Here in Chicago, Reclaimed Soul airs Thursdays 8-10PM (CST) on Vocalo.org 89.5fm. You can stream live at http://vocalo.org/player.

Now folks can listen anytime to radio featuring sound rich interviews and an all-vinyl playlist (courtesy of host Ayana Contreras). Reclaimed Soul is about taking old materials (records, buildings, ideas, et al) to push us all forward.

http://vocaloreclaimedsoul.tumblr.com/

click here to access the archives now!

Above, a bit of video from my Artistic Residency last year with Theaster Gates’ Dorchester Projects, in which I wax poetic about Chicago’s own Mercury Records, Jerry Butler, and the Impressions.

I love sharing the stories behind the music I love with the general public; and was reminded of that as I embark on Hosting and Producing “Reclaimed Soul” (a weekly radio show on Vocalo.org) which premieres tomorrow night at 8pm CST. The show, of course, will feature stories as well as music. For more about Reclaimed Soul, click here.

I’m not sure what exactly is revolutionary about this record, titled “Music Revolution” and released by Donald Jenkins and the Delighters in 1975, but it sure is lovely. It’s what I like to call Basement Soul. It also reminds me of how much I miss skin tight harmonies.

A local Chicago record through and through released on tiny Black Beauty Records (64th and Maryland is the address listed on the label) this record is one of a couple that Donald and the Gang put out in the mid-seventies.

Having released a smouldering, haunting cut called Elephant Walk in 1962, the group never had another such hit, but did put out a smattering of quality singles. By the time “Music Revolution” came out, I imagine the group had their share of wives, babies, and day jobs. That sort of backstory behind such loveliness commands even more respect.

Below, for comparison’s sake, “Elephant Walk”. It’s the story of a self-proclaimed “American Boy from the South Side of Chicago” who meets and falls in love with a “Native Girl from darkest Africa”. Interesting theme, and really interesting use of echos and animal sounds. Jive on.

Surplus of Options presents another night of sounds and sights.

HEAR:

David Boykin’s Expanse
David Boykin (reeds, v)
Jim Baker (p)
Josh Abrams (b)
Marcus Evans (d)

&
DJ Ayana Contreras
laying down solid tracks throughout the night.

SEE:

The found photography of Wilbur P. Holmes. These are the personal works of an artist who freelanced for Jet Magazine. Photos are circa 1960′s-70′s.

$10 suggested donation
20% off all antiques & art
free snacks & drinks

Saturday April 21st, 8pm til 1am

Surplus of Options

3644 North Lincoln Ave.

Chicago

for more on Wilbur Holmes, click here.

from siskelfilmcenter.org:

STONY ISLAND
(aka MY MAIN MAN FROM STONY ISLAND)
1978, Andrew Davis, USA, 97 min.
With Richard Davis, Edward Stoney Robinson

At the Siskel Center, 164 North State Street, Chicago

Wednesday April 4th (8pm-9:30pm), Thursday April 5th  (8:15pm-9:45pm)
“Stony Island has been the birthplace of great American music and amazing musical talent, nurturing the likes of my fifty year brother, Herbie Hancock, Chaka Kahn, Curtis Mayfield and Maurice White. I’m also a kid from the South side of Chicago . MUSIC MAKES US ALL ONE AND “STONY ISLAND ” IS A TESTAMENT TO MUSIC BEING THE WORLD’S COMMON LANGUAGE. THIS TIMELESS MOVIE IS FILLED WITH BIG-TIME HEART AND SOUL. From the Gene Barge tenor sax version of “Just a Closer Walk with Thee”, a favorite of Dr. Martin Luther King, to the guitarist’s guitarist Phil Upchurch, one of my all time favorites – this flick is kicking!”
—Quincy Jones

For his first feature, Chicago native Andrew Davis (THE FUGITIVE) made the most of atmospheric neighborhood locations on Chicago’s South Side in this lively, funky, bluesy story of two dreamers pulling together a band from nothing. Multicultural before it was in fashion, and independent before there was a movement, STONY ISLAND became a breakout phenomenon. Richie, a Stony Island guitar player, and his best friend Kevin, recruit their undiscovered talent in Chicago’s dives and alleyways. A venal alderman, an insurance scam, and the state funeral of Da’ Boss are the icing on the cake, but the cake is music, with Gene “Daddy G” Barge, Larry Ball, Ronnie Barron, and more. Also includes appearances by Rae Dawn Chong and Dennis Franz, and the cinematography of Tak Fujimoto (FERRIS BUELLER’S DAY OFF). 35mm. (BS)

Director Andrew Davis will be present at both screenings for audience discussion. He will be joined by Tamar Hoffs, Gene Barge and Susanna Hoffs on Wednesday and by Richie Davis, Tamar Hoffs and Susanna Hoffs on Thursday.

Stony Island comes to DVD April 24th, 2012.

In Chicago, neat rows of distinctive bungalows line the streets in many neighborhoods (known collectively as the Bungalow Belt). Many of these homes were built in approximately the 1910s and 1920s.

On the Southside, a good number of these homes have been suffering a disturbing fate: as longtime owners age, their children have been selling/losing the family homes at an alarming rate. This trend began over a decade ago, (long before the current economic crisis) and continues, creating a perfect storm of community erosion. Once proud manicured blocks are now marred with boarded up windows and overgrown shrubbery. The homes that families worked for a generation to own are being lost in a period of a few years (in some cases, even less). Some are being lost due to the monetary strains that owning an aging home can create, others are being lost because the younger generation doesn’t value the home (particularly its location in the heart of the city). What is being erased is a seldom told story that author Mary Pattillo-McCoy attempted to document in her 1999 book, Black Picket Fences.

According to the author:

The goal of Black Picket Fences is to richly describe the neighborhood-based social life of a population that has received little scholarly or popular attention—the black middle class. The black middle class and their residential enclaves are nearly invisible to the nonblack public because of the intense (and mostly negative) attention given to poor urban ghettos. Substantial downward mobility signals that there are systematic obstacles to ensuring [a] transfer of class status.

Due to the proximity of these Black Urban Middle Class neighborhoods to other neighborhoods, their survival is directly linked to the survival of Urban residents in more impoverished areas. To be clear, the Black Urban Middle Class is most cases are by no means rich. Many are teachers or plumbers, or other hard working folks. But due to proximity, their dollars positively impact all the communities around them: some are small business owners, and many have the expendable income to support various charitable endeavors and local initiatives.

But the younger generation of more mobile Blacks is leaving the cities in droves, and in many cases, is more reliant on credit than ever before.  This is partly what attributed to the recent dip in the average median net worth for Black Households (the typical black household had just $5,677 in wealth (assets minus debts) in 2009)

.

I have said repeatedly that I think “escaping” the problems of the city by moving outside of its limits is doing a disservice to so many people (including ourselves).  The strong, vibrant, creative communities we dream about require a commitment to build it. There’s nothing but opportunity in empty storefronts and two-flats. What do you want to see?

 

What’s a Be-In? Check the video below from the Lincoln Park Be-In for more background on the celebration of  “Turning on and Tuning In”.

Around the time of Chicago’s storied Blizzard of 1967 which dumped 23 inches of snow over the course of about 35 hours, out in San Francisco, the first “Human Be-in” or “Be-In” occurred in Golden Gate Park.

On Mother’s Day of that year (once we had all thawed out), a Be-In occurred here in Chicago in Lincoln Park, followed by one on the South Side at Promontory Point (pictured at top of post). The Be-in at Lincoln Park was fairly well covered by media of the day, but its South Side cousin has left barely a trace of proof behind. To me the whole sunshine and daisies Hippie Counterculture narrative is striking set against the backdrop of Chicago, where just a year earlier Martin Luther King, Jr. marched for open housing. He later stated:

“…the People of Mississippi ought to come to Chicago to learn how to hate.”

The Human Be-In took place in San Francisco, with a whole bunch of lost children and intellectuals. They didn’t have the crush of history weighing heavy on them. Chicago’s Be-Ins had a bit more subtext: the ongoing racial tension that exploded the  following year, Class-based struggles that often manifested themselves in Union tussles, and the ever widening so-called Generation Gap. Maybe people were yearning to come together.

‘The Point’, as it is known, was a natural choice for such a ‘Be-In’. It has served as a point of convergence for people of all stripes since its opening in 1937, particularly weddings.

A man-made peninsula, ‘The Point’ has been embroiled in controversy due to the City’s recent plans to remove the limestone embankment (see left), replacing it with steel and concrete. Much of the Lakefront had initially had the limestone treatment, but was torn out in the 1990s. A “Save the Point” preservationist movement ensued.

Below, the only photo I could find of the 1967 Promontory Point Be-In, published in the July 1967 issue of Ebony Magazine.

In the uncredited Photo-Editorial that accompanied the picture, the author suggests:

“But let’s forget it. The dream is over. The Be-ins won’t make even a dent in the hate and mistrust and dissension in this country alone. There will still be screams of black and white power, the double-talk of politicians, the fight over open-occupancy, poverty amidst plenty, crime, graft and double dealing… But on second thought, if you do hear that there is going to be a Be-in in your city, go on out to it. Be a human being for at least one afternoon. Some of it might stick.”

The Buckinghams were by far one of the biggest pop-rock hit makers to come out of our city. Named for The Buckingham Fountain in Chicago (of course), the group was originally known as the Pulsations. They changed their names to a British-sounding name in hopes of benefitting from the British Invasion, the trend in the mid-60s during which British Rock Groups trounced their American counterparts in terms of record sales. But their sound was pure Chicago: witness their Horn-driven oh-so-hip brass-rock sound (and some fly suits) circa 1967, below.

When they had their first hit, “Kind of a Drag,” they were signed to local USA Records (a small local label best known for its blues, soul, and garage rock releases). Based on strong record sales, they were signed to Columbia Records (at the time, the biggest label in the industry). In 1967 Cash Box Magazine named them “The Most Promising Vocal Group in America”. Billboard Magazine called them “The Most Listened to Band in America” that same year. But meteoric success wasn’t to last.

They followed up with huge hits like “Don’t You Care”, “Susan”, and a cover of “Mercy, Mercy, Mercy” (all of which were Top 20 Chart toppers). But, their second album was produced by James William Guercio, who had stylistic clashes with the group. The group started out with a more rock and blues-based sound, but their Guercio-produced album was much slicker (yet much more off-kilter, too) featuring long edits and sometimes psychedelic horns and strings by the Chicago Symphony Orchestra that countered what the group wanted to sound like: more homegrown. For comparison purposes, here’s an early rare performance on a local TV show showcasing their homegrown bluesy-rock sound (note their notably less outrageous suits):

Fast Forward to about 1969. The group gained artistic control and parted ways with Guercio; but, consequently, their hits dried up. After a couple of additional albums, the group split: but for a moment in time, they were Chicago’s answer to the British Invasion. Below, “And Our Love”, a piece of Baroque brass-rock from their 1967 album “Time and Charges” (which I highly recommend).

Financially, Chicago has the third largest creative economy in the U.S., with 24,000 arts enterprises, including nearly 650 non-profit arts organizations, generating more than $2 billion annually and employing 150,000 people. Chicago’s creative vibrancy creates jobs, attracts new businesses and tourists, and improves neighborhood vibrancy and quality of life.

Town Halls kick off tonight:

See Potential in what’s around us. That’s the goal of photographer Emily Schiffer’s See Potential initiative: affixing huge weatherproof photographic works to undervalued community assets. It’s a great idea that can help harness the public imagination for the greater good. It’s the sort of greater good that Schiffer always hoped her art would serve. She related to Benevolent Media:

“It’s very clear that publishing an image in a magazine or having a gallery show or having a book isn’t actually going to change anything… I’m always jealous of people who do pottery, for example, because their art has some sort of practical use.

For instance, Gladys’ Luncheonette (a Soul Restaurant that served Chicago’s Bronzeville neighborhood for decades, but recently closed) is re-imagined through imagery as a healthy corner store offering cooking classes. For members of the neighborhood, this is definitely a soft sell; but Schiffer, alongside Orrin Williams and Judith Helfand, is also trying to sell the viability of community development to outside investors (as well as the City of Chicago itself).

The works will illustrate the Center for Urban Transformation’s revitalization plans for shared community spaces such as:

- Locally owned corner stores that will sell nutritious food and provide on-site, healthy cooking classes.

- Year-round, indoor growing sites using aquaponics technology will train and employ community members and supply food to local healthy corner stores.

- Cooking schools or community centers refashioned from blighted homes that will provide holistic living practices through diverse forms of community outreach and education.

- Community gardens created in empty lots.

According to their Kickstarter proposal:

“Each photographic installation will include a text panel encouraging onlookers to send a text message in support of that specific site transformation.  Using a custom-designed SMS text messaging infrastructure and GPS technology, [they] will collect all messages and record the location from which each text was sent.  By pinpointing the different locations and by tracking the amount of public support at each site, we will be able to present a series of interactive, web-based maps to potential funders, policy makers, and city officials.”

This is just the sort of paradigm shift that Darkjive is all about, something I term as Lack versus Fat (outlined fully here). Using the analogy of the coffee can full of grease that my grandmother kept on her stovetop, the grease (and the can itself) could, at first, be considered waste material. But upon reevaluation, it can also be considered a resource that can contribute to the kind of meal that sustains life. The same can be said for abandoned buildings, or so many things in our communities that can be seen as deficits.

for more on the project (which was recently successfully funded via Kickstarter) click here.