WBEZ | Kanye West http://www.wbez.org/tags/kanye-west Latest from WBEZ Chicago Public Radio en A Group of Writers Listening to Kanye, Awaiting SWISH http://www.wbez.org/news/culture/group-writers-listening-kanye-awaiting-swish-114732 <img typeof="foaf:Image" src="http://llnw.wbez.org//main-images/495178202_wide-94564255585b0c0051bcae7b8cafeef65a768652-s800-c85.jpg" alt="" /><p><div id="res463714006" previewtitle="Kanye West at LAX in October, looking like us."><div data-crop-type=""><img alt="Kanye West at LAX in October, looking like us." src="http://media.npr.org/assets/img/2016/01/20/495178202_wide-94564255585b0c0051bcae7b8cafeef65a768652-s800-c85.jpg" style="height: 348px; width: 620px;" title="Kanye West at LAX in October, looking like us. (GVK/Bauer-Griffin/GC Images)" /></div><div><div><p>Maybe we have jumped the gun. We very badly want G.O.O.D. Fridays back (<a href="http://www.npr.org/sections/microphonecheck/2015/12/22/460643218/pusha-t-this-is-what-i-like-to-make" target="_blank">we&#39;re not alone</a>). Surprise releases are fun and everything, but the build of a month(s)-long stretch is better. We would like to talk about music together, and not only by collectively spazzing out and crashing Livemixtapes. We would like to Monday morning quarterback the art and announcement punctuation and where we heard it over the weekend and the context and the song itself. We&#39;d like to compare this week&#39;s offering to the last couple and use all that to debate the emotional state and practical concerns of Kanye and us and try to divine, somehow, where all this is going. The Internet wasn&#39;t quite what it is now the last time this happened, and we&#39;re thinking about how that changes our coverage. So here we are, weighing in, doing our best to do our part as listeners and readers and thinkers, even though it&#39;s not real clear if #EveryFriday means G.O.O.D. Fridays Part Deux or not.</p></div></div></div><p>Definitely we are not dealing with the clockwork delivery and full team effort of the fourth quarter of 2010. Sample email from my inbox: &quot;Hope you&#39;ve had an enjoyable weekend! It seems Kanye is still enjoying his since there&#39;s still not a new track.&quot; And Kanye talking that &quot;<a href="https://twitter.com/kanyewest/status/688973542524719104" target="_blank">very very extremely soon</a>&quot; business but not really being done for another six hours, tweeting only &quot;It&#39;s up&quot; when the full version of &quot;No More Parties in L.A.&quot; went public on Soundcloud, resurrected all my old blown deadline, high school term paper overnighter, the news that Michael Jackson died hit at 5:20 pm ET stress like here, take it, I think it&#39;s done, who knows what it says. The only time I&#39;ve ever felt closer to Ye was when he tweeted about waking up on a plane and finding himself responsible for a water bottle he didn&#39;t even ask for.</p><p>The responses of the writers below have in common enthusiasm for the project ofSWISH&nbsp;and the artist that Kanye is. Frustration is often present. The relief at his recovery from &quot;FACTS&quot; is strong, strong enough to intensify the warmth of this group&#39;s embrace of &quot;No More Parties in L.A.&quot; In my opinion. This is a line of conversation we&#39;d like to have the opportunity to follow over the next few weeks: What are these songs on their own? What are these songs in relation to each other? As part of the lead up to an album? To this album? What are these songs because of Kim&#39;s Twitter life? What are they while Future and Drake and Metro and Esco and Kendrick and Cole and Travis and Adele and Soulection and Bieber and The Weeknd and Chris Stapleton are doing their thing?</p><p>We&#39;ll collect reactions as we proceed; we&#39;ll keep them all here. Everybody can change their mind. Everybody is free to be disappointed. Nobody is allowed to give up. We&#39;re at&nbsp;<a href="https://twitter.com/nprhiphop" target="_blank">@NPRHipHop</a>&nbsp;if you&#39;d like to get involved.</p><div><hr /></div><p><span style="font-size:18px;"><strong>&quot;<a href="https://soundcloud.com/kanyewest/facts-explicit" target="_blank">FACTS</a>&quot;</strong></span></p><p>He should&#39;ve just titled this &quot;Jumpman 2.0,&quot; or called it a remix, because what else is it? If he had I don&#39;t think I would be this annoyed. West, boastfully and brashly, takes digs at Nike for the failed collaboration he shared with the corporation before heading to Adidas. He has a point, seeing that the President now rocks Yeezys, but it&#39;s almost too much. To calm my nerves, three weeks after its release, I imagine Ye and the usual suspects getting all excited when out, leaving &quot;Jumpman&quot; on repeat and deciding to throw something together in time for New Years. I refuse to take this seriously. &mdash;<em><a href="https://twitter.com/3rika" target="_blank">Erika Ramirez</a></em></p><p>On New Year&#39;s Eve before the ball dropped and Yeezy was preparing to drop this song I was racked with anticipation. New Kanye music, something we&#39;ve been waiting for ALL YEAR (remember we thought the album was coming last February). What I heard on first listen disappointed me. I listened a second time just to make sure my ears weren&#39;t deceiving me, but my initial reaction was spot on: Kanye was chasing Drake and Future&#39;s sound. I was heartbroken. Not Ye, not the innovator&#39;s innovator. If Kanye&#39;s new album is going to sound like this then we&#39;ve finally lost him. <em>&mdash;<a href="https://twitter.com/nprhiphop" target="_blank">Cedric Shine</a></em></p><p>So ... no comment on &quot;Facts.&quot; (Mostly because I&#39;d rather not listen to it more than once, if I can help it.) <em>&mdash;<a href="https://twitter.com/KianaFitz" target="_blank">Kiana Fitzgerald</a></em></p><p>&quot;Facts&quot; is real petty. The last song of 2015, it was appropriately dropped at the end of a year of fraudulence (&quot;Back to Back,&quot; the dress meme, Zola&#39;s story and Rachel Dolezal). On &quot;Facts&quot; Kanye canvases for the #clapback throne in his campaign for 2020 Presidency. Of course, Ye&#39;s Nike diss couldn&#39;t go without mentioning Drake. Lucky for Drizzy, Ye generously gave him a gentle slap on the wrist by mocking his Canadian cadence while simultaneously wishing him well on his venture with the company. Kanye reminds us that he stands on the backs of giants (and Kim&#39;s empire), while junior artists are left in his shadow. &mdash;<a href="https://twitter.com/nellienooks" target="_blank">Chanelle Adams</a></p><p>The Internet all but had a public burial for Kanye West going into the new year when he dropped this obviously &quot;Jumpman&quot;-inspired song. It was a weird outcry considering that 1) people actually thought that&#39;d be his only musical identity going forward with&nbsp;SWISH&nbsp;and 2) that the track will even make the cut. <em>&mdash;<a href="https://twitter.com/TrueLaurels" target="_blank">Lawrence Burney</a></em></p><p>I think it&#39;s really cute when toddlers dab. &mdash;<em><a href="http://www.npr.org/people/184760074/frannie-kelley" target="_blank">Frannie Kelley</a></em></p><div><hr /></div><p><span style="font-size:18px;"><strong>&quot;<a href="https://soundcloud.com/kanyewest/real-friends-no-more-parties-in-la-snipped" target="_blank">REAL FRIENDS</a>&quot;</strong></span></p><p>&quot;Real Friends&quot; is reminiscent of the vulnerable, introspective&nbsp;Graduation&nbsp;verses that secured my love for Kanye forever. An artist that has always struggled with being misunderstood, Kanye opens up yet again to share his more intimate sentiments. For the first time Kanye sounds tired. As he croons about his struggle to find genuine friendship amidst success and fame, he shares a level of loneliness and work ethic that can only be described as that of a mad scientist or lonely suburban dad. &quot;Real Friends&quot; is a confessional phone call at 3AM, a more sophisticated &quot;Hotline Bling.&quot; As he starts his own family, he makes us aware of how far he&#39;s come from the days of&nbsp;College Dropout, a time when he would have never been called a &quot;deadbeat cousin.&quot; On the grind for decades now, Ye&#39;s put work before all else and now it&#39;s catching up to him. <em>&mdash;Chanelle Adams</em></p><p>This one had me scrambling to find a surviving link after its convoluted rollout. On the second release in the second coming of G.O.O.D. Friday, Ye and Ty Dolla $ign vent and advise on the most effective and least affective ways to address soured relationships, low-key two-stepping through a space that reminds me of the gently introspective &quot;Heard &#39;Em Say.&quot; As he categorizes loved ones into silos of family, foe or frenemy, Mr. West reminds us yet again of the hard-knock life of a rap supernova. &mdash;<em>Kiana Fitzgerald</em></p><p>You know what that is that you feel when you listen to &quot;Real Friends&quot;? Hope. With this song Kanye West rekindles our longing for the portion of his work in which he rapped honestly, sugar free, over lush production laced with soul samples. Think of &quot;Wedding Dress,&quot; &quot;Gorgeous&quot; (the majority of&nbsp;My Beautiful Dark Twisted Fantasy, really) and, of course,&nbsp;College Dropout. &quot;Real Friends&quot; is just that, on which Ye, alongside the harmonious Ty Dolla $ign, check the loyalty of their real to so-called friends and tell it how it is. This is the Kanye West I love: brutally straightforward, heavy and true to life. It almost makes me forget &quot;Facts&quot; exists. Almost. &mdash;<em>Erika Ramirez</em></p><p>Kanye West doesn&#39;t care about us; he never has&mdash;at least not past our ability to magnify his own sense of purpose. We, the audience, have always been surrogates for his sometimes righteous rage, lenses through which he can see and project himself. It&#39;s great that he comes close to admitting as much in &quot;Real Friends.&quot; He cares enough to take pictures with your sister, but not enough to engage us about this series, instead empowering Kim Kardashian West to speak on his behalf, as if anyone ever wants to hear her talk about &quot;bars,&quot; ever. It&#39;s the civil distance through which we engage our exes once we&#39;re done with them, because, as KKW tweeted, he&#39;s focused on dealing with Adidas in Italy. &quot;I can&#39;t be bothered,&quot; he raps. &quot;I&#39;m just doin&#39; my thing / Hope you&#39;re doin&#39; your thing, too.&quot; We get it, bruh. You can keep the toothbrush and the T-shirt. &mdash;<em><a href="https://twitter.com/fullmetallotus" target="_blank">kris ex</a></em></p><p>I think I admire Kanye&#39;s heart the most. Next to Ty his voice is thin, but he&#39;s always saying more. He has more skin in the game. The tone of this song is closest to the weather I&#39;ve been in recently&mdash;ignorantly cold, then artlessly warm, damp everywhere&mdash;kind of paranoid, probably should be regretful but can&#39;t summon it, fine being destabilized, gotta get up and go to work anyway type of vibe. This is the Kanye mood music that I needed. &mdash;<em>Frannie Kelley</em></p><div><hr /></div><p><span style="font-size:18px;"><strong>&quot;<a href="https://soundcloud.com/kanyewest/nomorepartiesinla" target="_blank">NO MORE PARTIES IN L.A.</a>&quot;</strong></span></p><p>This is the closest to what Ye-purists have been begging for over the majority of this decade: Kanye getting back to his sonic roots. He&#39;s still unapologetically black, concerned with his family life (dressing Nori like Cam) and existing on his own terms. &mdash;<em>Lawrence Burney</em></p><p>Was this the official soundtrack to the iconic 2012 moment when Kanye threw out most of Kim&#39;s wardrobe on&nbsp;Keeping Up With The Kardashians? I really hope so. It was Kim, acting like she&#39;s in some capacity A&amp;Ring the album, who assured fans that &quot;Noah&quot; was flown out to Italy to finish the track with Ye. Ever since Kendrick revealed his questionable racial politics and came out with an exaggerated voice production on &quot;Alright&quot; that made him sound like a rapping Bob Dylan, I&#39;m not really a fan of Kendrick. Madlib&#39;s beat from 2010 leads me to believe this album will hold fewer radical &quot;<a href="https://www.youtube.com/watch?v=xuhl6Ji5zHM" target="_blank">Black Skinhead</a>s&quot; and more&nbsp;808s and Heartbreaks, with the added ingredients of love and fatherhood. &mdash;<em>Chanelle Adams</em></p><p>Something unusual here: Kanye actually shows K. Dot up. (Still, they sound so damn good next to each other.) Admittedly, some of that has nothing to do with Kendrick&mdash;it&#39;s the circumstances. His brief appearance versus Ye&#39;s #90bars; Ye&#39;s penetrating voice versus his overworked one. Also, this beat was just made for Kanye, and he owns it: &quot;I know some fans thought I wouldn&#39;t rap like this again / But the writer&#39;s block is over, emcees cancel your plans.&quot; There you are, Yeezy. <em>&mdash;Kiana Fitzgerald</em></p><p>I forgive Kanye West for &quot;FACTS.&quot; What is &quot;FACTS&quot; even? I forgive him for still not releasing an official CDQ of &quot;Wolves.&quot; I forgive everything now that I have &quot;No More Parties in L.A.&quot; The third song from the second installment of G.O.O.D. Fridays is Kanye West and Kendrick Lamar&#39;s first collaboration ever, and it&#39;s one for the books. It&#39;s luscious. The song is produced by Madlib (who flips Junie Morrison&#39;s &quot;Suzie Thundertussy&quot; and Ghostface Killah&#39;s &quot;Mighty Healthy&quot;), and features a few lines that Ye&nbsp;<a href="http://www.rollingstone.com/music/videos/kanye-west-talks-dilla-creating-wrong-music-in-stones-throw-doc-20140528" target="_blank">debuted in a Stones Throw documentary</a>. Perhaps the beat is one from the stash that Madlib produced for Ye during the&nbsp;MBDTF&nbsp;days, none of which made the cut. On &quot;No More Parties in L.A.,&quot; Ye is hungry and aware, and it&#39;s palpable. As I currently listen to &quot;No More Parties in LA,&quot; I&#39;m not even thinking about the Kardashians. I&#39;m trying to figure out which of Ye&#39;s cousins stole his laptop. <em>&mdash;Erika Ramirez</em></p><p>Real rap signifiers everywhere, including an unnecessary percentage of all those bars devoted to women at fault. Kendrick and Kanye feel far away from each other, reminding me of their dynamic in that&nbsp;New York Times Magazine&nbsp;<a href="http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html?_r=0" target="_blank">profile</a>&nbsp;from the Yeezus tour, and then the 38-year-old 8-year-old comes out on top. I wish Ye saying he&#39;s got a psychiatrist would destigmatize therapy. I really loved&nbsp;Yeezus, so I&#39;m not rooting for a return to form. If he&#39;s gonna do this&mdash;be the anxiety-baring Ye on record, represent himself as the moody father of very young children who&#39;s got car troubles and distractions&mdash;I need him to give me more than I can get from KUWTK or&nbsp;Late Registration. <em>&mdash;Frannie Kelley</em></p><p>This is the climax of anti-climax. The vocal mix makes it sound like a radio freestyle&mdash;and it would be great were it a radio freestyle. Kendrick&#39;s bars are astounding acts of rhyme that poke fun of lyrical/spiritual/miracle tropes with a side of Cap&#39;n Crunch cereal and a Nichiren Buddhist mantra. Next to them Kanye sounds labored and trying too hard. But over-effort has always been intrinsic to his appeal, and here he&#39;s urgently dropping lines only he can: shouting out E!, forgiving his cousin that stole his laptop, expressing understandable concern for the safety of his camera-famous family. It&#39;s the Kanye we haven&#39;t heard in a minute, but this isn&#39;t on par with the end of the weeks that brought us the &quot;Power&quot; remix, &quot;Monster&quot; and &quot;So Appalled.&quot; It&#39;s exciting by diminished expectations. Facts, only. <em>&mdash;kris ex</em></p><p>I liked &quot;No More Parties&quot; better when we just had the snippet.&nbsp;<em>&mdash;Cedric Shine</em></p><p>&mdash; <a href="http://www.npr.org/sections/therecord/2016/01/20/463708964/a-group-of-writers-listening-to-kanye-awaiting-swish?ft=nprml&amp;f=463708964"><em>via NPR</em></a></p></p> Fri, 05 Feb 2016 14:41:00 -0600 http://www.wbez.org/news/culture/group-writers-listening-kanye-awaiting-swish-114732 Hip-hop artist Common announces Chicago youth job program http://www.wbez.org/news/culture/hip-hop-artist-common-announces-chicago-youth-job-program-110003 <img typeof="foaf:Image" src="http://llnw.wbez.org//main-images/common_140409_nm.jpg" alt="" /><p><p dir="ltr">Hip-hop artist Common and the Chicago Urban League are teaming up for a youth jobs initiative as a way to prevent violence and whittle down a high teen unemployment rate in the city.</p><p dir="ltr">&ldquo;I see what&rsquo;s going on in the city. We all see it. Anytime I hear about anybody getting shot, young people with guns, it hurts me,&rdquo; Common said Wednesday at the Museum of Contemporary Art. &ldquo;I&rsquo;m not proud to be like, yeah, we&rsquo;re &lsquo;<a href="http://www.theroot.com/articles/culture/2014/01/chiraq_war_in_chicago_prevents_solutions.html">Chiraq</a>.&rsquo; At certain points I feel like I have to do more.&rdquo;</p><p dir="ltr">The Chicago Youth Jobs Collaborative will focus on securing year-found jobs for people ages 16-24. The target is 15,000 youth over the next five years. The program is set to launch this fall with 1,000 young people.</p><p dir="ltr">Private money will be raised to subsidize salaries for some of the jobs. A key piece of the collaborative is engaging the private sector to identify jobs, from corporate to manufacturing to nonprofit. Organizers don&rsquo;t want jobs to end when the summer ends. Employing 1,000 youth would cost approximately $2.4 million, according to the Chicago Urban League.</p><p dir="ltr">&ldquo;It&rsquo;s not just jobs, it&rsquo;s mentoring and support so they [young people] know that there&rsquo;s a group around them supporting their success so they know there&rsquo;s a future for them in this city,&rdquo; said Andrea Zopp, CEO of the Chicago Urban League.</p><p dir="ltr">Teen unemployment in Illinois is among the highest in the United States, and for low-income minorities the rates are even higher.</p><p dir="ltr">Researchers at Northeastern University released a <a href="http://www.wbez.org/stagnant-employment-picture-illinois-teens-105108">report </a>last year noting that teens&#39; lack work of experience adversely affects their future employability and wages. The conclusions mirror previous studies that suggest job experience can help deter teens from involvement in the criminal justice system.</p><p dir="ltr">The report&rsquo;s authors found only 8.7 percent of black teens in Chicago were employed in 2010-2011. The rate for Asians, though, was 15.5 percent. Twenty percent of the city&rsquo;s Hispanic teens were employed, and the rate for whites stood at 21 percent.</p><p dir="ltr">Meanwhile, across Illinois, the teen employment rate fell from just under 50 percent in 2000 to 28 percent in 2012 &mdash; the lowest rate in the 42 years for which such data exist. If Illinois teens had been able to maintain their 1999-2000 employment rates during the past year, there would have been another 151,000 teens at work in Illinois in 2011-2012, the report said.</p><p dir="ltr">Native son Common, whose mother Mahalia Hines is an educator and Chicago Public Schools board member, recalled meeting with young people in Englewood, a neighborhood with high crime and unemployment.</p><p dir="ltr">They told the rapper they needed money and jobs, underscoring the link between poverty and violence.</p><p>&ldquo;What do they want? They want opportunity and a chance,&rdquo; Common said.</p><p>This summer The AAHH! FEST, a two-day concert in September, will kick off. Common&rsquo;s foundation will partner with Kanye West&rsquo;s <a href="http://dondashouseinc.org/">Donda&rsquo;s House</a> in which emcee Rhymefest is the creative director. Part of the money will fund the year-round jobs initiatives.</p><p><em><a href="http://www.wbez.org/users/nmoore-0" rel="author">Natalie Moore</a> is a WBEZ reporter. <a href="mailto:nmoore@wbez.org">nmoore@wbez.org</a></em></p><p><em>Follow Natalie on <a href="https://plus.google.com//104033432051539426343" rel="me">Google+</a>, &nbsp;<a href="https://twitter.com/natalieymoore">Twitter</a></em></p><p>&nbsp;</p><p>&nbsp;</p></p> Wed, 09 Apr 2014 17:14:00 -0500 http://www.wbez.org/news/culture/hip-hop-artist-common-announces-chicago-youth-job-program-110003 Kanye: 'The world can be saved through design' http://www.wbez.org/blogs/lee-bey/2013-11/kanye-world-can-be-saved-through-design-109178 <img typeof="foaf:Image" src="http://llnw.wbez.org//main-images/20131118_kanye_harvard.jpg" alt="" /><p><p><iframe align="middle" allowfullscreen="" frameborder="0" height="315" scrolling="no" src="//www.youtube.com/embed/xDbVz-7WH2o" width="420"></iframe></p><div class="image-insert-image ">Kanye West popped into a <a href="http://www.gsd.harvard.edu/#/news/all-news/feed.html">Harvard Graduate School of Design</a> studio earlier this week to talk architecture.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">Yes, yes: West often comes off as a self-aggrandizing tool who beefs with presidents &mdash; and that&#39;s both Bush and Obama &mdash; and has frequent run-ins with the paparazzi.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">But give him a listen here. West is smart, sensitive and has a feel for design; the creative process and the results those things should bring.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">&quot;I really do believe that the world can be saved through design and everything needs to actually be &#39;architected,&#39; &quot; he says in the video above made by Harvard GSD student Flavio Sciaraffia.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">West visited the studio Sunday, on invitation from the school&#39;s African American Students Union, and gave students 300 tickets to see his show in Boston that night.&nbsp;</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">&quot;I believe that utopia is actually possible &mdash; but we&#39;re led by the least noble, the least dignified, the least tasteful, the dumbest, and the most political,&quot; he told students. &quot;So in no way am I a politician. I&#39;m usually at my best politically incorrect and very direct. &nbsp;I really appreciate you guys&#39; willingness to learn and hone your craft, and not be lazy about creation.&quot;</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">West&#39;s remarks are also another example of his (and hip hop&#39;s) interest in architecture and design.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">&quot;I want to do product, I am a product person,&quot; West told BBC1 a few months ago. &quot;Not just clothing, but water bottle design, architecture ... I make music, but I shouldn&#39;t be limited to once place of creativity.&quot;</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">And if <a href="http://www.icecube.com/">Ice Cube</a>, the actor and former member of rap group N.W.A,&nbsp;still counts, two years ago <a href="http://www.wbez.org/blog/lee-bey/2011-12-09/ice-cube-chills-designs-charles-and-ray-eames-94756">he expressed his love</a> for the work of&nbsp;American designers<span style="background-color: rgb(255, 255, 255); color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px; line-height: 16px;">&nbsp;</span><a href="http://eamesoffice.com/charles-and-ray/">Charles and Ray Eames</a>.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">For years now, rap and hip hop music videos have often brilliantly documented the beauty and scale of urban spaces. Their desolation and abandonment, too.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">One standout is the West-directed 2005 music video for Common&#39;s &quot;The Corner.&quot; The minor masterpiece showcases Chicago&#39;s built environment, beginning with the places formed by those utopian ideals he talked about, and then travels to the spots where politically-shaped and contested spaces hold sway.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image "><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/6mnKNr2Tiq8" width="560"></iframe></div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">Speaking of contested spaces: <a href="http://www.preservationchicago.org/">Preservation Chicago</a>, the Chicago Film Archives and Kartemquin Films tonight are <a href="http://www.chicagofilmarchives.org/current-events/vanishing-neighborhoods">screening three short and rarely-seen 16mm films</a> that documented the demolition, change and tumult in Chicago during the 1960s and 1970s.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">One of the films, DeWitt Beall&#39;s &quot;A Place to Live,&quot; was <a href="http://www.wbez.org/blogs/lee-bey/2013-01/place-live-newly-resurfaced-60s-film-sought-humanize-chicagos-urban-renewal">featured in this blog</a> earlier this year.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image ">The group will also show<em>&nbsp;&quot;</em>Kali Nihta, Socrates,&quot;<em> </em>a short that looks at the demolition of the Greektown neighborhood in the 1960s and &quot;Now We Live On Clifton,&quot;&nbsp;a documentary about two kids who fear &mdash; and rightfully so, as it turns out&mdash; that gentrification will force them out of their multiracial Lincoln Park neighborhood in the 1970s.</div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image "><strong><a href="http://www.chicagofilmarchives.org/current-events/vanishing-neighborhoods">The screening</a> will begin at 7:30pm at Comfort Station, 2579 N Milwaukee Ave. Admission is free.&nbsp;</strong></div><div class="image-insert-image ">&nbsp;</div><div class="image-insert-image "><em>Lee Bey writes about architecture at WBEZ. Follow him on Twitter <a href="https://twitter.com/LEEBEY">@LeeBey</a>.</em></div></p> Tue, 19 Nov 2013 05:00:00 -0600 http://www.wbez.org/blogs/lee-bey/2013-11/kanye-world-can-be-saved-through-design-109178 For fashion, if it's all white, it's all right http://www.wbez.org/blogs/britt-julious/2013-11/fashion-if-its-all-white-its-all-right-109069 <p><p dir="ltr" style="text-align: center;"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/AP924745381151%20%281%29.jpg" style="width: 620px;" title="(AP/Zacharie Scheurer)" /></span></p><p dir="ltr"><span>Fashion is one of the last major industries to publicly and profoundly act as a system of discrimination and exclusivity. And Kanye West &ndash; despite his strange and inaccurate comments comparing his fiance, Kim Kardashian, to the FLOTUS, Michelle Obama &ndash; has recently come out with comments that touch on the industry&#39;s perpetual exclusion. </span></p><p dir="ltr"><span>In an interview with Ryan Seacrest on KIIS-FM, he <a href="http://guardianlv.com/2013/11/kanye-west-kim-kardashians-fashion-more-influential-than-that-of-michelle-obama/" target="_blank">said</a>, &ldquo;What I want to create isn&rsquo;t about black and white, but the reason why I&rsquo;m not able to create what I want to create is about being black, and is about classism.&rdquo; </span></p><p dir="ltr"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c">The music industry works differently. It is not less racist, but it is more inclusive. It is driven more by profit (allowing for a more diverse array of voices) than by inclusiveness or exclusiveness. </span></p><p dir="ltr"><span>Although the music industry also has a long history of cultural appropriation, the vast numbers of musicians and output has allowed people of color to flourish and cross boundaries in successes that can still be found in other industries such as the film, television, and yes, fashion industries. </span></p><p dir="ltr"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c">Kanye has not yet differentiated the two industries and he exists with a worldview in which success in one area can translate to another. His quotes may seem silly or idealistic, but they actually reflect a progressive challenge to the fashion industry that has yet to budge on its methods of exclusion. </span></p><p dir="ltr"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c">We allow the fashion industry to exist in this world of exclusivity and have for too long. It remains under the radar and most discussions about its exclusivity happen sporadically and only within its close, small circles. We&rsquo;ll see an editorial or two from a feminist or women&rsquo;s-oriented website. But for the most part, the general public does not understand how little the industry values inclusion. </span></p><p dir="ltr"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c">For most of us, our interactions with fashion are through the trends that have been reinterpreted from the runways and mass produced. We are not on the direct lines of the design process, the model selection, or the print publications. There is less choice for the public which makes it easier to exclude our voices. </span></p><p dir="ltr"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c">This is more difficult in areas like film and television, where our choices to watch &ndash; or not watch &ndash; have ripples that affect projects already on the air or in theaters and those in development. Although the last step in the Hollywood cycle, our direct participation is a key component to decisions made for the future (Consider the success of the first <em>Spiderman</em> and the glut of superhero movies we&rsquo;ve endured within the past decade as a result.). </span></p><p dir="ltr"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/AP785523062393%20%281%29.jpg" style="height: 461px; width: 310px; float: left;" title="(AP/Thibault Camus)" />The fashion industry is not a right system, but we can&#39;t pretend that it does not exist and ignore the far-reaching and continuous damage it inflicts. Its white supremacy and thin advocacy creates a homogenous culture that denies millions of potential customers the opportunity to own what has been created and makes those that are within the system exist in a constant state of reaction, maintenance, and competition. </span></p><p dir="ltr"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c">Recall the <a href="http://www.complex.com/style/2013/10/barneys-nypd-racial-profiling-trayon-christian" target="_blank">recent lawsuits</a> filed against the Barneys department store in New York City by two black customers. In one case, a young man named Trayon Christian was accosted by the NYPD under suspicion that he used a fraudulent credit card to purchase a $349 Salvatore Ferragamo belt. But the debit card and identification used to purchase the belt were his.&nbsp;These are clear cut examples of racial profiling, inherent to the very fabric of the fashion world. Underlying these incidents is the idea that black people can not possibly participate in the overpriced world of Barneys. Even if their forms of identification and debit cards form no problem (as was the case with the two lawsuits), their mere presence is cause for alarm. </span></p><p dir="ltr"><span>West <a href="http://www.complex.com/style/2013/10/kanye-west-fashion-rant-yeezus-tour" target="_blank">confirmed</a> as much in a recent 10-minute &quot;rant&quot; during his Yeezus tour about the fashion industry, comparing the incidents to the lyrics in his single &ldquo;New Slaves&rdquo; (&ldquo;</span>You see it&#39;s broke nigga racism, that&#39;s that &#39;Don&#39;t touch anything in the store,&#39; and it&#39;s rich nigga racism, that&#39;s that &#39;Come here, please buy more.).</p><p dir="ltr"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c">Soon after the Barneys controversy began, Jay Z, a collaborator with the store, <a href="http://lifeandtimes.com/a-statement-from-shawn-jay-z-carter" target="_blank">said</a>:&nbsp;</span></p><blockquote><p dir="ltr"><span>&ldquo;I am against discrimination of any kind, but if I make snap judgements, no matter who it&rsquo;s towards, aren&rsquo;t I committing the same sin as someone who profiles?&rdquo; </span></p></blockquote><p dir="ltr"><span>The prolific rapper and business man claimed that ending his collaboration with the store would ultimately hurt his foundation, The Shawn Carter Foundation, that stands to receive, &ldquo;25% of all sales from the collaboration, 10% of all sales generated in the store on November 20th and an additional donation from Barneys.&rdquo; </span></p><p dir="ltr"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c">Rarely can someone outside of the industry breakthrough and Jay Z&rsquo;s comments reflect the isolation, exclusivity, and change the system places on who they accept. </span></p><p dir="ltr"><span>Although he claims his decision to not pull out of the collaboration is solely about the lost funding opportunity for his foundation, he also makes a point of comparing the discrimination felt by the two customers to making &ldquo;snap judgments&rdquo; about the character of the store and its employees. </span></p><p dir="ltr"><span>Any rational person can understand that these two situations are in no way one in the same. Discriminating against black customers further perpetuates a hostile environment of who is and is not included in the elite fashion world. Making judgments about Barneys documented actions against black customers creates an opportunity to create change, to eliminate that environmental hostility. </span></p><p dir="ltr"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c">The runways themselves are a perfect example too of the structural order. Rarely will one see a non-white face. Who belongs and who does not can be seen from the top (business executives, fashion designers) down. <a href="http://www.nytimes.com/2013/08/08/fashion/fashions-blind-spot.html?pagewanted=2" target="_blank">According</a> to the <em>New York Times</em>, </span></p><blockquote><p dir="ltr"><span>&ldquo;After a notable increase in 2009 that followed extensive news media coverage, the representation of black models has remained fairly steady until this year, when they accounted for only 6 percent of the looks shown at the last Fashion Week in February (down from 8.1 percent the previous season); 82.7 percent were worn by white models.&rdquo; </span></p></blockquote><p dir="ltr"><span id="docs-internal-guid-43b2ccfa-2338-ad57-6380-9b69538baf6c">Kanye West&rsquo;s obsession with the fashion industry is an important one and his comments must play out on a world stage. While seemingly humorous, in fact, they highlight the very real barriers between what is and is not considered fashion. It is absurd to Kanye that he (and his fiance, Kim Kardashian) have been excluded because of their successes and infamy. But those two things are not enough for an industry that largely incorporates non-white people only as the labor to hem and stitch and toil and nothing else.&nbsp;Certain bodies belong and others do not. Anything that differs from this structure must be an affront to its natural order. </span></p><p dir="ltr"><span>In fashion, it is inherently &ldquo;not good&rdquo; and &ldquo;not right&rdquo; because it is different. It is not white.&nbsp;</span></p><p dir="ltr"><em><span>Britt Julious&nbsp;</span>writes about race and culture in and outside of Chicago. Follow Britt&#39;s essays for&nbsp;<a href="http://wbez.tumblr.com/" target="_blank">WBEZ&#39;s Tumblr</a>&nbsp;or on Twitter&nbsp;<a href="http://twitter.com/britticisms" target="_blank">@britticisms</a>.</em></p></p> Mon, 04 Nov 2013 07:30:00 -0600 http://www.wbez.org/blogs/britt-julious/2013-11/fashion-if-its-all-white-its-all-right-109069 Chicago hip-hop stars team up to teach kids how to write music http://www.wbez.org/news/culture/chicago-hip-hop-stars-team-teach-kids-how-write-music-108202 <img typeof="foaf:Image" src="http://llnw.wbez.org//main-images/RHYMEFEST-KANYE_130726_JC (1).jpg" alt="" /><p><p dir="ltr">Kanye West and Rhymefest are collaborating on a free music writing program to assist at-risk youth on Chicago&rsquo;s South Side.</p><p dir="ltr">The &ldquo;Got Bars?&rdquo; program will teach young people how to write and record their own music over the course of 10 weeks. It&rsquo;s a collaboration between West&rsquo;s non-profit, Donda&rsquo;s House &mdash; named in honor of his late mother &mdash; and St. Sabina Church.</p><p dir="ltr">Donda&rsquo;s House Executive Director Donnie Smith said music writing helps the students, who will be between 15 to 24 years old, develop problem-solving skills.</p><p dir="ltr">&ldquo;Art instruction and particularly music instruction leads people to become better problem solvers, more flexible,&rdquo; Smith said. &ldquo;There are just so many outcomes that come from the study of music and particularly music writing.&rdquo;</p><p dir="ltr">She said the program&rsquo;s targeting at-risk youth between 15 and 24 because there aren&rsquo;t enough activities for them.</p><p dir="ltr">Rhymefest, who&rsquo;s co-founder and assistant director of Donda&rsquo;s House, will help kids write and record music in a studio. The program also includes lessons about exercise, nutrition and life skills.</p><p dir="ltr">Donda&rsquo;s House will release an EP that includes the participants&rsquo; songs.</p><p dir="ltr"><em>Lee Jian Chung is a WBEZ arts and culture intern. Follow him <a href="http://twitter.com/jclee89" target="_blank">@jclee89</a>.</em></p></p> Fri, 26 Jul 2013 09:46:00 -0500 http://www.wbez.org/news/culture/chicago-hip-hop-stars-team-teach-kids-how-write-music-108202 The battle for the soul of Chicago hip-hop http://www.wbez.org/blogs/jim-derogatis/2012-09/battle-soul-chicago-hip-hop-102642 <p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/1Chief-Keef-550x537.png" style="height: 439px; width: 450px;" title="" /></div><p>Even after the phenomenal worldwide success of Kanye West, in recent years Chicago hip-hop took a back seat to the sounds coming from the left and right coasts, as well as the Dirty South. You know the knock: The Windy City is the home of backpackers, granola-eating hippies and feel-good rappers like Common, Rhymefest, Lupe Fiasco, the Cool Kids, Kid Sister and Psalm One who, even if skeptics begrudgingly granted their skills, just weren&rsquo;t &ldquo;real hip-hop.&rdquo;</p><p>That idiotic slight comes, of course, from the fact that if any one thing ever has characterized the diverse group of musically inventive Chicago-bred rappers who&rsquo;ve grabbed the national spotlight in the past, it&rsquo;s been the refusal to exclusively pander to gangsta stereotypes, the same old nihilistic celebrations of hopelessness, sexism and violence, instead collectively painting a much more nuanced, often more positive and ultimately more realistic portrait of the lives of the majority of young African-American men and women.</p><p>In the hip-hop underground, the rise of the troubled teenage rapper Chief Keef and so-called Chicago &ldquo;drill music,&rdquo; with its celebration of all those tired but still lucrative gangsta clichés, has been the major story of 2012. And thanks to Keef&rsquo;s repellant shenanigans&mdash;<a href="http://www.wbez.org/blogs/jim-derogatis/2012-04/more-trouble-congress-theater-98249">from the use of a weapon in a run-in with police that first gave him bad-boy bragging rights</a> to his <a href="http://www.wbez.org/blogs/marcus-gilmer/2012-09/chief-keefs-taunting-tweet-has-him-hot-water-102220">now-infamous Tweet about the shooting of rival Lil Jojo</a>&mdash;the &ldquo;new Chicago hip-hop&rdquo; is becoming a topic for the national mainstream media, with stories running side by side with coverage of the city&rsquo;s increasing gang problems and skyrocketing murder rate.</p><p>And let&rsquo;s not even go near <a href="http://www.theroot.com/views/chief-keef">the more exploitative end of things</a>, including Pitchfork taking Keef to a gun range for a video shoot and then <a href="http://pitchfork.com/news/47032-watch-chief-keef-freestyle-at-a-gun-range/">pulling the clip from the site</a> once things got a little too controversial and too real.</p><p>Disappointingly, West has given Keef&rsquo;s soulless rap his endorsement by including a remix of the 17-year-old&rsquo;s &ldquo;I Don&rsquo;t Like&rdquo; on <em>Cruel Summer</em>, the new and largely underwhelming compilation album from his G.O.O.D. Music crew. Not that Keef is signed to &rsquo;Ye&rsquo;s label: He&rsquo;s inked a multi-million-dollar deal with Interscope for his forthcoming major-label debut. As the man behind Dr. Dre, Marilyn Manson, 50 Cent and Eminem, and a tireless champion of cheap shock and desperately offensive schlock, we expect Interscope chief Jimmy Iovine to be a Keef fan. But we expected better from West.</p><p>In recent days, other established Chicago stars have reacted differently to Keef&rsquo;s rise. Common, who also appears on <em>Cruel Summer</em>, has called for a summit between the old-school rappers and Keef and the new breed. &ldquo;I feel like we just gotta sit &lsquo;em down and build with them,&rdquo; <a href="http://www.bet.com/news/music/2012/09/19/common-wants-to-host-peace-summit-with-chief-keef.html">Common told BET</a>. &ldquo;Talk to them, get some type of peace thing going. It&rsquo;s bigger than rap. Kids is dying. I would tell Keef and all of them cats, &#39;Man we gotta sit down and figure out how we&rsquo;re gonna get to a peace meeting.&rsquo;&rdquo;</p><p>Meanwhile, even as he&rsquo;s dropping his fourth studio album <em>Food &amp; Liquor II: The Great American Rap Album Pt. 1, </em><a href="http://www.mtv.com/news/articles/1693272/lupe-fiasco-chief-keef-considers-retirement.jhtml">Lupe Fiasco is saying he&rsquo;s considering quitting rap</a>, largely because the success of artists such as Chief Keef disgusts him. The two rappers fought it out on Twitter after Lupe said the following in a radio interview: &ldquo;Chief Keef scares me. Not him specifically, but just the culture that he represents&hellip; The murder rate in Chicago is skyrocketing, and you see who&rsquo;s doing it and perpetrating it&mdash;they all look like Chief Keef.&rdquo;</p><p>Fired back the ever-eloquent Keef: &ldquo;Lupe fiasco a hoe ass n---a And wen I see him I&rsquo;ma smack him like da lil bitch he is.&rdquo;</p><div class="image-insert-image "><p style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/1Keef_0.jpg" style="height: 297px; width: 450px;" title="Chief Keef." /></p><p style="text-align: center;">&nbsp;</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/1lupe.jpg" style="height: 310px; width: 450px;" title="Lupe Fiasco." /></div></div><p>Will empty nihilistic drill music come to represent the new sound of Chicago for the world, flipping the script on what Keef&rsquo;s predecessors have built up as the city&rsquo;s hip-hop legacy? Is it part of the problem on the streets, or a symptom? And what are its merits and demerits on a purely musical level?</p><p>These are complicated questions that this blogger only is beginning to wrap his head around. Meanwhile, <a href="http://thedailyswarm.com/swarm/rational-conversation-fake-shore-drives-andrew-barber-chief-keefs-rise-amidst-chicagos-murderously-successful-hip-hop-moment/">the most cogent and insightful conversation on the topic that I&rsquo;ve encountered</a> to date was posted yesterday by the invaluable music-news aggregate <a href="http://thedailyswarm.com">The Daily Swarm</a> (which has its roots in Chicago). The latest installment of the site&rsquo;s &ldquo;Rational Conversation&rdquo; series, editor Eric Ducker talks Keef and drill music with Andrew Barber of the Chicago hip-hop website <a href="http://www.fakeshoredrive.com/">Fake Shore Drive</a>. Among his comments:</p><blockquote><p>The scene still has its supporters and stars. It&rsquo;s by no means dead, and there is more to Chicago than just the &ldquo;drill scene.&rdquo; That&rsquo;s what bothers me the most about the coverage Chicago is getting right now. All anyone wants to talk about is Chief Keef, but there are a ton of other artists here whose content is completely different. Artists like Rockie Fresh, YP, Spenzo, Chance the Rapper, Sir Michael Rock, and Kids These Days are incredible talents and deserve the same recognition. Around ten artists and producers from Chicago were signed in 2012; many of them sound nothing alike and have their own styles and movements. Record execs and A&amp;Rs hit Chicago like the gold rush this past spring and summer, and I think a lot of artists&rsquo; stuff will see the light of day on a major label. Now the artists just have to stand out, but all eyes are on Chicago right now, good or bad&hellip;</p></blockquote><blockquote><p>I can say that as far as cities go, Chicago has had a big year&mdash;its biggest since Kanye first emerged, and arguably the biggest in all of hip-hop in 2012. I just hope that when it&rsquo;s all said and done, the scene is remembered for the music instead of the controversy surrounding it.</p></blockquote><p>The interview is a must-read. And here is another, <a href="http://gawker.com/chief-keef/">a provocative think-piece from Gawker</a>. As for Keef&#39;s music being a must-listen... well, as I said, I&#39;m still grappling with that.</p></p> Tue, 25 Sep 2012 10:56:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2012-09/battle-soul-chicago-hip-hop-102642 John Monopoly: The guy behind the guy http://www.wbez.org/blogs/bez/2012-07/john-monopoly-guy-behind-guy-100775 <p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/johnmonopoly.jpg" style="height: 354px; width: 300px; float: left;" title="" />They were only teenagers when John Monopoly and Kanye West began working together. Kanye was the artist, John was the manager. The year was 1991.</div><p>By the time Monopoly stopped serving as his manager, West had racked up 10 Grammys and sold millions of records. Monopoly had his own impressive achievements- he ran G.O.O.D. Records, had his own nightclub in Chicago and could call many of the top rappers in the world his friends.</p><p>Now Monopoly is trying to break the next generation of Chicago hip-hop stars. His new label <a href="http://lawlessinc.net/">Lawless, Inc</a> is pushing the career of rapper King Louie and his southern-influenced street rap. Louie and his contemporaries have a less enlightened take than the conscious lyrics of the previous generation of Chicago rappers. It&#39;s drawn <a href="http://donnienicole.com/2012/06/27/chief-keef-is-the-bomb/">some criticism</a> from the older generation, including one of West&#39;s old collaborators, Rhymefest.</p><p>We ask John Monopoly about the changing of the guard in Chicago hip-hop on Wednesday&#39;s <em>Afternoon Shift</em>.</p></p> Wed, 11 Jul 2012 03:34:00 -0500 http://www.wbez.org/blogs/bez/2012-07/john-monopoly-guy-behind-guy-100775 Kanye West gets an epic profile in 'The Atlantic' http://www.wbez.org/blogs/bez/2012-04/kanye-west-gets-epic-profile-atlantic-98551 <p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/RS2429_KanyeWest_Joe%20Corrigan-scr.jpg" style="height: 452px; width: 300px; float: left;" title="(Getty/File)">In the May issue of <em>The Atlantic</em> David Samuels <a href="http://www.theatlantic.com/magazine/archive/2012/05/american-mozart/8931/#" target="_blank">profiles Kanye West in an article headlined "American Mozart."</a> After recounting his PR fiascos related to Hurricane Katrina and Taylor Swift, Samuels begins to arrive at West's artistic persona:</div><blockquote><p>"So it is worth noting, then, that while Kanye West is a next-level producer and rapper, a high-impact tweeter, a public consumer of chicken fettuccine, and whatever else he might be, he is also something different from a political leader or celebrity pitchman. Kanye’s emotional landscape may be troubled, but it is also a unified whole, which is the mark of any great artist. He is a petulant, adolescent, blanked-out, pained emotional mess who toggles between songs about walking with Jesus and songs about luxury brands and porn stars. Raised by his college-professor mother in Chicago, and spending summers in Atlanta with his father, a former Black Panther turned newspaper photographer turned Christian marriage counselor, Kanye united hard-core rap and the more self-aware and sophisticated inward style that had evolved in the early 1990s."</p></blockquote><p>Samuels draws distinctions between West and his "Big Brother" Jay-Z's more controlled, success-oriented persona. The two have had a mutual attraction and competition for years, ever since West produced Jay-Z's hit single "Izzo (H.O.V.A.)." Their recent collaboration, <em>Watch The Throne</em>, is the climax of Samuels' piece. He followed their tour and gleaned insight into the differences in their approach.</p><p>On Wednesday's <em>Afternoon Shift</em> we talk with David Samuels about Kanye West's place in the cultural landscape.</p></p> Wed, 25 Apr 2012 09:56:00 -0500 http://www.wbez.org/blogs/bez/2012-04/kanye-west-gets-epic-profile-atlantic-98551 An interview with Fake Shore Drive founder Andrew Barber http://www.wbez.org/blog/mark-bazer/2012-02-16/interview-fake-shore-drive-founder-andrew-barber-96473 <img typeof="foaf:Image" src="http://llnw.wbez.org//blog/photo/2012-February/2012-02-16/kanye_flickr_jason pearsse.jpg" alt="" /><p><p>If you're interested in rap music — specifically the Chicago scene — beyond what you hear on B96, there is no better place to go than <a href="http://www.fakeshoredrive.com/">Fake Shore Drive</a>. The editor and founder, Andrew Barber, stopped by <em>The Interview Show</em>&nbsp;last month to talk about the site, what artists to look for this year in Chicago hip-hop (King Louie, YP, among others) and why Kanye West can't live here anymore.</p><p style="text-align: center;"><iframe allowfullscreen="" src="http://www.youtube.com/embed/LlfPJcfxRhQ" width="560" frameborder="0" height="315"></iframe></p><p style="margin: 5px 0px 10px; padding: 0px; line-height: 1.4em;">The next&nbsp;<em>Interview Show</em>&nbsp;-- our four-year anniversary -- is Friday, Feb. 17, at The Hideout (1354 W. Wabansia) at 6:30 p.m. Guests include WBEZ's Steve Edwards, Hot Doug's Doug Sohn, the Portable Models, Soup &amp; Bread's Martha Bayne and DePaul "embedded sociologist" and filmmaker Greg Scott. More info&nbsp;<a href="http://www.hideoutchicago.com/" style="text-decoration: none; color: rgb(0, 104, 150);" target="_blank">here</a>.&nbsp;</p></p> Thu, 16 Feb 2012 17:30:00 -0600 http://www.wbez.org/blog/mark-bazer/2012-02-16/interview-fake-shore-drive-founder-andrew-barber-96473 The Paper Machete Radio Magazine 8/27/11: The Getting Screwed Episode http://www.wbez.org/blog/onstagebackstage/2011-08-31/paper-machete-radio-magazine-82711-getting-screwed-episode-91301 <img typeof="foaf:Image" src="http://llnw.wbez.org//blog/photo/2011-August/2011-08-31/briarrabbit.jpg" alt="" /><p><p><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-August/2011-08-31/kellykleiman.jpg" style="width: 500px; height: 333px;" title="Kelly Kleiman (Photo by Ali Weiss Klinger)"></p><p>We at Paper Machete have a new theme song this week -- it's "Pickin' Up the Pieces" by Fitz &amp; the Tantrums -- and lots of stories about and for people who just aren't getting what they should.</p><p>On our most recent episode, <strong>Kim Bellware</strong> talks about Syl Johnson, whose song "Different Strokes" wasn't cleared to be sampled on Kanye West and Jay Z's new album <em>Watch the Throne</em>.</p><p><strong>Kelly Kleiman</strong> discusses how some MAJOR Chicago institutions aren't paying property taxes and why-on-earth they'd do such a thing.&nbsp;</p><p><strong>Shannon Cason</strong> goes to the Southside and fills us in on&nbsp;the Moo and Oink grill, and food deserts.</p><p>And <strong>Briar Rabbit</strong> wraps things up with some tunes.&nbsp;</p><p>As usual, if you can hear us, this magazine is LIVE.&nbsp;Download it&nbsp;<a href="http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=450280345" style="color: rgb(0, 104, 150);" target="_blank">here</a>, or listen below.</p><p><audio class="mejs mediaelement-formatter-identified-1332483704-1" src="http://llnw.wbez.org/sites/default/files/2011-08-27-thepapermachete-radio-magazine.mp3">&nbsp;</audio></p><div style="word-wrap: break-word;"><p>And this coming Saturday promises to be an exciting one -- we have <a href="http://www.imdb.com/name/nm0842140/">Julia Sweene</a>y, SNL alum and very funny lady. Chad Briggs from <a href="http://www.chicagoundergroundcomedy.com/">Chicago Underground Comedy</a> will be there; Erin Shea Smith, author of<a href="http://www.amazon.com/Tales-Scale-Erin-J-Shea/dp/1593373287"><em> Tales from the Scale</em></a>; Phil Dawkins, <em>The Paper Machete</em> "Culture Schlock" reporter who combines arts &amp; crafts with skewering pop cultural analysis; Stephanie McCanles of <a href="http://thecancershow.com/"><em>The Cancer Show</em></a>; Bond Benton of the <a href="http://www.palookajournal.com/">Palooka Journal</a>, and <a href="http://www.imdb.com/name/nm3694753/">Michael Patrick Thornton</a> of ABC's <em>Private Practice</em>, and The Gift Theatre. And finally, Paper Thick Walls will serenade us with the sweet sweet songs of the end of summer.</p><p>Additionally, if you liked what you heard at the end of this week's podcast (or even if you didn't, just suck it up), head to <a href="http://lincolnhallchicago.com/">Lincoln Hall</a> tonight for more Briar Rabbit.</p><div style="word-wrap: break-word; text-align: left;"><img alt="" class="caption" src="http://llnw.wbez.org/blog/insert-image/2011-August/2011-08-31/briarrabbit.jpg" style="width: 600px; height: 400px;" title="Briar Rabbit (Photo by Ali Weiss Klinger)"></div></div></p> Wed, 31 Aug 2011 13:59:00 -0500 http://www.wbez.org/blog/onstagebackstage/2011-08-31/paper-machete-radio-magazine-82711-getting-screwed-episode-91301