A Quote by Blase J. Cupich
I was really grateful to have a chance to have some really in-depth study about the power of language using a philosopher who taught at the University of Chicago by the name of Paul Ricoeur. I'm really happy to be in Chicago because a lot of what I do is rooted in his approach to language.
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Chicago is my absolute favorite city. It's clean, the food is amazing, and everyone is so warm and welcoming. We've gotten really, really used to it and really excited about our second home in Chicago.
I loved 'Chicago Code;' I watched that a lot. It was great because it really captured the city - I'm from Chicago, too.
Chicago taught me when to talk, taught me when to shut up, taught me when to stay, taught me when to go. And really it all forms to make BJ the Chicago Kid.
It really wasn't about picking Chicago. I feel like Chicago picked me.
As a city, Chicago really affords me an environment that I am really happy creating in. It's an easy place to live in a lot of ways; it's a great community to be making music in.
My character started off on 'Chicago P.D.' as the brother to Detective Jake Halstead, and then I also played on 'Chicago Fire.' So, I really worked on both shows before 'Chicago Med' even started.
I grew up in Cleveland and started doing plays in high school. And I went to the University of Illinois, and I majored in drama. And after school, I went up to Chicago, because I didn't really know anybody in New York or Los Angeles, and I knew people who were doing plays in Chicago.
There was a lot that was tricky about playing with [Thelonious Monk]. It's a musical language where there's really no lyrics. It's something you feel and you're hearing. It's like an ongoing conversation. You really had to listen to this guy. Cause he could play the strangest tempos, and they could be very in-between tempos on some of those compositions. You really had to listen to his arrangements and the way he would play them. On his solos, you'd really have to listen good in there. You'd have to concentrate on what you were doing as well.
I actually started working in Chicago while I was still a student; I did the Chicago premiere of 'The History Boys' at the end of my junior year. I had come to Chicago for Northwestern University. I didn't quite know about the theater community, and what I did know was mostly the improv.
I grew up in Glen Ellyn, which is about 20 miles west of Chicago. I attended Glenbard South High School and University of Illinois. I didn't study acting until I moved to Los Angeles after college, but the fact that I was raised in the Chicago area set the stage for all of my comedic and acting sensibilities.
I think it's so dope that I'm here in Chicago and contributing to the music scene that's thriving. People are so happy Chicago's shining that everyone is willing to say 'I represent Chicago.' That wasn't always the case.
Being able to incorporate my language into songs is really cool. It's really cool to see that people are susceptible to it. It helps with writing a lot to turn off one language and then go to another.
I am Chicago. I'm from Chicago. I bleed Chicago. I really think I can help the city. I think I can save the city.
Some of the best cooks that I've cooked with, whether it's in New York or Chicago or even here in Philadelphia, are actually Ecuadorians. And there's something about their palates that really just inspires me, and has a really deep sense of flavor.
To stop challenging someone from using anti-gay language simply because they persist in using anti-gay language strikes me as a defeatist approach.
Chicago theater vs. New York theater. There's just nothing to say about it really. If you've seen Chicago theater, you know that the work is true to what is there on the page. It's not trying to present itself with some sort of flashy, concept-based thing. It's about the work, and it's about the acting you're about to watch. So acting-based theater feels like it was born there to me.
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