!

The main event this weekend was a performance by California indie rock band Best Coast. Best Coast took the stage around 4 p.m. and played a 16-song set.  Bethany Cosentino took the stage and immediately drew in the crowd. My inner High-School self was ecstatic. Most of the music played were from their first two albums, and included hits like “The Only Place,” “When I’m With You,” and “Boyfriend,” Bethany’s self-proclaimed least favorite song (but also their most popular). Before playing “Boyfriend,” Best Coast played the first line of “Do You Love Me Like You Used To,” but then stopped. Bethany announced she forgot the words, and invited fans on stage to help her sing. About 6 women jumped up and sang the words alongside Cosentino.

The festival ended early (about 5 p.m.) and those who had stuck through the heat wave began to leave. Although it was insanely hot (with temperatures reaching over 100 degrees) and the beer got flat towards the end of the festival, it was definitely worth spending $15 on.  

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Have You Ever Heard of Case?

I hadn’t either. That is until a mysterious email showed up in my inbox last week from Case’s frontman named Cale inviting me to their show at the Lincoln Hall on Wednesday, June 20th. The band just recently put out an EP entitled Questions of Space, and upon giving it a listen, I was intrigued and decided to attend the show.

The EP is a three track collection of acoustic songs that drift along nice and slow, made up of simple yet emotive chord progressions, and breathy, almost whispered vocals. What stood out to me the most were the various brass and string instruments used on each song. Track one, “So Much It Could Be; So Little It Is,” utilizes a striking trumpet that serves as the emotional heart of the song and violins add colorful texture to the steady acoustic guitar strumming.

I walked into the show a few minutes before Case took the stage and the crowd was small. I wondered why and as I looked around, I noticed that the vast majority of the audience were kids –middle school to highschool. “Are all these kids friends of the band? What’s going on? Where AM I??” I thought to myself. But friends or not, they exuded tremendous enthusiasm for Case and often times when kids rally around something with such fervor, it’s probably got some merit to it. “Do they know something I don’t???” was my final thought before Case took the stage.

Before the set, a music video of theirs (apparently filmed a year ago but yet to be released) projected on the screen above the stage. That was the first show I’ve ever been to that started with a music video. It was kinda cool actually – I read once about early gigs by The Cure where they would play a 20 minute movie right before their set and I always thought starting a set with a visual was an interesting idea. The band was made up of a whopping 12 people, all very young…I’d be surprised if any of them can vote yet. Guitars, electric bass, drums, a string section, and a horn section made up the ensemble – all the necessary elements to take the songs of Questions of Space to a new level, different from the record.

On stage, the songs took on a more urgent sense. Clearly there’s a vision behind this music – teen angst? Isolation? Or the beauty of the world seen only through youthful eyes? Whatever it may be, what is obvious is that Cale and the rest of Case craft it with care and honesty that comes across very well in a live setting, the songs benefitting from the striking talent in these kids. What was noticeable right upfront was the switch from acoustic guitar to electric - a switch I was very much behind as the guitar’s tone was a crisp jangle (I’m a sucker for a clean tone). The horns were the next best part, providing a level of depth to the songs that allowed for a wider, dreamier atmosphere than on the record.

I won’t lie, I though it odd initially when I saw the crowd was pretty much just kids and their parents. I wondered how Case even got a gig at Lincoln Hall, given their age but I’m glad they got their moment. Questions of Space is pretty cool and these kids have some talent for sure. Not a bad Wednesday night.

Listen to Questions of Space Here:


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Petal, Camp Cope, and Oceanator at Beat Kitchen

It’s a well known fact that the male dominance of the music industry attempts to keep the voices of women quiet. In the song “The Opener,” artist Georgia Maq of Camp Cope imitates this patriarchy with her lyrics “just get a female opener, that’ll fill the quota.” During their June 24th performance at the Beat Kitchen, Maq followed those lyrics by screaming “we’ve got a whole tour of them!” with a smile on her face. With a stacked bill of Oceanator, Camp Cope, and Petal, this sold out show did not disappoint.

The concert was a celebration of the power of both female and queer voices as each artist shared personal stories and battles which created a space where both love and support flooded the entire venue.

Each lovely performer brought a different sound, yet all three sets meshed beautifully. An overall theme of equality for women peaked through each performance, specifically in light of the ever present sexism within the music industry. It was an incredibly empowering concert as each artist proved to be an ally for justice AND good music.



What a treat! I had never listened to Oceanator before, but that will definitely change after this performance. Based in Brooklyn, Oceanator is the musical project of Elise Okusami. Filled with emotional guitar picked melodies and almost-whispered vocals followed by quick, loud moments of passionate belting and intensity, this set blew us away. To say Okusami’s music is vulnerable is an understatement, since this performance was filled with so many layers and glimpses into her life. I’m a fan! You can check out Oceanator’s latest EP Lows, available now on all streaming sites.

-Olivia Cerza


Camp Cope

Ah, Camp Cope. After two long years of dreaming to see these superstars in action, this show was everything I could’ve hoped for and so much more. The sheer teamwork these artists rely on is impressive enough, as these women stand in solidarity not only through their musicianship, but also their message.

The set began with “Jet Fuel Can’t Melt Steel Beams,” an anthem that ignited the crowd. No time was wasted as they rolled right into “How to Socialise and Make Friends,” the title track off their latest album. Their set included a nice blend of new and old songs, including “Done,” “Lost (Season One),” “UFO Lighter,” and “Keep Growing.” Camp Cope also surprised the audience with an exclusive performance of “Sagan-Indiana,” a song only played two times prior in front of an audience.

Camp Cope’s set was also a call to action. Through the songs “The Face of God” and “The Opener,” the audience was asked to reflect upon how each one of us individually can incite necessary change within our communities. With such strong messages of coping with abuse, Camp Cope’s performance was an inviting space which allowed for marginalized groups to feel support.

Each one of these women is an ABSOLUTE force to be reckoned with. Drummer Sarah Thompson led the band with confidence and composure as she guided us steadily through the set. I watched in awe as bassist Kelly-Dawn Kelso effortlessly blew my mind with her technique. And lastly, the goddess Georgia Maq, whose presence quite honestly just left me speechless.

I’ve always felt intensely connected to the music and message of Camp Cope. I fell in love with Camp Cope’s dedication to speaking out towards inequalities as well as Maq’s poetic and heart wrenching lyricism years ago. After last night’s performance, though, I was able to witness Georgia’s infectious passion in person. With every belted lyric and occasional eye roll, I fell even more deeply in love with this band, how their success is a response to those that said they could never make it, and their commitment to making the world a better place.

-Olivia Cerza



Petal is the musical project of Kiley Lotz, a Scranton native and Chicago lover. Lotz walked onstage in an all-white getup, like the real-life angel she truly is. Their set began with “Nature,” an intense song with a massive build up, which really set a tone of excitement throughout the crowd for what was to come.

Lotz came out as bisexual in her mid-twenties. Magic Gone, Petal’s most recent album, is Lotz’s first musical release freely expressing her sexuality. Not long after their set started, Lotz mentioned sheepishly that she could finally begin writing music about her attraction to women because she had at last come out to her parents and no longer had to “sneak it in” to her songs. This personal admission was so sweet and completely relatable.

A recurring theme throughout the performances of all three bands was the undeniable power of women and the sexist treatment of women in the music industry. A few songs after Petal’s set began, Lotz says, “Here’s a song written by a woman,” and launches into an individual ballad. The rest of the band left the stage as Kiley hit the first few piano keys to “Silver Springs,” a song originally written by Stevie Nicks.

Kiley’s cover of “Silver Springs” has a special place in my heart. The intense amount of emotion she poured into the lyrics seeped through the venue, bringing tears to my eyes. It was a wonderful tribute to not only Stevie Nicks, but the societal struggles that women go through on a daily basis, specifically in the music industry.

The Chicago Pride Parade was mere hours before Petal’s performance and Kiley continuously waved her own rainbow flags in support of the LGBTQIA community. A feeling of acceptance and love blanketed Beat Kitchen as Petal began their last song, one from the 2015 album, Shame. “Heaven,” is a sweetly nostalgic song for those who have been listening to Petal for awhile now. The crowd sang along with Kiley as she provided yet another emotionally charged beautiful song performance.

-Elise McGannon


To say the least, this concert was truly a magical experience. All three bands hung around after their sets and chatted with their fans. Olivia and I had the privilege of having conversations with Elise Okusami, Georgia Maq, and Kiley Lotz. It’s not very common to meet such down-to-Earth successful musicians, but these incredible women are all about lifting up and listening to those around them.

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