Genre Scene

What does your favorite bar look like? Who goes there? Will there ever be bars again?

Dutch tavern scenes color the way I think a bar should be. Darkened, earth-toned rooms with light from small windows barely illuminating carousing patrons. This faint sideways light obscures as much as it reveals. Yet these unkempt spaces are often the center of the community.

Children squat over chamberpots, dogs jump up to tabletops for scraps, and men and women recede to remote corners to get to know one another better.

Beer is tapped directly from giant wooden casks and poured into steins, sloshing and spilling over the floor as drinkers dance and jostle. It’s a merry, disquieting scene. Are they happily celebrating or just drowning sorrows or killing two birds with the same bleary stone?

Steen, Brouwer, and van Ostade painted their pictures to document the life of the cities they lived in. I always wanted to do the same. But is there any remnant of the wild abandon of 17th century Holland in 21st century Chicago? If I squint and ignore the firefly glow of cellphones—replace them with candlelight—I can see the rudiments of a classic tavern scene while sitting against the back wall of the Albatross. The heavy wooden beams buttressing the ceiling, the clusters of talkers and revelers, the hum of inebriated blather, it’s not so different from an inn in Leyden.

What I love in a bar is that people are both in public and not. We see one another but break off into smaller groups, forming private bubbles where we forget about others who can still see and hear what we’re doing. Behind the bar I’m often just the deliverer of drinks rather than a fully-fledged person. It gains me access in ways unavailable to those on the public side of the bar. They forget I’m even there between orders. As long as their glasses are full, conversation is flowing, or whatever’s occupying their attention on phone screens isn’t disrupted, they’re oblivious and let their guard down. They don’t know or care that anyone is watching or listening.

What am I hoping to catch? Some clue about what it’s all about. A true moment, when a person says or does what they mean rather than performing for others. I get glimpses now and then, but only when they’re sure no one is looking.

It’s this same thing I remember from the Dutch paintings. Halflit vignettes in a larger, tapestry-like whole whose edges disappear into darkness. Every group or solitary figure doing life’s dance. This humble scene repeats every day in many places over centuries.

We stop once we can no longer dance.

widow. alone. can’t handle.

Ask for Rose. The last line of many classified ads in the Chicago Daily Tribune from the 50s and 60s. Rose Podulka advertised for bartenders, waitresses, tenants, cigar girls, and piano players for her bar, the Rainbo Club. Rose’s grandson, Howie Japlon, remembers:

I would pretty much have the run of the place and spent a lot of time on the bowling game and checking out the barstools and climbing up onto the stage behind and above the bar. My mom and Grandma would converse in Polish. Sometimes we would go around the corner to eat at Brown & Koppel’s.

There was a craps table near the entrance and a dice roller cage thing. And Grandma would often sit in the far corner reading the paper at a table under one of those iconic police interrogation style lamps. On our visits, Grandma often kept the front door locked and would peer through the diamond shaped window to check out who wanted to enter. She wouldn’t let you in if you didn’t look “right”.

Bartenders had to speak Polish, be sober, have a personality, and were not expected to make mixed drinks. Waitresses needed to be white and attractive. Their work shifts ran from 7pm to 4am. Ads for pianists and guitar and accordion players specified girls who were able to play requests. Often in German or Polish. 

In the mid-60s ads to sell the bar began to appear. 

WBBM reporter Alan Crane, who owned the bar for some years in the 80s, recalled in a Trib item that the distinctive Art Deco clamshell stage was a reproduction of one that Ziggy Podulka had seen in San Francisco. He had it built for his wife, Rose, to play the polka music she loved. Another article tells of a fellow WBBM broadcaster taking the stage to sing. By 1985 Crane wanted out of the bar business.

Since 1985 the bar has remained mostly unchanged, while the neighborhood outside its door has become unrecognizable. Today’s Rainbo has more in common with Rose Podulka’s 50s and 60s polka bar than with any of the current establishments along Division Street. The Rainbo’s bartenders no longer have to speak Polish, but they’re still rarely compelled to make mixed drinks. It’s a neighborhood bar without a neighborhood. 

Voices of Birds in Nature

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When I was packing to move to my new place I threw away a lot of artwork. It was stuff I’d been lugging around for no discernible reason for decades. It felt good to be rid of it. But now, digging through my flatfile and sketchbooks, I see that there is still a lot of old stuff taking up space. I didn’t have the heart to part with it, though there’s little chance anyone will ever want it. More fodder for the scrap heap for whoever’s unfortunate enough to dig through my belongings after I’ve checked out.‌
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‌ I’ve been reading Luc Sante’s forthcoming book (which you all should order immediately) in which he mentions his recent return to the art of collage. it was something he did a lot of in the 70s and 80s but had abandoned until the last couple years. He’s gotten so into it that he put up a (virtual) exhibition at a gallery. The idea of a show of art made of scraps of ancient printed ephemera only viewable via digital screen is some kind of irony/sad commentary business my brain isn’t big enough to handle. But trying an old medium again after a long break was very attractive.‌
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Stan Klein, the proprietor of Firecat Projects, gave me a huge roll of heavy paper which once belonged to the minimalist painter Kenneth Noland. Stan was his assistant during his last years. The paper was too big to tape to a drawing board, so I taped it to the wall. It hung there for a week or so, the corners occasionally pulling the masking tape off the wall, while I decided what to do with it. I bought some acrylics, thinking of attempting a painting of what I could see looking to the left and right when up at the wall, but the thought of stitching the two views into one gave me a headache. So I dug through the flatfile.‌
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I took out some figure sketches from my stint going to life-drawing classes a couple years ago. I chose a couple quick ones and taped them to the paper on the wall. I cut out a part of one body, a face of another, then started adding faded color construction paper, then took a marker and scribbled over some of the places where these fragments met.‌
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‌ I “finished” the big one over a couple weeks and hung it on a different wall. It was big enough that this necessitated moving some furniture around. now when I come through my front door it’s the first thing I see. Don’t know what to make of it yet, but it was fun to do, so I kept going.‌
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I have no big ambition for this new thing. The trouble with taking up something late in the game is an awareness of that thing’s long history. Kurt Schwitters, Hannah Hoch, Romare Bearden, the list goes on and on. It’s best not to think of it too much, otherwise it would be paralyzing. For now I’m happy to rip up old pictures and glue them together, then paint or draw over the seams. It reactivates old, unused work and keeps me off balance. The worst thing an artist can do is make work they know how to make; there are machines which do that much quicker and better. The thing is to make yourself feel like a beginner. Collage definitely does that for me.‌
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‌ It’s a relief not my own work for a change. The results may be crap, but at least it’s not stale old crap.‌
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‌ —First night of Night Music went well. I’ll be back sketching at night two. You’re welcome to come too. A few tickets left last time I checked.‌
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—A few more jazz heroes for my show.‌

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—This is Wallace. He lives in Hyde Park.‌