
Letters: No, the Lucas Museum of Narrative Art is not a loss for Chicago
And is the fact that we don't 'routinely' see Lucas, Guillermo del Toro, Doug Chiang and Queen Latifah strolling down Michigan Avenue supposed to be a negative? If the editorial board is suffering from a lack of star power, go work for the Los Angeles Times. Lucas calling his decadeslong endeavor 'a temple to the people's art' is laughable. It is a temple to his outsize ego. Drop the 'Lucas' moniker, and I will stand corrected.
I also doubt that A. Montgomery Ward or Daniel Burnham would consider this a 'colossal missed opportunity.' Lastly, Chicago did not fail to understand what Lucas meant by 'narrative art.' Lucas failed to understand that Chicago's lakefront is not a theme park like Disneyland, which is more aptly suited for his namesake museum.Yes, as the Tribune editorial indicates, the loss of the Lucas Museum is incalculable in terms of revenue, philanthropy, tourism, culture and prestige for the city. Thanks to the intransigence of the Friends of the Parks group, George Lucas threw up his hands and left. No matter what compromises Lucas and our farsighted mayor at the time, Rahm Emanuel, offered, there was no compromise from this group. Instead, there were costly, time-consuming lawsuits and roadblock after roadblock.. No understanding of the incredible value to our city and the joy it would bring to its residents.
Lucas understood and respected the importance of our parks as a setting for the museum and also that visitors would be in that setting and free to enjoy it before and after museum visits.
Clearly, this group is not a friend of the city, and we will never recoup the loss it caused.I couldn't disagree more with the editorial lamenting the loss of the Lucas Museum.
The arrogant billionaire wasn't interested in other proposed sites. George Lucas wanted what he wanted — the most prized parcel. The editorial fails to mention that the lakefront was declared 'forever open, clear and free' more than 100 years ago for the benefit of citizens. Had businesses been allowed to build on the lakefront, it would resemble the dismal waterfronts of Boston and New York City, and by now, there wouldn't even have been space for the museum.
Good riddance. Chicago dodged a bullet.I could not disagree more with the editorial on losing the Lucas Museum, and I commend those who opposed the monstrosity. Do we really want that on Chicago's beautiful lakefront?
I'll take an open parking lot with a view any day.Steve Weinshel's argument against reducing parking requirements along transit corridors misses the mark and clings to a 20th century urban planning mindset ('Cutting parking requirements while upzoning Broadway will create a crisis,' July 20). It is not utopian to imagine a Chicago where most people do not own cars. Many of us already live that reality. My spouse and I moved to Edgewater because we can live here without a car. We walk, bike and take transit because that is what a city should offer: the freedom to get around without being forced into car ownership.
Cars are deceptively expensive. In 2024, AAA estimated the average cost to own and operate a car is $12,297 per year. That figure is likely even higher in Chicago. The cost to build off-street parking is also prohibitively high. According to Elevated Chicago, an underground spot costs $42,000 to build. That cost gets passed on to renters and buyers, whether they own a car. This city cannot be affordable if every household needs to own a car and every car needs its own house.
Removing parking mandates is not 'urban planning malpractice' — it is smart policy. Requiring parking increases car ownership and traffic. Each car needs multiple parking spots throughout the day, fueling demand for wasteful surface lots that contribute to flooding and the heat island effect and make neighborhoods less walkable and bikeable.
But eliminating parking minimums is just one step. We must invest in walking, biking and public transit to support both future and current residents. The $2.1 billion Red-Purple Line modernization is a great start. We also need protected bike lanes, camera-enforced bus-only lanes and fully funded transit. That is why Springfield must pass the transit reform and funding package already approved by the state Senate as soon as possible.
Let's build a more affordable, healthier and sustainable city. More housing, more transit, more bikes and less parking are the future Chicago deserves. Cities all over the world from Paris to Tokyo have done this. Why can't Chicago?The opposition to sensible housing policy along Broadway reveals an uncomfortable truth about how some view community membership. Opponents tout their credentials as longtime residents and neighborhood saviors. But I must ask: Does living here longer grant them veto power over decisions affecting thousands of current and future residents?
These longtime residents deserve credit for their community investments, but I fail to see how seven-story buildings along a busy commercial corridor next to the city's highest-ridership 'L' line will ruin anything. The increasing demand to live in Edgewater and Uptown is testament to the success of these investments. Denying potential residents the ability to benefit from these successes hurts everyone — we're depriving ourselves of economic growth while denying housing to thousands who want to live in these amazing neighborhoods.
These opponents are going against broad community support for more housing. Hiring lawyers to block development through technicalities isn't democracy — it's using procedural tricks to override community will.
This is provincialism: putting narrow interests over the well-being of not just current residents, but also the entire city. Change is difficult, and protecting one's community from perceived threats feels natural. But upzoning Broadway isn't a threat — it's an opportunity and a long-overdue investment needed to keep our communities affordable and accessible.
Who are we to deny others the right to live here simply because you got here first?'Has there ever been a matter of such consequence so hastily rushed through the Chicago City Council than the recent exemption of off-street parking requirements for new housing development? While Jake Sheridan's July 29 story noted that there was broad ideological support for the plan from bike activists and libertarians, conspicuously absent was the lived reality of those countless thousands of us living in Chicago's densest neighborhoods where street parking is already as scarce as hen's teeth.
I ride the CTA, bike and walk far more than I drive, but I still own a car for those situations in which I have to transport people or things or go to places otherwise not readily accessible. This is also the situation of many of my neighbors.
For the bike advocates who like to point to empty parking spaces in new housing developments, please note that this is not an indicator of how many cars are actually owned by the people living in those buildings. Rather, it shows that many of those tenants are avoiding the $150 or more rental fee for parking and instead competing for the increasingly limited number of street spaces. I have a slew of neighbors who can testify on this matter.
As a block club leader, I am now in the midst of trying to negotiate a developer's plan to turn a large church-school complex into as many as 40 units of housing with only four off-street parking spaces. When the developer was asked if he would only rent to people without cars, he chuckled as if I must be joking. I wasn't.
Worst are the bike/housing advocates who are pushing for the elimination of parking requirements. When I have asked a number of them at community forums whether they also own cars, they sheepishly acknowledge they do. Talk about the ultimate in 'do as I say and not as I do.'
If this City Council is going to push these ever more drastic 'solutions' to Chicago's affordable housing woes, perhaps aldermen should be the first to sign the 'I'm giving up my car' pledge.I applaud the Tribune Editorial Board for its editorial asking Gov. JB Pritzker to veto the unnecessary Tier 2 pension bill ('Pritzker needs to veto this pension bill. Chicago can't afford it.,' July 29). The editorial leaves the impression that the compliance with the Internal Revenue Service Code still needs to be addressed. This matter was definitively addressed for the big state retirement systems in the most recent big budget bill that the governor did sign. Here is what the bill said:
'If, after the effective date of this amendatory Act of the 104th General Assembly, any enforceable determination concludes that the benefits for a Tier 2 member or participant under Section 1-160 or 15-111 of the Illinois Pension Code do not provide the minimum retirement benefits required under Internal Revenue Service regulations or other provisions of federal law such that the wages of such member or participant would be subject to tax under the Federal Insurance Contributions Act, then moneys in the Tier 2 SSWB Reserve Fund may be used by the State Employees' Retirement System of Illinois, the Teachers' Retirement System of the State of Illinois, or the State Universities Retirement System to pay the difference between benefits otherwise available and benefits that would constitute minimum retirement benefits under applicable federal law or regulation. This subsection shall constitute a continuing appropriation of all amounts necessary for such purposes.'
What is needed is identical wording for the Chicago systems. Much less expensive than the current proposed legislation.When you have a state congressional map as gerrymandered as ours is in Illinois, it takes a certain amount of audacity for Gov. JB Pritzker to then criticize Texas for gerrymandering. Talk about those in glass houses not throwing stones. What hypocrisy.
Our map was drawn by now-convicted felon Michael Madigan as House speaker to benefit the Democrats.
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San Francisco Chronicle
44 minutes ago
- San Francisco Chronicle
Francis Ford Coppola said George Lucas made him direct ‘The Godfather,' says America may fall like ancient Rome
Before he broke through with 'American Graffiti,' before he became an instant legend with ' Star Wars,' George Lucas became the unsung hero of another American classic that changed cinema history: ' The Godfather.' Or so claims the director of that 1972 masterpiece, Francis Ford Coppola. 'Everyone turned 'The Godfather' down, all the wonderful directors of the time,' the 86-year-old filmmaker told an enthusiastic crowd at the Palace of Fine Arts. 'So they tried to hire me. Here was the logic: 'One, he's Italian-American, so if it gets a lot of flack, they'll blame him. Two, there's a script that wasn't very good, and he's become a successful screenwriter, so he'll rewrite the script. And three, he's young and has two kids and a pregnant wife, so we can just push him around and order him to do everything we want.' 'Well, I turned it down. I had a young apprentice, and we had come together to start a company (San Francisco-based American Zoetrope). His name was George Lucas. He said, 'We can't turn it down, we have no money, the sheriff is going to chain our door because we haven't made the taxes on the thing. You have to do it, we have no other alternatives.' I said, 'You're right George.'' Billed as 'An Evening with Francis Ford Coppola and 'Megalopolis' Screening,' the event in Coppola's adopted hometown on Friday, Aug. 1, finished off a six-city tour designed to create more awareness and discussion of his 2024 $120 million self-financed dream project that tanked at the box office. Coppola was certainly generous with his time. The event lasted nearly four hours, with a screening of the two-hour, 18-minute film followed by a 90-minute discussion with the filmmaker simply sitting in a chair pontificating on a wide range of issues while occasionally taking questions from the audience. Topics included anthropology, history, societal evolution, and the philosophy of human innovation and creativity. ' Megalopolis,' which likens the fall of Rome to the current state of American politics and culture, is informed by the development of human civilization over 300,000 years, noting that patriarchal societies began with the domestication of horses. So, not your typical film discussion. Still, the audience who paid prices ranging from $61-$205 and mostly filled the 1,000-seat venue were enthusiastic and attentive, giving the auteur standing ovations as he took the stage and as he left it. However, there was a small but steady stream of people who began leaving about 45 minutes in. One topic that hits close to home for Coppola is homelessness in San Francisco. The director noted that he founded a nonprofit, North Beach Citizens, in 2001 to help the unhoused find housing, food, and services because he felt the city wasn't doing enough. 'I used to walk to work and see these homeless people sleeping, and people would call them human garbage. What, are we crazy?' said Coppola, who added that the solution to most of society's problems has to be addressed first at the community level, inverting the top-down aspect of federal government. Coppola did, of course, give insights to his films, from the two 'Godfathers' to the San Francisco-shot, Watergate-era thriller ' The Conversation ' (1974); the troubled production of the Vietnam 'Apocalypse Now' (1979); and 'Bram Stoker's Dracula' (1992), his biggest non-'Godfather' box office hit.\ And, of course, 'Megalopolis.' Although he did not address various controversies about its production, including on-set inappropriate behavior (and no one asked about it, either), he believes it serves a warning about America and yet provides hope for the future. America will get out of its mess, Coppola said, as today's generation of children matures. 'Look at the world around us right now, wars all over the place, and the most horrible thing of all children being killed,' Coppola said. 'The kids being killed in Sudan or in the Middle East, someone was gonna find a cure for cancer or write the most gorgeous music ever been written or make a great film. So to me the children are precious. They are our future.' For now, Coppola refuses to release 'Megalopolis' digitally, content to tour with the movie for special one-off screenings. The film only made $14 million globally after its release in September. He did acknowledge there eventually will be a Blu-ray, and the man known for re-editing his past films teased the audience with an alternate cut of the film. 'Right now I'm working on 'Megalopolis Unbound,'' he said to laughter, and ended the night.


Fox News
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Angel Reese jokingly blames teammate of Caitlin Clark, Sophie Cunningham for sex toy fiasco: 'Getting weird'
A sex toy plague has hit the WNBA, as two games this week - both Golden State Valkyries road games - had a neon green dildo thrown on the court. On Friday night, a matchup between the Valkyries and the Sky in Chicago was interrupted in the third quarter when the object flew across the court. The officials stopped the game to remove the lime green adult toy, and play continued. Indiana Fever star Sophie Cunningham pleaded with the culprits to "stop throwing dildos on the court," but Angel Reese placed the blame - jokingly - on one of Cunningham's, and Caitlin Clark's, teammates. "hey [Sydney Colson] why do you keep throwing your mean green in different arenas…. it's getting weird," Reese posted on X late Friday night. Colson replied with a photo of herself smirking - while wearing a green jacket. Reese and Colson have had playful banter before. After Reese was part of the championship-winning Unrivaled league team, she got a $50,000 bonus. That prompted Colson to crack a joke about Reese giving her the money. "Hey angel girl, just wanted to check in and see how ur doing and just let u know I'm here for u if u need anything…esp if u need to get rid of 50k by tomorrow or anything like that…" Colson wrote to Reese on social media. Colson was declined. "hey sista. i'm doing well. just won 50k on a flight. I know you are VERY aware & i'm sorry to break it to you but i'm on a rookie contract & that 50k was a little more than half of my contract so I have to keep that to myself…. sorry :( give me a few years and i gotchu. be well," Reese replied. It's unclear whether anyone was ejected from the game for throwing the object.


New York Post
an hour ago
- New York Post
Louis Sachar meant to be a lawyer before writing 'Holes,' 'Sideways Stories from Wayside School'
Louis Sachar really intended to be a lawyer. But, in between starting law school at the Hastings College of Law in 1977 and graduating in 1980, he published his first book, 'Sideways Stories from Wayside School.' The zany, often surreal compendium of classroom antics went on to become a young adult classic, spawning a four-book series and a TV show. Advertisement 4 Louis Sachar, the acclaimed writer of young adult books, intended to be a lawyer. Alex Labry 'I kept thinking, 'Boy, I really need to get a law job,'' Sachar, 71, told The Post in his soft-spoken West Coast drawl. To date, 'Wayside' has sold over 15 million copies, according to Publishers Weekly, and it's never been out of print since it was first published in 1978, save for a brief period after the original Chicago-based publisher folded. While the debut is a clear fan favorite, the East Meadow, Long Island-native's most acclaimed book is 1998's 'Holes.' Advertisement The story of a boy who is wrongly accused of theft and sent to a juvenile detention center in Texas won a National Book Award and a Newbery Medal, and Sachar adapted it into a Disney movie that grossed over $70 million. Now the 71-year-old, who lives in Newport Beach, Calif., is attempting something new: his first novel for adults, 'The Magician of Tiger Castle,' out Aug. 5th. It's a Renaissance-era fantasy story starring a spunky princess named Tullia and her fatherly court magician, Anatole, who uses every trick he knows to help her escape a forced marriage. Advertisement 4 His new novel is the first book he's written for adults. Here, he talks to The Post about his storied 50-year writing career. What gave you the idea for 'Sideways Stories from Wayside School'? I was going to college at Berkeley, I was a senior, and I just needed a course to take to fill out my schedule. There was this little girl standing in the middle of the Berkeley quad handing out sheets of paper saying 'Help, we need teacher's aids at our school! Earn 3 units of credit.' I thought, well, that sounds easy and could be fun. And I really had no interest about kids at that time, I was trying to get through college. It turned out I ended up being assigned to this 3rd grade classroom and I'd go for an hour every day and I just loved it. It became my favorite thing to do. Then I got hired to be what they called their noontime supervisor and the kids all called me 'Louis the Yard Teacher' [who is a character in 'Wayside.'] So I thought I'd try writing a children's book after I graduated college and left the school. I never thought I'd continue writing more. Advertisement 4 'Holes,' which is set in a juvenile detention facility, is Sachar's most acclaimed book. The Wayside School books are funny and light, but the subject matter of 'Holes' is more serious. What inspired that book? I had written, I think, 16 books by then, and they were all about kids in school, and I just didn't want to write about kids in school anymore. And I got the idea of kids in a juvenile correctional facility, and I thought, 'kids will love reading about that.' I had moved to Texas from San Francisco, which was a big change both in culture and temperature, and just trying to plant a bush in my backyard, just digging a hole was a lot of work. I guess that's where I got the idea that the kids are digging holes out in the heat. What did your daughter [Sherre, now 38], think of your books growing up? She always had conflicting feelings about my books because all her friends in school were fans of mine. Her friends would say, 'Oh, your dad is Louis Sacher.' And she always didn't know if they liked her for her or because I was her father. Or she would get good grades — I didn't know this at the time, I found it out later — when her teachers would tell her she was a good writer, she thought it was just because she was my daughter that they were telling her that. What made you want to write a book for adults at this stage of your career? 4 Sachar's 'Sideways Stories from Wayside School' spawned a four-book series and TV show. When I first started it, I thought it was going to be a young adult book. I figured it would teach young adults a little bit about the Renaissance. I chose Anatole as a sort of quirky narrator to tell that story. As I wrote and worked on it day after day, Anatole just kind of became the center of the story, and it's not a good idea to have a 40-year-old in the center of your book for young people. Advertisement Any fond memories of growing up in New York as a kid? My dad worked in the Empire State Building on the 87th floor. It was a real treat to go there. I remember him talking about how somebody, for like a $1 bet, sat on the ledge of the window. Somebody in his office sat there, legs dangling over the edge of the 87th floor. I thought, 'That's fun.' Rachelle Bergstein is the author of 'The Genius of Judy: How Judy Blume Rewrote Childhood for All of Us.'