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    Ferris Bueller’s Vest Hits the Auction Block. ‘Anyone, Anyone?’

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    Worn by Matthew Broderick in “Ferris Bueller’s Day Off,” the vest could fetch several hundred thousand dollars, according to Sotheby’s.There might be a temptation to play hooky when wearing it — stealing away in a Ferrari GT to catch a matinee game at Wrigley Field.Alas, no one is likely to confuse the person donning it with Abe Froman, the “sausage king of Chicago.”But for a six-figure sum, you could still channel Ferris Bueller, whose patterned sweater vest from “Ferris Bueller’s Day Off,” the 1986 John Hughes comedy about a suburban Chicago teenager ditching school, hit the auction block this week.The vest worn by the actor Matthew Broderick in the movie could fetch several hundred thousand dollars, according to Sotheby’s, which is handling the garment’s sale.The auction began on Thursday, the 40th anniversary of Ferris’s high jinks, and runs through June 24, with the bidding taking place online.As Ferris’s monotone economics teacher, played by Ben Stein, would say: “Anyone, anyone?”The vest is reminiscent of a cheetah print and made from acrylic yarn. It is expected to fetch an estimated $300,000 to $600,000, far outpacing the rate of inflation. And then some.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Donald Palumbo Reinvigorated the Met Opera Chorus. Next Stop Chicago.

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      The Chicago Symphony Orchestra has hired Donald Palumbo, 76, the former chorus master of the Metropolitan Opera, to lead its chorus.When Donald Palumbo departed his post as chorus master of the Metropolitan Opera last year after nearly two decades, he could have easily taken a break.But Palumbo, 76, wasn’t finished. “I knew it was not a retirement situation for me,” he said.Now Palumbo has lined up his next position: the Chicago Symphony Orchestra announced on Tuesday that he would serve as its next chorus director — only the third in the choir’s 67-year history — beginning an initial three-year term in July.“I love this chorus,” Palumbo said in a telephone interview from Chicago, where he was rehearsing the chorus. “I love this city.”Palumbo was a fixture at the Met from 2007 to 2024, helping turn the chorus into one of the most revered in the field. He could often be seen during performances racing around backstage, working with singers to refine bits of the score.He was chorus master at Lyric Opera of Chicago from 1991 to 2007. At the Chicago Symphony, he said, he hoped to work with the singers on “creating an identity as a chorus from the way we sing, and the way we devote ourselves to the music.”Jeff Alexander, the Chicago Symphony’s president, said that Palumbo had built a close relationship with the chorus during guest appearances over the years, creating ”an atmosphere of collaboration that yielded exceptional artistry.”“We knew this would be the ideal choice to build on the legacy of this award-winning ensemble,” Alexander said in a statement.Palumbo, who lives in Santa Fe and will commute to Chicago, is already at work with the Chicago singers. He will serve as guest chorus director this month for Verdi’s Requiem, working with Riccardo Muti, the Chicago Symphony’s former music director. In July, he will begin his tenure as chorus director with a performance of Mahler’s “Resurrection” Symphony at the Ravinia Festival, led by the festival’s chief conductor, Marin Alsop.While Palumbo has forged a close relationship with Muti, he said, he was still getting to know Klaus Mäkelä, the Chicago Symphony’s incoming music director, who begins in 2027. (Palumbo said he has been watching videos of Mäkelä on YouTube: “Everything he does musically is exciting,” he said.)Palumbo said he hoped to stay in Chicago beyond the end of his initial term in 2028.“I certainly am not planning on having a cutoff point,” he said. “I intend to keep working.” More

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      in Television

      Jussie Smollett Donates $50,000 to Arts Center to Settle Chicago’s Lawsuit

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      Although the actor’s conviction for filing a false police report was overturned because of a previous deal with prosecutors, the city wanted him to pay for its hate crime investigation.Jussie Smollett, the former “Empire” star, announced that he had donated $50,000 to a Chicago charity to settle a lawsuit by the city about his claim that he had been the victim of a hate crime.In 2022, a jury convicted Mr. Smollett of felony disorderly conduct for filing a false police report after he said he had been attacked in downtown Chicago by two men who hurled racist and homophobic slurs at him. His conviction was overturned last year by the Illinois Supreme Court, which said the special prosecutor’s case violated a previous agreement with Mr. Smollett.Mr. Smollett shared details of his settlement with the city in a statement posted to Instagram on Friday, saying that he had made a $50,000 donation to the Building Brighter Futures Center for the Arts. According to its website, the organization’s mission is to “improve the quality of life for underprivileged youth and their families by providing safe, stable and nurturing experiences.”The City of Chicago had sued Mr. Smollett six years ago, seeking more than $130,000 to cover the costs of its police investigation. It said the settlement with Mr. Smollett required the charitable contribution.“The city believes this settlement provides a fair, constructive and conclusive resolution, allowing all the parties to close this six-year-old chapter and move forward,” a city spokeswoman, Kristen Cabanban, said in a statement. She said that Mr. Smollett also made a $10,000 payment to the city in 2019, and that he had faced additional accountability through his criminal trial.Mr. Smollett posted on Friday that, in addition to the settlement, he had also donated $10,000 to the Chicago Torture Justice Center, an organization that “seeks to address the traumas of police violence and institutionalized racism,” according to its website.A representative of the Building Brighter Futures Center confirmed in an email that it had received the donation. The Chicago Torture Justice Center confirmed Mr. Smollett’s donation in an Instagram post last week.Mr. Smollett originally said that the men who hurled slurs at him also tied a rope around his neck and doused him with a chemical substance. The story initially inspired outrage and sympathy for the actor, but prosecutors became suspicious of his account and charged him with felony disorderly conduct.Those initial charges were dropped in 2019 after Mr. Smollett agreed to perform community service and forfeit a $10,000 bond payment. But after an outcry from the mayor and the police, a special prosecutor revived the case.Chicago’s lawsuit had been on pause while the criminal charges worked their way through the courts. Mr. Smollett, who has maintained his innocence and countersued city officials, said in his Instagram post that he was aware the settlement “will not change everyone’s mind about me.”“What I have to do now is move forward,” he wrote. More

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      in Music

      5 Minutes That Will Make You Love Chicago Jazz

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      Jazz has experienced a meaningful resurgence in popularity over the past 15 years or so, especially among younger listeners. What’s driving that? You could make the case that there is a particular hunger, now that so much of life is lived in the digital cloud, for the messy and untamed energy of jazz, and for its way of putting a live process on display. And if that’s the case, then it makes a lot of sense that Chicago jazz has been at the forefront of this recent surge. Chicago has always represented a particularly rootsy, physical and — yes — windy ideal in jazz. So perhaps it’s an especially heady antidote to that sense of digital disappearance.The Chicago jazz sound amounts to a sum of the city’s Black histories: In it you can usually hear something of the snowy, clamoring traffic in Richard Wright’s “Native Son,” from 1940; the yowl of Howlin’ Wolf’s electric guitar in a 1950s blues bar; the drummers and dancers pounding out rhythms at one of Kelan Philip Cohran’s gatherings at the 63rd Street Beach in the late 1960s; even the antiracist street protests of the 1990s.The Windy City was an important musical outpost from the start of the recorded era, when many blues and jazz musicians moved there from the South and became stars. It’s also known as a cradle of the avant-garde, thanks to institutions like Sun Ra’s Arkestra, established there in the early 1950s, and the Association for the Advancement of Creative Musicians, a seed-sowing collective that celebrates its 60th anniversary this spring. Today, the city remains at the forefront of contemporary jazz thanks to artists like Nicole Mitchell, Kahil El’Zabar, Makaya McCraven, Tomeka Reid, Jeff Parker and Isaiah Collier, each a latter-day A.A.C.M. affiliate who has springboarded into a leading role on the international jazz circuit. And the label International Anthem, founded 12 years ago in Chicago, has become one of the biggest success stories in the indie-jazz business.We asked writers, musicians and other linchpins of the Chicago scene to tell us what tracks they would play to make a newcomer fall in love with the distinctive but multifaceted sound of Chicago jazz. Read on, listen to their picks in our playlists, and if you have favorites of your own, drop them in the comments.◆ ◆ ◆Ernest Khabeer Dawkins’ New Horizons Ensemble, ‘Mean Ameen’Dee Alexander, vocalistErnest Khabeer Dawkins leading the New Horizons Ensemble.Jacob Blickenstaff for The New York TimesThis recording, featuring some of the stalwarts of Chicago’s improvised music scene, should tantalize the palate of any listener new to creative music. The music is exploratory, while at the same time being funky and accessible. This Ernest Dawkins composition is a homage to Chicago’s own Ameen Muhammad, who died in 2003 at 48. Muhammad, a dear friend of Dawkins, was not only a renowned trumpeter and composer but also a highly admired and respected educator; “Mean Ameen” gained international notoriety over the course of his brief career. Ernest Khabeer Dawkins is one of those rare individuals who manages to balance a passion for community, mentorship and art. For me, this piece represents the saxophonist and bandleader at his best, through a beautiful dedication to a dear friend.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      ‘Home Alone’ Star Macaulay Culkin Delights Fans With Nostalgic Screening and Q&A

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      In Chicago, where the suburbs served as locations, a showing of the film featured an appearance by the star. Delighted fans made their devotion known.It has been 34 years since Kevin McAllister paint-canned two sour-faced bandits in “Home Alone.” And every Christmas since, fans have taken self-made tours of suburban Chicago sites in the classic holiday movie, which finds 8-year-old Kevin defending himself against robbers after his family leaves for a vacation without him. The stately residence where exteriors were shot in Winnetka, Ill., is the area’s top tourist attraction, with thousands of visitors annually.This year, Macaulay Culkin, who played Kevin and became a 10-year-old international superstar as a result, created his own multicity tour, holding screenings of the comedy followed by a Q&A. Billed as “A Nostalgic Night With Macaulay Culkin,” it played last week in Rosemont, Ill., just outside Chicago, and that proved a big draw for “Home Alone” stans.They flocked to the Rosemont Theater in T-shirts quoting John Hughes’s script — “Keep the change, ya filthy animal!” — and roared at the burns and pratfalls of the bumbling thieves (Joe Pesci and Daniel Stern). Parents toted fleece blankets and stuffies for past-bedtime children; many were watching the movie, directed by Chris Columbus, on the big screen for the first time.The appeal was intergenerational and uncomplicated. “It feels like growing up,” said Monti Smith, 26, a mega-fan from Nashville.The SettingFans have been flocking to the house where the film’s exteriors were shot ever since “Home Alone” was released. Lyndon French for The New York TimesThe five bedroom, 9,126-square-foot brick home at 671 Lincoln Ave. in Winnetka has been a Mecca for movie buffs — and real estate agents. Its sale listing, for more than $5 million, went viral this year. (After a week on the market, the house found a buyer.) When a car pulled into the gated driveway last Friday, the driver paid no mind to the steady stream of onlookers or the traffic stopping for selfie-takers.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 75 Shares189 Views

      in Theater

      Stratford-Upon-Lake-Michigan: Royal Shakespeare Company Plays Chicago

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      The Royal Shakespeare Company, which keeps the plays of William Shakespeare alive in the town of his birth, was long a regular presence in the United States. It brought Ian McKellen to Brooklyn as King Lear, built a replica of its main theater in an Upper East Side drill hall and sent a stream of shows to Broadway.But in recent years the renowned troupe has taken fewer overseas trips from its home in Stratford-upon-Avon, England.Now, for the first time since the coronavirus pandemic, the company has returned to the United States — but not to New York, where some of the main importers of European work remain diminished and disoriented. It has struck up a partnership with Chicago Shakespeare Theater, which is led by Edward Hall, whose ties to the Royal Shakespeare Company run unusually deep: His father, Peter Hall, the eminent British director, founded it.“My love of Shakespeare grew up from my father talking to me about Shakespeare, and why he was passionate about Shakespeare, and why he thought Shakespeare endured, and quoting Shakespeare,” he said. “I watched him work a bit, and then, like every child, you go off into a corner and find your own way, which is what I did.”His earliest memory of Shakespeare is watching “The Wars of the Roses,” directed by his father, when he was 4 or 5, and “seeing a lot of people in armor with very exciting-looking weapons.”Edward Hall, the artistic director of Chicago Shakespeare Theater, is the son of Peter Hall, the founder of the R.S.C. He’s also the human for a dog named Dennis.Lyndon French for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      The Curious Case of Nora Holt, a Pioneer of Black Classical Music and Jazz

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      “Fabulous is the word for Mrs. Nora Douglas Holt,” read the 1974 obituary in The Amsterdam News.And fabulous she was: A pioneer of the Black classical music scene in Chicago, Holt also became an important figure in the Harlem Renaissance and the Jazz Age in Paris. Born into the middle-class, she moved back and forth between worlds: concert artist and blues singer, newspaper columnist and club hostess, erudite scholar and scandalous socialite.This fluidity led to friendships with two women who represented distinct versions of fame for Black women in the early 20th century: Josephine Baker, the working-class dancer from St. Louis, who became the toast of Paris; and the composer Florence Price, who transformed Chicago’s classical music scene, rising to national fame with her symphonies.Holt’s life didn’t follow familiar narratives. Hers was not a rags-to-riches story, like Baker’s; nor was it, like Price’s, a cathartic breakthrough for Black musicians in the white world of classical music. Instead, she had a kind of mutability, frequently changing her name and her place in culture, collapsing ideas about respectability and sexual liberation.Music was the through line in Holt’s life. She first made her name in classical music. For young, middle-class Black women in the late 19th and early 20th centuries, classical music could open doors to salon culture, church leadership, jobs teaching music and civic engagement.In 1918, Holt, a pianist, became the first Black person in the United States, female or male, to earn a master’s degree in music, from Chicago Musical College. She also worked in the male-dominated fields of music criticism, scholarship and composition. Her music journalism, public lectures, recitals and community organizing became a blueprint for other Black women seeking to become leaders in Chicago’s classical musical scene.“Of course, men are supposed to have better business minds than women,” she wrote to a male colleague after founding a magazine, Music and Poetry, in 1921. “But I have made this thing go and the opportunities are yet unlimited.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Ella Jenkins, Musician Who Found an Audience in Children, Dies at 100

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      Performing and recording, she transformed what was seen as a marginal genre in the music industry into a celebration of shared humanity. Ella Jenkins, a self-taught musician who defied her industry’s norms by recording and performing solely for children, and in doing so transformed a marginal and moralistic genre into a celebration of a diverse yet common humanity with songs like “You’ll Sing a Song and I’ll Sing a Song,” died on Saturday in Chicago. She was 100. Her death was confirmed by John Smith, associate director at Smithsonian Folkways Recordings.Ms. Jenkins had no formal musical training, but she had an innate sense of rhythm. “I was always humming or singing and la-la, lu-lu or something,” she once said.She absorbed the everyday melodies of her childhood — the playground clapping games, the high school sports chants, the calls of a sidewalk watermelon vendor hawking his produce. As an adult, she paired such singsong rhythms with original compositions and sought not simply to amuse or distract children but to teach them to respect themselves and others.Against the sound of a kazoo, a harmonica, a variety of hand drums or, later, a baritone ukulele, Ms. Jenkins sang subtly instructive lyrics, as in “A Neighborhood Is a Friendly Place,” a song she wrote in 1976:You can say hiTo friends passing byA neighborhood is a friendly place.You can say helloTo people that you knowA neighborhood is a friendly place.Neighbors to learn to shareNeighbors learn to careA neighborhood is a friendly place.Over children’s steady clapping, she recorded the age-old “A Sailor Went to Sea”:A sailor went to sea, sea, seaTo see what he could see, see, seeAnd all that he could see, see, seeWas down in the bottom of the sea, sea, sea.For many parents and classroom teachers, Ms. Jenkins’s renditions of traditional nursery rhymes like “Miss Mary Mack” and “The Muffin Man” are authoritative.Still, from the beginning of her career in the 1950s, Ms. Jenkins pronounced her signature to be call-and-response, in which she asked her charges to participate directly in the music-making, granting them an equal responsibility in a song’s success. She had seen Cab Calloway employ the technique in “Hi-De-Ho,” and for her, the animating idea, veiled in a playful to-and-fro, was that everything good in the world was born of collaboration.In one of her most popular recordings, Ms. Jenkins sings out, “Did you feed my cow?” “Yes, ma’am!” a group of children trumpet back. The song continues:Could you tell me how?Yes, ma’am!What did you feed her?Corn and hay!What did you feed her?Corn and hay!As Ms. Jenkins repopularized time-honored children’s songs, she also gave the genre global scope. Before Ms. Jenkins, children’s music in the United States consisted primarily of simplified, often cartoonish renditions of classical music.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      Nick Gravenites, Mainstay of the San Francisco Rock Scene, Dies at 85

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      A blues devotee from Chicago, he tasted fame in the late 1960s with the Electric Flag, a band that made its debut at Monterey but proved short-lived.Nick Gravenites, a Chicago-bred blues vocalist and guitarist who rose to prominence during the explosion of psychedelia in San Francisco in the 1960s as a founder of the hard-driving blues-rock band the Electric Flag and as a songwriter for Janis Joplin and others, died on Sept. 18 in Santa Rosa, Calif. He was 85.His son Tim Gravenites said he died in an assisted-living facility, where he was being treated for dementia and diabetes.Mr. Gravenites grew up on the South Side of Chicago, where he was part of a cadre of “white misfit kids,” as he put it on his website, who honed their craft watching Chicago blues masters like Muddy Waters and Howlin’ Wolf in local clubs. His colleagues included the singer and harmonica player Paul Butterfield and the guitarists Michael Bloomfield and Elvin Bishop; all four of them would go on to help fuel the white blues-rock boom that began in the 1960s.“Being a ‘bluesman’ is the total blues life,” Mr. Gravenites said in a 2005 interview with Sound Waves, a Connecticut lifestyle magazine. “It has to do with philosophy.”“The life in general doesn’t ask much from you in terms of personality,” he continued. “It doesn’t ask that you be a genius, or a saint.” Many bluesmen, he added, fell far short of sainthood: “They just ask that you be able to play the stuff. That’s all.”Mr. Gravenites sang with the Paul Butterfield Blues Band at the Newport Folk Festival in 1965. From left: Mr. Butterfield, Jerome Arnold, Mr. Gravenites, Sam Lay, Elvin Bishop and Mike Bloomfield.David Gahr/Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More