I’ll be spinning for the opening of this… The record store is completely modular and made to encourage the kind of listening-based cultural interchange that makes record stores awesome. Over 4,000 records on loan from community members’ collections. None of them are for sale, but visitors can listen to them all: from “Belly Dancing Favorites” to the Moody Blues to Earth, Wind, & Fire.
Record Store — an installation presented by Seattle Art Museum in collaboration with [storefront] Olson Kundig Architects (MacDowell architect Tom Kundig’s firm) — December 13th in Seattle! Attempting to remove the barrier between artist and audience, Record Store encourages the community to participate in the curation of this Olson Kundig Architects-designed traveling installation. Record Store is on view at Olson Kundig Architects (406 Occidental Ave., Seattle, WA 98104) from December 13 to January 31, 2012, Monday to Friday, 9 am to 5 pm. An opening event will be held on December 13, 2011 from 6:30 pm to 9:00 pm. Special DJ listening parties will take place during the installation’s run.
Featuring work by LTAB all-stars, alumni, and co-creator Kevin Coval Friday, August 5 & 6, 2011 7:30pm Zacek McVay Theater
TWO NIGHTS ONLY!
This will be one of the most exciting nights at the Victory Gardens this summer!
Don’t miss out on ENGLISH CLASS HERETICS: LOUDER THAN A BOMB IN CONCERT! The stage artists from the largest and most explosive youth poetry slam in the world, Chicago’s own Louder Than A Bomb (LTAB) will take over Victory Gardens with an evening of great performances.
This exclusive concert presentation features the best LTAB performances from recent years as well as performances by LTAB staff, teaching artists and alumni (including poets from the critically acclaimed LTAB documentary.)
The Ladies Ring Shout as a Performance was born of a weekly workshop, dialoguing space, and “jam session” for women.
Participants talked, wrote and moved in the spirit of collaborative experimentation and explored what an urban feminine discourse looks and feels like. What are our notions of an Urban Feminine? What is her legacy to/for future women/humans? What defines the urban woman’s community?
LRS is comprised of three core members Felicia Holman, Abra Johnson and Meida McNeal, who proclaim:
Performance is our therapy, our catharsis, our way to community. Performance is the haven that welcomes us to rediscover our own value and worth. Performance and expression bring our dormant, unsaid emotions to the surface and urge us to work them out within a community that not only bears witness, but also empathizes through experience.
This Month, Chicago welcomes back both springtime and Versionfest (BTW, I think I saw a daffodil on South Shore Drive the other day).
Organized by the good folks behind local Arts & Culture publication Lumpen, the Fest runs from April 22nd until May 1st in Bridgeport (a neighborhood that’s been going through a lot of changes in recent years). Speaking of change, according to their website:
These years of recession, insolvency, uncertainty, and calamity have affected us
in ways we couldn’tve imagined before.
…But there is hope… Version 11 is a
celebration of the Chicago communities — projects, spaces, groups, individuals
– creating their own strategies for participatory economies, co-prosperity,
and the pursuit of genuine happiness. Version will demonstrate the possible,
celebrate the impossible, and showcase the ingenuity, spirit and passion that
create The Community we aspire to take part in together. This is an invitation
to share your community, your goals, your dreams for a better Community of the
Future. It’s all we have left.
”Passing Strange“, the Tony-winning black rock-opera is righteous, and it’s being staged in Chicago featuring local soul revivalists JC Brooks & the Uptown Sound… and my chica: LaNisa Frederick. Amen.
Passing Strange is the coming-of-age story of “Youth” (Daniel Breaker), a kid growing up somewhere in LA in the seventies. He is disillusioned because he doesn’t fit the common definition of blackness. Floating above the city, getting high in his choir director’s blue Volkswagen beetle, “Youth” decides to uproot himself from everything he’s known in order to find home.
It takes a blurry, nomadic trek across Europe to realize some ultimate truths about where he fits in the world and whom he can count among his tribe. Features a great live band (book and music by Stew and Heidi) and meaty writing that sometimes billows poetically like blood in water. For anyone who grew up not fitting in, then realized that they fit in perfectly, after all. Jive on. Below, an excerpt from the Spike Lee-documented Broadway staging.
What do you get when you mix a maverick artist with strong community ties and an Urban Planner? For one thing, Theaster Gates. For another, the Dorchester Projects, pictured above. Theaster has been purchasing properties in the Woodlawn/Grand Crossing neighborhood for a few years now, and has quietly acquired the stock of the former Dr. Wax record store as well as the now defunct Prairie Avenue Bookstore (both businesses were revered in their respective collector communities). He created a home for glass lantern slides that depict the canon of Western Fine Art. Using reclaimed materials, he is turning his properties into cultural community hubs, featuring curators and programming that reflects the collections and the community.
In the spirit of full disclosure, I’ll be curating the record collection in May and June of 2011, culminating in a series of talks on Chicago Music History (details to follow) and a couple of good, old-fashioned dance parties starring local-born music.
Chicagoans… Thaw out this Thursday (and every Third Thursday) with Simeon Viltz and DJ Ayana at the Groove Conspiracy. The revelry starts at 10pm. Dance, eat, drink, play pool, and catch a classic movie with subtitles (past features include The Best of Soul Train, Monkey Hustle, and The Last Dragon). Morseland is located at 1218 West Morse.
For six nights only, poetry meets the stage meets Chicago in this theatrical exploration of urban life. Collaboratively written by members of the Poetry Performance Incubator, this ensemble piece offers a lyrical tour of the Chicago tourists never see.
According to the Guild’s Coya Paz:
“This is a collaboration between 10 spoken word poets, 7 of whom perform. The piece offers an insider’s look at Chicago culture(s), covering things like the difference between catcalling on the Northside and the Southside, how you can tell when a funeral procession is for a youth or an elder by the rims on the cars, what do do when your white friends want to go to a rib place waaaaaay down south, and why Time Out shouldn’t be the expert on culture in Pilsen. We tell real life stories about people pooping on trains, plotting murders on trains, and falling in love on trains. We passionately detail the reasons why Mexicans and Irish people should be in solidarity, especially when it comes to beer. We talk about toxic spills in Pilsen. We talk about why Rogers Park is for hippies. And so much more!”
This reminds me of the “Ghetto Bus” that was in the News back in 2007. The Bus took folks on a tour of inner city Chicago… the part of the city that tourists tend not to see.
Does anyone remember this?
From MSNBC.com July 22, 2007
CHICAGO — The yellow school bus rumbles through vacant lots and past demolished buildings, full of people who have paid $20 for a tour of what was once among the most dangerous areas of this or any other city in the United States.
But for the woman with the microphone, this “Ghetto Bus Tour” isn’t just another way to make a buck from tourists. It’s the last gasp in her crusade to tell a different story about Chicago’s notorious housing projects, something other than well-known tales about gang violence so fierce that residents slept in their bathtubs to avoid bullets.
“I want you to see what I see,” says Beauty Turner, after leading the group off the bus to a weedy lot where the Robert Taylor Homes once stood. “To hear the voices of the voiceless.”
The title cut off this 1968 album is a bluesy monster produced by Charles Stepney with more than enough groove to stay squarely in the pocket. Also on this album is the local hit “Up in Heah”, another blues-infused party track. Both of the records will make sceptics rethink the blues. According to the back of the album:
“Talk about somebody being “tuff” enough. One night in Pepper’s Lounge, a little night spot on Chicago’s South Side, Junior Wells was introduced as “the little Giant of the blues”. It was around midnight and the Chatter that had been incessant for about three hours ceased. In cool dignity the little black walked to the stage, and said: “I’m gonna sing them damn blues, and you’d better dig it.” This audience at Pepper’s where all the blues greats have passed through and left their mark, is as hip an audience as any performer ever faced. When you bring them slow blues it better be nasty, and when you swing it better make them move. Shoot blanks and you won’t last long. Junior Wells could stay there eternally. “
I’ll be spinning for the opening of this… The record store is completely modular and made to encourage the kind of listening-based cultural interchange that makes record stores awesome. Over 4,000 records on loan from community members’ collections. None of them are for sale, but visitors can listen to them all: from “Belly Dancing Favorites” to the Moody Blues to Earth, Wind, & Fire.
