WBEZ | Music http://www.wbez.org/news/music Latest from WBEZ Chicago Public Radio en Reclaimed Soul: Soundtrack To Unity http://www.wbez.org/programs/morning-shift/2016-02-10/reclaimed-soul-soundtrack-unity-114790 <img typeof="foaf:Image" src="http://llnw.wbez.org//main-images/Reclaimed-Soul_0.jpg" alt="" /><p><p>Vocalo&#39;s Ayana Contreras, host of Reclaimed Soul, brings us a preview to this week&#39;s soundtrack to unity - music that creates a mood of brother and sisterhood.</p></p> Wed, 10 Feb 2016 14:00:00 -0600 http://www.wbez.org/programs/morning-shift/2016-02-10/reclaimed-soul-soundtrack-unity-114790 Warming up with XTC on a chilly Wednesday http://www.wbez.org/blogs/jim-derogatis/2016-02/warming-xtc-chilly-wednesday-114789 <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/xtc1.jpg" style="height: 437px; width: 640px;" title="XTC in the early '80s: Moulding, Chambers, Gregory, Partridge (Virgin Records)." /></div><p>Lately I&rsquo;ve been thinking a lot about XTC. A longtime fan, I was prompted to revisit the New Wave British art-pop band&rsquo;s rich catalog when a friend posted on Facebook that he was reveling in doing the same. At the same time, I stumbled across a story on <a href="http://dangerousminds.net/comments/towers_of_london_must-see_doc_for_all_serious_xtc_fans">Dangerous Minds</a> linking to an obscure 1980 BBC documentary that tracked the recording of <a href="https://youtu.be/JRNHbBg6HVc">&ldquo;Towers of London,&rdquo;</a> the second single from the band&rsquo;s brilliant fourth album, <em>Black Sea.</em></p><p>Now I&rsquo;m playing the group more than I have at any time since I first saw it live (by accident), opening for the Police at Madison Square Garden in 1982. My fandom deepend a few years later courtesy of my old pal and XTC super fan Frank O&rsquo;Toole, who made the band a constant on his never-to-be-forgotten radio show on New Jersey&rsquo;s legendary free-form WFMU-FM. And I remained steadfast through the end of the band&rsquo;s active period in the early &rsquo;90s, mourning its eventual demise.</p><p>Seeing vocalists and songwriters Andy Partridge and Colin Moulding working with multi-instrumentalist Dave Gregory and drummer Terry Chambers at Richard Branson&rsquo;s Manor Studio in Oxfordshire in that BBC doc is revelatory. The band had earlier recorded its 1978 debut <em>White Music </em>at the studio, and it would return to lay down the disc I&rsquo;d peg as its masterpiece, 1982&rsquo;s <em>English Settlement</em>&mdash;though <em>Black Sea </em>is perhaps a close second, along with several other strong contenders among the 12 albums released between &rsquo;78 and &rsquo;92.</p><p>I often wonder why hasn&rsquo;t XTC hasn&rsquo;t been &ldquo;rediscovered&rdquo; and undergone the sort of posthumous resurgence among musical hipsters that has benefited so many other artists, from Krautrock bands like Can and Neu! to Big Star and Nick Drake. Perhaps the group was just a little too popular to qualify as a buried treasure, though certainly it never won the mainstream success it absolutely deserved. Then there was Partridge&rsquo;s infamous stage fright, which, Brian Wilson-like, took live performance out of the equation, as well as some later-day friction with Moulding (though the two are said to be talking again now).</p><p>Who knows? Maybe the XTC revival is still to come. (We can hope.) In the meantime, whether you&rsquo;re a fan who just hasn&rsquo;t thought about the band in a while, or someone who &lsquo;s never thought about it at all, you may enjoy this documentary, a rare look inside the studio at a group at the height of its powers, followed by the chunk I devoted to Partridge &amp; Co. in my book <em>Turn On Your Mind: Four Decades of Great Psychedelic Rock.</em></p><p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ne35P7kbucs" width="420"></iframe></p><p>&nbsp;</p><blockquote><p style="text-align: center;"><u><strong><em>Senses Working Overtime</em></strong></u></p><p>Chris Twomey&rsquo;s definitive biography <em>XTC: Chalkhills and Children </em>opens with the central incident in the band&rsquo;s story. After years of steady touring, the group was playing in support of its best album to date, 1982&rsquo;s <em>English Settlement</em>. Onstage at Le Palais in Paris, bandleader Andy Partridge froze only thirty seconds into the set, then ran off. In the weeks that followed, he attempted to come to terms with his paranoia and stage fright, but hours before a sold-out show at the Hollywood Palladium, he simply decided that he would never perform live again. After all, the Beatles had done it, and they had proceeded to do some of their best work.</p><p>XTC&rsquo;s guitarist and vocalist was born in Malta in 1953 to Vera and John Partridge, who was serving in the Royal Navy. When Andy was three, the family returned to a quiet, working-class life in Swindon, a small farm community seventy miles west of London. Andy was exposed to music from early on&mdash;his father was a singer who performed in local skiffle groups&mdash;but the interest really took hold when he saw <em>A Hard Day&rsquo;s Night </em>at age ten. As he entered his teens, he spent hours listening to psychedelic rock singles such as the Small Faces&rsquo; &ldquo;Itchycoo Park,&rdquo; the Move&rsquo;s &ldquo;Fire Brigade,&rdquo; and Pink Floyd&rsquo;s &ldquo;See Emily Play&rdquo;&mdash;&ldquo;a three-minute thing of a very memorable tune but with a big dollop of magic injected, either some strange effect or totally nonsensical lyrics that painted great brain pictures,&rdquo; as he told <em>Musician </em>magazine in 1987. He eventually bought a guitar and a used reel-to-reel tape recorder, partly with money that he won in a &ldquo;Draw Your Favorite Monkee&rdquo; contest, and he began making music himself.</p><p>Life wasn&rsquo;t always rosy. Reacting badly to his parents&rsquo; marital problems, Partridge was put on Valium to control wild mood swings at age twelve, and he didn&rsquo;t stop taking the drug until thirteen years later. He quit Swindon College in 1971 after a year and a half. By 1973, he was playing in a glam band called Star Park&mdash;later the Helium Kidz&mdash;with hard-drinking drummer Terry Chambers, quiet bassist Colin Moulding, and Dave Cartner, who was soon replaced by keyboardist Barry Andrews. As musical fashions shifted, the group moved from glam to pub-rock with science-fiction overtones, and a new name was needed. In late 1975, the Dukes of Stratosphear was passed over as &ldquo;too psychedelic,&rdquo; and the band became XTC.</p><p>Even though its music had little to do with punk, the quartet landed a contract with Virgin Records in the rush of excitement following the Sex Pistols. At Partridge&rsquo;s insistence, early press releases referred to him as a &ldquo;nuclear-powered Syd Barrett.&rdquo; XTC&rsquo;s first album included a herky-jerk cover of Dylan&rsquo;s &ldquo;All Along the Watchtower&rdquo; (a very un-punk choice) and a hyperenergetic declaration that &ldquo;This Is Pop.&rdquo; Even the title&mdash;<em>White Music</em>&mdash;could be considered a statement against the punks&rsquo; &ldquo;white noise.&rdquo; The album and XTC&rsquo;s tense live shows (which many compared to the Talking Heads&rsquo;) began to win an audience, and by August 1978, the band was ready to record a follow-up. XTC considered working with Brian Eno, who was a fan, but Eno said the band didn&rsquo;t need a producer. Virgin disagreed and paired the group with John Leckie. The resulting album, <em>Go 2</em>, is more ambitious and experimental. &ldquo;Battery Brides&rdquo; is a mechanical pop song that pays tribute to Eno, and Moulding&rsquo;s &ldquo;X Wires&rdquo; shows a serious desire to experiment in the studio.</p><p>From the start, Partridge wrote most of XTC&rsquo;s material, with occasional contributions from Moulding. Frustrated by this arrangement, Andrews quit and was replaced by Swindon pal Dave Gregory on guitar and keyboards. (Thomas Dolby lobbied for the spot but was rejected, since he was also an ambitious songwriter. Like Gary Numan, he went on to craft low-rent versions of Eno&rsquo;s and Kraftwerk&rsquo;s synthesizer-pop albums.) XTC toured non-stop through this period in what it called &ldquo;stupidly hard work,&rdquo; and albums (including the wonderfully poppy and Beatlesesque <em>Drums and </em>Wires) were crafted in a rush between commitments. <em>Black Sea</em> originally had the protest title <em>Working Under Pressure</em>, hence the deep-sea diver suits on the cover. Adding to the edginess, Partridge quit his long-time Valium addiction cold turkey. Ironically, the mounting tensions produced a serene and beautiful double album.</p><p><em>English Settlement</em> was crafted in the summer of 1981, the group&rsquo;s first extended down time in four years. It&rsquo;s a subtle and textured effort that makes extensive use of twelve-string guitar, fretless bass, synthesizer, and tom-heavy drum parts that draw on a variety of global rhythms. &ldquo;Until <em>English Settlement</em>, I&rsquo;d felt like a child in a sweet shop wanting to try a bit of everything, but only being allowed to choose licorice allsorts,&rdquo; Partridge told Twomey. &ldquo;I&rsquo;d broken from this moral chastity belt that told me it was wrong to put anything on our records that we couldn&rsquo;t reproduce live.&rdquo; Like the Soft Boys, XTC took a shot at wannabe punks with &ldquo;No Thugs In Our House,&rdquo; while other songs such as &ldquo;It&rsquo;s Nearly Africa,&rdquo; &ldquo;Melt the Guns,&rdquo; and &ldquo;Jason and the Argonauts&rdquo; found Partridge exploring distant lands and musing on global politics issues from the safety of his own comfortable Swindon armchair. &ldquo;I felt more English in the face of traveling the world,&rdquo; he said. But the strongest tune is about an inner voyage. If &ldquo;Senses Working Overtime&rdquo; wasn&rsquo;t inspired by a pleasurable acid trip&mdash;Partridge has never directly addressed the question&mdash;its sentiments and expansive sound certainly evoke the feeling. &ldquo;All the world is biscuit shaped/It&rsquo;s just for me to feed my face,&rdquo; he sings. &ldquo;I can see, hear, smell, touch, taste/And I&rsquo;ve got one, two, three, four, five/Senses working overtime/Trying to take this all in.&rdquo;</p><p>The song&rsquo;s title took on a different connotation in the wake of Partridge&rsquo;s onstage breakdown. Returning to Swindon, the band leader, who was now plagued by agoraphobia, decided against straying far from home again any time soon. The band was deeply in debt, and it was left without a drummer when Chambers quit because of the no-touring edict. The group forged ahead, but the problems contributed to the tentative, stilted sound of <em>Mummer</em>, and the album ends with a bitter declaration. &ldquo;The music business is a hammer to keep you pegs in your holes,&rdquo; Partridge sings in &ldquo;Funk Pop A Roll.&rdquo; Released in 1984, <em>The Big Express</em> has more upbeat moments&mdash;including the idyllic &ldquo;Everyday Story of Smalltown&rdquo;&mdash;but it is often over-produced and leaden. If XTC&rsquo;s earlier albums were limited by time constraints, its work after <em>English Settlement</em> suffers from a lack of urgency. The band clearly needed to blow out the cobwebs.</p><p>Partridge and Leckie were slated to produce Canadian singer Mary Margaret O&rsquo;Hara, but she fired them when she discovered they didn&rsquo;t share her strict Roman Catholic beliefs. Virgin owed the pair money, and Leckie convinced the company to give it to XTC for a bit of fun in the studio. The musicians had long been itching to pay tribute to the psychedelic rock they loved as teenagers. Working at a small studio in Hereford, they recorded six songs in two weeks, forcing themselves to use only vintage &rsquo;60s equipment. The <em>25 O&rsquo;Clock</em> EP was released on April Fool&rsquo;s Day 1985, under the guise of the Dukes of Stratosphear. XTC&rsquo;s name didn&rsquo;t appear anywhere in the artwork, but the strong melodies and West Country vocals left little doubt about who the culprits were. Like many of the psychedelic revival bands recording in America at the time, the Dukes&rsquo; faithfulness to late &rsquo;60s sounds, styles, and themes produced a classic psychedelic rock parody and homage. In a lengthy interview with the XTC fanzine <em>The Little Express</em>, the group offered detailed footnotes for each song: &ldquo;Bike Ride to the Moon&rdquo; is sung in a sort of &ldquo;loopy Cambridge&rdquo; accent over a Move bass line with lyrics that owe &ldquo;My White Bicycle&rdquo; and Syd Barrett&rsquo;s &ldquo;Bike&rdquo;; &ldquo;25 O&rsquo;Clock&rdquo; is a cross between the Amboy Dukes and the Electric Prunes, and &ldquo;The Mole from the Ministry&rdquo; layers Beatles-style Mellotron over a jaunty &ldquo;I Am the Walrus&rdquo; singalong.</p><p>While the EP breaks no ground, it&rsquo;s hard not to enjoy the Dukes&rsquo; spirited musical forgery. On its release, <em>25 O&rsquo;Clock</em> outsold <em>The Big Express</em> two-to-one, rekindling enthusiasm at Virgin for what had become a reclusive cult group. The company geared up for another go at making XTC a hit, insisting that the group work with a &ldquo;name&rdquo; producer. The band was enthusiastic about the prospect of recording. &ldquo;With XTC, we&rsquo;d lost sight of how to enjoy ourselves making a record,&rdquo; Moulding told Twomey. &ldquo;We spent a lot of time and money on our records and they weren&rsquo;t necessarily any better for it. The Dukes taught us how to have fun again.&rdquo; But Partridge&rsquo;s enthusiasm soon waned as he butted heads with the equally strong-willed producer, Todd Rundgren.</p><p>As a member of the Nazz and a quirky solo artist in the &rsquo;70s, Rundgren had displayed an aesthetic similar to XTC&rsquo;s. He sifted through the group&rsquo;s demos and developed a concept for a song cycle that traced a passing day from dawn to midnight. <em>Skylarking</em> returned to the pastoral tranquility of <em>English Settlement</em> while adding a new sophistication that represented influences such as the Beach Boys and the Beatles coming even further to the forefront. Moulding produced two fine pieces of psychedelic rock&mdash;&ldquo;Big Day,&rdquo; which had originally been considered for the Dukes&rsquo; project, and an homage to making love while lying in and/or high on &ldquo;Grass&rdquo;&mdash;while Partridge presented an irresistibly catchy three-minute slice of existentialism, &ldquo;Dear God.&rdquo; This direct and angry letter to the deity became XTC&rsquo;s first major American hit, resurrecting the band&rsquo;s career, generating tons of press by kindling a controversy in the conservative south, and preserving the band&rsquo;s future for some time. But its author hadn&rsquo;t even wanted it on the album, and Rundgren had to insist. (The producer also recruited a ten-year-old girl named Jasmine Veillette over Partridge&rsquo;s objections to play the part of the young Andy addressing the Almighty and asking the timeless question of why the hell He allows so much pain and suffering down here on earth.)</p><p>&ldquo;The band was at a point in their career where if they didn&rsquo;t get some kind of response to their records, they weren&rsquo;t going to be making any more records,&rdquo; Rundgren told Twomey. &ldquo;It had to be a record that people would listen to and enjoy. There were times when I was at loggerheads with Andy&rsquo;s natural propensity for excess.&rdquo; Though Partridge bad-mouthed Rundgren in countless interviews after the album&rsquo;s release, in time, even he admitted that the producer had done his job and done it well.</p><p>XTC followed <em>Skylarking</em> with a second Dukes of Stratosphear release, <em>Psonic Psunspot</em>. The album has less of the EP&rsquo;s joy and spontaneity, and XTC really didn&rsquo;t need its alter-egos any more: <em>Skylarking</em> had successfully married XTC and the Dukes. &ldquo;I had always wanted to be in a group that made that kind of music,&rdquo; Partridge told the band&rsquo;s biographer. &ldquo;There was a split image, and now they&rsquo;re merged.&rdquo; Unfortunately, he never heeded the lesson he should have learned while working with Rundgren, which was that the group needed an editor and mediator. When the band was limited by the time constraints of vinyl LPs, extraneous material was relegated to B sides, EPs, and rarities collections. After <em>Skylarking</em>, Partridge simply emptied his notebooks onto bloated and overlong albums. He had often eclipsed Moulding in the past, despite the fact that the bassist wrote many of the band&rsquo;s best songs, and in the absence of a strong producer, he became even more dominant. <em>Oranges and Lemons</em> (1989) and <em>Nonsuch</em> (1992) are good albums that could have been great if Partridge had accepted some discipline. Too many of the tunes seem like re-writes of earlier material, and Partridge&rsquo;s propensities for wordiness, cloying cuteness, and fussy baroque arrangements go unchecked.</p><p>The band lost its British and American recording contracts after <em>Nonsuch</em>, and it went on an extended eight-year hiatus. When it returned, the valuable multi-instrumentalist Dave Gregory was no longer in the fold, and 1999&rsquo;s <em>Apple Venus Volume I </em>and 2000&rsquo;s <em>Wasp Star (Apple Venus Volume 2) </em>failed to measure up to its finest moments in the past. The band&rsquo;s auteur remains unrepentant; in the grand tradition of English eccentrics, he lives by his own rules and makes music today primarily to please himself. XTC is basically &ldquo;a paying hobby,&rdquo; he has said, a pleasant diversion that ranks up there with arranging his armies of toy soldiers, drinking at the pub, and sitting up nights reading Jules Verne. &ldquo;People who like XTC like us for precisely the reason we aren&rsquo;t like everyone else,&rdquo; he maintains. &ldquo;If you like cheesecake, you don&rsquo;t like it because it reminds you of some other form of cake so you&rsquo;ll put up with the cheese element. You like it because it&rsquo;s cheesecake.&rdquo;</p></blockquote><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><strike>@</strike>JimDeRogatis</strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong>Facebook</strong></a><em><strong>, and podcast or stream </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong>.</strong></em></p></p> Wed, 10 Feb 2016 13:52:00 -0600 http://www.wbez.org/blogs/jim-derogatis/2016-02/warming-xtc-chilly-wednesday-114789 Hey Marseilles Brings New Sound With New Album http://www.wbez.org/programs/morning-shift/2016-02-04/hey-marseilles-brings-new-sound-new-album-114703 <img typeof="foaf:Image" src="http://llnw.wbez.org//main-images/Hey Marseilles-Flickr-ianmckay.jpg" alt="" /><p><p dir="ltr">Not many bands eight years into a career would be willing-or have the guts-to step back, reassess their sound, and take a new approach to recording and performing. But that&rsquo;s exactly what happened to Hey Marseilles.</p><p dir="ltr">The group is releasing their latest album and even though this is their third album, it&rsquo;s self-titled because in many ways it feels like they&#39;re announcing themselves to the world for the first time. Hey Marseilles joins us in the studio to share their new sound.</p></p> Thu, 04 Feb 2016 13:50:00 -0600 http://www.wbez.org/programs/morning-shift/2016-02-04/hey-marseilles-brings-new-sound-new-album-114703 Reclaimed Soul: Artisits Under Aliases http://www.wbez.org/programs/morning-shift/2016-02-03/reclaimed-soul-artisits-under-aliases-114693 <img typeof="foaf:Image" src="http://llnw.wbez.org//main-images/Reclaimed-Soul.jpg" alt="" /><p><p dir="ltr">On this week&rsquo;s Reclaimed Soul preview, Vocalo&rsquo;s Ayana Contreras brings us a crop of musical artists who recorded under aliases, and songwriters writing music under aliases (for a variety of reasons).</p></p> Wed, 03 Feb 2016 13:00:00 -0600 http://www.wbez.org/programs/morning-shift/2016-02-03/reclaimed-soul-artisits-under-aliases-114693 Remembering ‘soft rock’s seminal band’ http://www.wbez.org/blogs/jim-derogatis/2016-02/remembering-%E2%80%98soft-rock%E2%80%99s-seminal-band%E2%80%99-114688 <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/BlueJeanCommittee_CatalinaBreeze_Cover.jpg" style="height: 450px; width: 450px;" title="" /></div><p>Although the Eagles were one of the bestselling bands of all time, as definitive of their era as the Beatles were of the one before, <a href="http://www.nytimes.com/2016/01/19/arts/music/glenn-frey-a-founding-member-of-the-eagles-dies-at-67.html">the recent passing of their key member Glenn Frey</a> didn&rsquo;t elicit nearly the emotional outpouring of, say, <a href="http://www.nytimes.com/2016/01/12/arts/music/david-bowie-dies-at-69.html">the death of David Bowie</a>, which comes as no surprise to students of rock history.</p><p>More than any other group, the Eagles created the model of a superstar rock band as a ruthless, soulless corporation, thanks as much to their own blatant careerism as to the greed of their infamous manager, Irving Azoff, &ldquo;the poison dwarf&rdquo; from downstate Danville, IL. As amply demonstrated in the 2013 documentary <em>History of the Eagles</em>, as embarrassing and painful an authorized project as Metallica&rsquo;s <em>Some Kind of Monster</em>, the musicians pretty much hated everyone and everything, starting with one another, and very much putting the lie to all those peaceful easy feelings they crooned about. True, some songs stand as undeniably brilliant&mdash;chief among them &ldquo;Hotel California,&rdquo; which intentionally or not conjures the sinister undertones lurking behind their own swaying-palms facade. But much of that multi-platinum canon just ranges from insipid, to vapid, to gratingly insincere.</p><p>Just try to name another band that made punk rock more necessary.</p><p>In any event, as much of any of those Eagles earworms (&ldquo;Well I&rsquo;m a-runnin&rsquo; down the road tryin&rsquo; to loosen my load/I&rsquo;ve got seven women on my mind/Four that want to own me, two that want to stone me/One says she&rsquo;s a friend of mine&hellip;&rdquo; <em>ugh!</em>), the band I can&rsquo;t get out of my head in recent days is the Blue Jean Committee, one of the most brilliant creations of comedians Fred Armisen and Bill Hader in their extraordinary first season of <em><a href="http://www.ifc.com/shows/documentary-now">Documentary Now!</a></em>, the IFC series satirizing the sometimes self-important craft of documentary filmmaking.</p><p>As evidenced by his work on <em>Saturday Night Live </em>and <em>Portlandia</em>, former Chicagoan and one-time punk-rock drummer Armisen always does music well, and the season-closing two-party mockumentary <em>Gentle and Soft: The Story of the Blue Jean Committee </em>is especially spot-on. The target is the laidback California soft-rock scene of the early &rsquo;70s in general&mdash;with echoes of Bread, America, Jackson Browne, and many other mellow avatars of those groovy times&mdash;but the biggest specific inspirations clearly are Frey &amp; Co. and <em>History of the Eagles.</em></p><p>The Blue Jean Committee&rsquo;s driving forces, Clark Honus (Hader) and Gene Allen (Armisen), start out as buddies playing bad blues in Chicago at night while attending &ldquo;sausage school&rdquo; by day. They hop on the California bandwagon strictly for mercenary reasons, goaded and exploited by managerial mastermind &ldquo;Alvin Izoff.&rdquo; They cynically record &ldquo;the quintessential California album,&rdquo; <em>Catalina Breeze</em>, which spawns six consecutive hit singles&mdash;though they clearly never believe a word they sing or a note they play.</p><p>As with Frey, Don Henley, and all of the other Eagles except for the blissfully oblivious Joe Walsh, Honus and Allen come to despise one another. The big break happens with a fight onstage at the Hollywood Bowl during the &ldquo;Animal Rights Now Benefit.&rdquo; Allen, it seems, can no longer live with the hypocrisies of feigning the hippie vegetarian lifestyle and turning his back on Chicago sausage. He returns to the non-metaphorical meat grinder in his home town, while Honus walks around barefoot in white robes counting his millions in a mansion overlooking the Pacific Ocean. The inevitable latter-day reunion hardly smooths things over, instead instantly recalling all the old animosities.</p><p>&ldquo;Take it easy&rdquo; always is much easier said than done, of course.</p><p>Released with little fanfare late last year and deserving of much more attention, Armisen turned to his old pals at Chicago&rsquo;s Drag City Records to release a seven-song EP of the Blue Jean Committee&rsquo;s best-loved tunes, along with an additional seven-inch single. Like the documentary, <em><a href="https://www.amazon.com/Catalina-Breeze-Blue-Jean-Committee/dp/B0186NTSY6/ref=sr_1_1?ie=UTF8&amp;qid=1454514811&amp;sr=8-1&amp;keywords=blue+jean+committee">Catalina Breeze</a> </em>is perfect in tone and execution&mdash;a stone-cold hoot that evinces as much love as disdain for the subject of its parody, in the grand tradition of Spinal Tap or the Rutles. And &ldquo;Hotel California&rdquo; aside, I know whose songs I&rsquo;d rather listen to.</p><p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/PfrHCNo2I3M" width="560"></iframe></p><p><strong>The Blue Jean Committee, <em>Catalina Breeze </em>(Drag City)</strong></p><p><strong>Rating on the 4-star scale: 3.5 stars.</strong></p><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><strike>@</strike>JimDeRogatis</strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong>Facebook</strong></a><em><strong>, and podcast or stream </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong>.</strong></em></p></p> Wed, 03 Feb 2016 10:04:00 -0600 http://www.wbez.org/blogs/jim-derogatis/2016-02/remembering-%E2%80%98soft-rock%E2%80%99s-seminal-band%E2%80%99-114688 Radio M February 5, 2016: Let's celebrate the Mardi Gras! http://www.wbez.org/programs/radio-m/2016-02-02/radio-m-february-5-2016-lets-celebrate-mardi-gras-114678 <img typeof="foaf:Image" src="http://llnw.wbez.org//main-images/mardi gras.jpg" alt="" /><p><p>Shrove Tuesday 2016 is right around the corner; one more moment of revelry before the Lenten season. So this week on Radio M we throw the annual Mardi Gras/Carnival celebration. This year Radio M mines the sounds of Louisiana Cajun country where their celebration is known as Fat Tuesday Run or Courir de Mardi Gras, and of course the jazz, blues, R&amp;B and gumbo sounds of New Orleans. So get out your beads and masks and get set for a fais do do!</p><p>&nbsp;</p><p>Playlist</p><p>9PM</p><p>Dr. John - Big Chief- Dr. John&#39;s Gumbo</p><p>Professor Longhair- Go to the Mardi Gras- Louisiana &amp; The Old New Orleans Sound</p><p>Clarence Garlow- New Ron Ton Roulay-Lousiana &amp; The Old New Orleans Sound</p><p>Clifton Chenier &amp; His Red Hot Louisiana Band- Tous Le Jours- In New Orleans</p><p>Austin Pitre &amp; The Evangeline Playboys- La Valse des Bombaches- Louisiana Cajun French Music Vol.1</p><p>Fats Domino- Going to the River- Greatest Hits: Walking to New Orleans</p><p>Duke Ellington &amp; His Orchestra- Blues for New Orleans- New Orleans Suite</p><p>&nbsp;</p><p>9:30 PM</p><p>Barney Bigard- Doo Boo Loo Blues- Out Among the Stars</p><p>Dave Bartholomew- Country Boy- Funk</p><p>Jimmy C. Newman- Jambalaya( On the Bayou)- Happy Cajun</p><p>The Wild Tchoupitoulas- The Boys on the Battlefront- The Wild Tchoupitoulas</p><p>Louis Armstrong- The King of the Zulus- The Best of the Hot 5 &amp; Hot 7 Recordings</p><p>The New Orleans Salvation Marching Band- Joshua Fit the Battle of Jericho- Louisiana &amp; The Old New Orleans Sound</p><p>Mahalia Jackson- I&#39;m On My Way- Live at Newport 1958</p><p>&nbsp;</p><p>10PM</p><p>Balfa Brothers- La Danse de Mardi Gras- Cajun Saturday Night</p><p>Art Neville- You Don&#39;t Do Me Right- The Very Best of the Neville Brothers</p><p>The Dixie Cups- Iko Iko- Chapel of Love</p><p>Hackberry Ramblers- Jolie Fille- 100 Mardi Gras Favorites</p><p>Rosie Ledet- Dance the Zydeco- Pick It Up</p><p>Doug Kershaw- Toot Toot- Diggy Diggy Lo</p><p>Earl King- Funny Face- 100 Mardi Gras Favorites</p><p>James Booker- Something Stupid- New Orleans Piano Wizard Live!</p><p>The Hawkettes- Mardi Gras Mambo-Louisiana &amp; The Old New Orleans Sound</p><p>Pine Leaf Boys- I&#39;ll Always Take Care of You- Homage au Passe</p><p>&nbsp;</p><p>10:30PM</p><p>Tommy Ridgely- I&#39;m Gonna Cross that River- The King of the Stroll</p><p>Nathan Abshire-Fee Fee Poncho- A Cajun Legend</p><p>Tuts Washington- Tee Nah Nah-city of Dreams: A Collection of New Orleans Music</p><p>Archibald- Crescent City Bounce- Funk</p><p>Champion Jack Dupree- Stack O Lee- Blues from the Gutter</p><p>Terrance Simien &amp; The Zydeco Experience- New Orleans</p><p>Queen Ida &amp; The Bon Ton Zydeco Band- Ful Il Sa- J&#39;ai ete au Bal ( I Went to the Dance) Vol.</p><p>Allen Toussaint- It&#39;s a New Orleans Thing- Live at the 2009 New Orleans Jazz &amp; Heritage Festival</p><p>Allen Toussaint- Funky Bars- Connected</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p></p> Tue, 02 Feb 2016 14:34:00 -0600 http://www.wbez.org/programs/radio-m/2016-02-02/radio-m-february-5-2016-lets-celebrate-mardi-gras-114678 Radio M January 29th, 2016: Another Friday of Great Global Sounds. http://www.wbez.org/programs/radio-m/2016-02-01/radio-m-january-29th-2016-another-friday-great-global-sounds-114653 <img typeof="foaf:Image" src="http://llnw.wbez.org//main-images/Studio-One.png" alt="" /><p><p>There&#39;s never a dull moment on Radio M. This week we go to Jamaica for music from the Studio One vaults, Chile for a dose of&nbsp; psych rock from 1970, funky sounds from Ivory Coast and a stop in Israel for the latest from Idan Raichel. Plus another cut from the new album by Tuvan throat singer Sainko Namtchylak. And next week it&#39;s the annual Mardi Gras/Carnaval Radio M show. Tweet your request to host Tony Sarabia @wbezsarabia. On with the show!</p><p>&nbsp;</p><p>Playlist</p><p>9PM</p><p>Leroy Sibbles- Express Yourself- Studio One Soul</p><p>The 5, 6, 7, 8&#39;s- Dream Boy- Bomb the Twist</p><p>The 5,6,7,8&#39;s live on stage</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/rJ5TGC9JxIc" width="560"></iframe></p><p>&nbsp;</p><p>Aguaturbia- Heartbreaker- Psychedelic Drugstore</p><p>Tsvia Abarbanel- Yahel Hawa- Soul of the East</p><p>Chano Pozo- Tin Tin Deo-&nbsp; The Very Best of Chano Pozo</p><p>Debruit- Afro Booty Musique-&nbsp; From the Horizon</p><p>Talking Heads- Born Under Punches- Remain in Light</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YO7N2tFb0X8" width="420"></iframe></p><p>&nbsp;</p><p>9:30PM</p><p>Tamikrest- Imanin Bas Zihoun- Chatma</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/APSCPAAs6LQ" width="560"></iframe></p><p>Sainko Namtchylak- Melody in My Heart- Like A Bird or Spirit, Not A face</p><p>Cuarteto Patria- Parales Pinares</p><p>Eliades Ochoa was a member of Cuarteto Patria before Buena Vista Social Club then he took part in the Afrocubism project. He never goes anywhere without his trademark cowboy hat.</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/UXMyK6hbQZc" width="420"></iframe></p><p>&nbsp;</p><p>David Bowie- Black Star- Black Star</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/kszLwBaC4Sw" width="560"></iframe></p><p>&nbsp;</p><p>10PM</p><p>Jefferson Airplane- The Ballad of You &amp; Me &amp; Pooneil- After Bathing at Baxter&#39;s</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/LwFR5fjs8m4" width="420"></iframe></p><p>Idan Raichel- Ma&#39;agalim ( Circles)- At the Edge of the Beginning</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/FLhwxlrteS4" width="560"></iframe></p><p>Afrosound- Ponchito de Colores- The Afrosound of Colombia Vol. 1</p><p>Philip Cohran &amp; The Artistic Heritage Ensemble- New Frankiphone Blues- The Zulu 45&#39;s Collection</p><p>Sting &amp; Dominic Muldowney- The Ballad of Mack the Knife- Lost in the Stars: The Music of Kurt Weill</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/zMWc4h77e2o" width="420"></iframe></p><p>Orchestra Lissango- Okuzua- Afro Rock Vol.1</p><p>&nbsp;</p><p>10:30PM</p><p>Los Sander&#39;s de Nana- Recuerdos- El Sonido de la Carretera Central con el Rey de la Guitara Teo Laura</p><p>Jimmy Cliff- Let&#39;s Dance - Jimmy Cliff</p><p>DJ Rehka- Bhanghall- Basement Bhangra</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xmo-gqSlWN8" width="420"></iframe></p><p>Ursula 1000-&nbsp; Repetez le Repetoire- Mondo Beyond</p><p>Okoi Seka Athnase- Melokoton Membun Ou- Ivory Coast Soul Edits</p><p>Eddie Palmieri- Las Negritas del Carnaval- Electro Duro</p><p>&nbsp;</p></p> Mon, 01 Feb 2016 10:26:00 -0600 http://www.wbez.org/programs/radio-m/2016-02-01/radio-m-january-29th-2016-another-friday-great-global-sounds-114653 The Return of Two Great Chicago Music Fanzines http://www.wbez.org/blogs/jim-derogatis/2016-01/return-two-great-chicago-fanzines-114651 <p><p>Though I spent the vaunted indie-rock &rsquo;80s haunting C.B.G.B. on New York&rsquo;s Lower East Side and Maxwell&rsquo;s across the Hudson River in Hoboken, N.J., I felt a strong connection to what was happening in Chicago during that fertile period that provided the crucial link between the initial explosion of punk in the &rsquo;70s and its flourishing in the mainstream during the alternative &rsquo;90s. I was eagerly waiting at the front of the stage when all of Chicago&rsquo;s best indie bands made their first treks east. Why?</p><p>Y&rsquo;see, kids, back before Al Gore invented the Interweb, leading to the deluge of of blogs, Tweets, and Facebook posts, one could still tune in to underground music (and many other esoteric interests) given the desire and a bit of initiative thanks to fanzines&mdash;self-published, D.I.Y. magazines that covered a culture almost no one else cared about. Chicago was home to three of the best in the country: <em>Matter Magazine</em>, edited by Medill journalism student Liz Phillip and featuring her classmate Steve Albini as star columnist; <em>Empire Monthly</em>, which grew out of Chicagoan Pat Daly&rsquo;s divey labor-of-love Empire Records Store on the far Northwest Side, and <em>Non-Stop Banter</em>, edited by Bruce and Debbie Novak from their home base at the other end of the map in the southwest suburbs.</p><p>Now, two of these three classic &rsquo;zines are back&mdash;not publishing again, alas, but with online archives of their work readily accessible via the Net. The complete (as far as I can tell) run of <em><a href="https://www.facebook.com/latherwas30yearsoldtoday/?fref=photo">Empire Monthly</a></em><a href="https://www.facebook.com/latherwas30yearsoldtoday/?fref=photo"> was posted on Facebook by Daly around the holidays</a>, while the Novaks not long before that unveiled a spiffy new site that is hosting all of the <a href="https://issuu.com/ablankslate">back issues of <em>Non-Stop Banter.</em></a></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/Empire.jpg" style="height: 595px; width: 450px;" title="" /></div><p>Warning: Both are intense but very rewarding time-sucks&mdash;and I mean that as the highest compliment.</p><p>Both zines lovingly and thoroughly covered the then-groundbreaking sounds of local bands such as Big Black, Naked Raygun, the Effigies, Eleventh Dream Day, Material Issue, the Slugs, Green and, well, pretty much everyone else in town in who drew a crowd of a dozen or more, as well as chronicling their fellow travelers (and soon to be major influences in the alternative world) far outside the Windy City: Sonic Youth, the Feelies, Salem 66, the Del Fuegos, Dinosaur Jr., R.E.M. (when R.E.M. still was R.E.M.) and many, many others, some forgotten, and some now lionized.</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/NSB%20copy.jpg" style="height: 563px; width: 450px;" title="" /></div><p>Neither publication would win points for stellar design: We&rsquo;re talking articles pounded out on an IBM Selectric and shrunk down to 8-point type with a copy machine, accompanied by photos pasted in with rubber cement and a headline rubbed on with Letraset. But the passion of writers such as Daly, the Novaks, Rick Reger, and Tina Woelke and photographers including Phil Rockrohr and the great Marty Perez is palpable on every page, and their talents are considerable.</p><p>These fans&rsquo; work not only stands up three decades later; it now is an invaluable window into the history of an incredibly rich period that might otherwise have been forgotten absent their love and devotion, to say nothing of the carpal-tunnel pain of hand-stapling mountains of Xeroxed pages to hand out at Metro or Lounge Ax.</p><p>Zine culture isn&rsquo;t dead, of course&mdash;in fact, like cassettes and vinyl, it is resurgent and arguably thriving in a new golden age. If you doubt it, you haven&rsquo;t perused the stacks lately at Chicago&rsquo;s venerable home to the scene, <a href="http://www.quimbys.com/">Quimby&rsquo;s on North Avenue</a> at the outskirts of Wicker Park. But the Net has forever changed the way we learn and read about new music (and everything else), and the zines of this era, like the hand-scribed Bibles of monks in the Middle Ages or the first edition of collected Shakespeare, are now relics very much worth celebrating.</p><p>Is it too much to hope that someone will scan their old copies of <em>Matter</em> and give them immortality on the Web, too? Until that happens, we have these sites, which could have no better soundtrack than the shoulda-been-a-hit 1987 tune from Great Plains, &ldquo;Letter to a Fanzine.&rdquo;</p><p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/9f4J2x3crc8" width="560"></iframe></p><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><strike>@</strike>JimDeRogatis</strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong>Facebook</strong></a><em><strong>, and podcast or stream </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong>.</strong></em></p></p> Mon, 01 Feb 2016 06:20:00 -0600 http://www.wbez.org/blogs/jim-derogatis/2016-01/return-two-great-chicago-fanzines-114651 Radio M January 22, 2016: New music from Baaba Maal, Tuvan throat singer Sainko Namchylak and Morocco's answer to James Brown. http://www.wbez.org/programs/radio-m/2016-01-25/radio-m-january-22-2016-new-music-baaba-maal-tuvan-throat-singer-sainko <img typeof="foaf:Image" src="http://llnw.wbez.org//main-images/sainkho.jpg" alt="" /><p><p>There already are a couple of great new releases for the new year; one is from a well known Senegalese artist the other from a female Tuvan throat singer who&#39;s remained a bit of a cult figure. Guitarist and vocalist Baaba Maal has not released a new album since his 2009 electronic heavy <em>Television</em>. His new one- <em>The Traveller</em>- features a mix of African roots sounds and western electro music.</p><p>The Guardian calls <em>Like a Bird or a Spirit not a Face </em>from experimental Tuvan throat singer Sainko Namtchylak the most unlikely fusion album of the year. That&#39;s because she teams up with two members of Tuareg group Tinariwen. The result works very well with desert blues and sparse calabash percussion providing the perfect accompaniment to Namtchylak&#39;s vocal variations- from child like cooing to eerie and beautiful wailing. This woman&#39;s got a seven octave range! The year for global music is off to a good start.</p><p>&nbsp;</p><p>Playlist</p><p>9PM</p><p>M&rsquo;Fadel Fadoul- Sid Redad- Al Zman Said</p><p>Sainko Namtchylak- Erge Chokka To- Like a Bird or a Spirit not a Face</p><p>Here&#39;s a bit of Sainko from a 2010 performance</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/qvyd-f7YpVw" width="420"></iframe></p><p>Baaba Maal- Fulani Rock- The Traveller</p><p>Hafusa Abasi &amp; Slim Hodi with the Yahoos Band- Sina Raha- Kenya Special: Selected East African Recordings From The 1970&rsquo;s-80&rsquo;s</p><p>The Good Ones- Dans L&rsquo;oublie&nbsp; (The World is in Chaos)- Rwanda is My Home</p><p>Grace Jones- Walking in the Rain- Nightclubbing</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ifhcWeXIOZs" width="420"></iframe></p><p>&nbsp;</p><p>9:30PM</p><p>Aurelio- Nando- Landini</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/aboegce_7kg" width="560"></iframe></p><p>The Duke of Iron- Mambo Calypso- Mambo Calypso</p><p>Sylvie Vartan- Suzanne- Nouvelle Vague</p><p>Abida Parveen- Meri Bukkai De Vich- 50 Greatest Hits</p><p>Suba- Sereia- Sao Paulo Confessions</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/lsLy2ocBHWw" width="560"></iframe></p><p>Jethro Tull &ndash; Fat Man- Stand Up</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/wVbDKB1TtEQ" width="420"></iframe></p><p>&nbsp;</p><p>10PM</p><p>Jerusalem in My Heart- Lau Ridyou Bil Hijaz (What If The Hijaz Were Enough?)- If He Dies, If, If, If, If, If, If</p><p>Yorkston/Thorne/Kahn- Everything Sacred &ndash; Everything Sacred</p><p>Tunto - Couscous Music- Huvi</p><p>Fofoulah- Balou Nala- Bene Bop</p><p>Cecilia Noel- Cars- Havana Rocks</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xmyoNEr4wZY" width="560"></iframe></p><p>Hailu Mergia &amp; the Walias- Tche Belew- Tche Belew</p><p>Hailu in Copenhagen. Maybe you saw him at Martyr&#39;s.</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xxOCqWGSNDA" width="560"></iframe></p><p>&nbsp;</p><p>10:30PM</p><p>Rabbits &amp; Carrots- Las 4 Culturas- Soul Latino</p><p>Dick Khoza- African Jive- South African Funk Experience!</p><p>Bob Marley &amp; the Wailers &ndash; Stir It Up- Catch A Fire</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/y5sOzbD29GQ" width="420"></iframe></p><p>Stromae- Ave Cesaria- Racine Caree</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/rO1VDCZh_Ko" width="560"></iframe></p><p>Cesaria Evora- Consedjo- Cesaria Evora</p><p><iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/4TSjLf-n3r0" width="420"></iframe></p><p>Tony Allen- Morose- Lagos No Shaking</p><p>&nbsp;</p><p>&nbsp;</p><p>&nbsp;</p></p> Mon, 25 Jan 2016 13:31:00 -0600 http://www.wbez.org/programs/radio-m/2016-01-25/radio-m-january-22-2016-new-music-baaba-maal-tuvan-throat-singer-sainko Chicago's photographers and fine artists celebrate the life of Michael Weinstein http://www.wbez.org/blogs/jim-derogatis/2016-01/chicagos-photographers-and-fine-artists-celebrate-life-michael-weinstein <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/Mike.jpeg" style="height: 358px; width: 640px;" title="Michael Weinstien, (Charmane Eastman)" /></div><p>This blog paid tribute to the one-of-a-kind political philosophy professor, punk-rock agitainer, and photography critic <a href="http://www.wbez.org/blogs/jim-derogatis/2015-09/farewell-fellow-traveler-michael-weinstein-112998">Michael Weinstein upon his death last September</a>. Now, the Chicago art community of which he was a tireless champion is gathering to celebrate his life at <a href="http://www.paulberlanga.com/events/mike-weinstein">Berlanga Fine Art &amp; Photographs</a>, 230 W. Superior, from 5 to 8 p.m. tomorrow, Saturday, Jan. 23.</p><p>Writes gallery owner Paul Berlanga, &ldquo;He needed nothing except his beloved soulmate Deena Weinstein and to live every moment in full. Anyone who knew Michael Weinstein is a bit more alive for having crossed his path. And for those of us in the art community, specifically the Chicago fine art photography community, we have lost our true champion; Michael was our critic, philosopher, interpreter and cheerleader. There is no other like him.&rdquo;</p><p>More info is available on the gallery&rsquo;s Web site at the link above and on <a href="https://www.facebook.com/events/1685449928398284/">Facebook</a>.</p><div class="image-insert-image "><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/19-913x620.jpg" style="height: 435px; width: 640px;" title="NJ Transit, NYC 1994 by Adam Yauch (Stephen Daiter Gallery)" /></div></div><p>Also on the rock and photography tip, this weekend is your last chance to catch a show at the Stephen Daiter Gallery, also at 230 W. Superior, pairing the work of the photographs of the Beastie Boys&rsquo; Adam Yauch, who died in 2012, with paintings by his father Noel.</p><p>The show has been open for several weeks, but it ends tomorrow, so didn&rsquo;t miss the opportunity to see it before it closes, before or after hoisting one in honor of fellow traveler Mike Weinstein.</p><p><em><strong>Follow me on Twitter </strong></em><a href="https://twitter.com/JimDeRogatis"><strong><strike>@</strike>JimDeRogatis</strong></a><em><strong>, join me on </strong></em><a href="http://www.facebook.com/pages/Jim-DeRo/254753087340"><strong>Facebook</strong></a><em><strong>, and podcast or stream </strong></em><a href="http://www.soundopinions.org/"><strong>Sound Opinions</strong></a><em><strong>.</strong></em></p></p> Fri, 22 Jan 2016 11:20:00 -0600 http://www.wbez.org/blogs/jim-derogatis/2016-01/chicagos-photographers-and-fine-artists-celebrate-life-michael-weinstein