WEBVTT

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>> THE BLUES ARE CENTER STAGE IN

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A NEW MUSEUM EXHIBITION THAT

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OPENS THIS WEEKEND.

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IT IS A LOOK AT A PIVOTAL MOMENT

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IN CHICAGO MUSIC HISTORY

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AMPLIFIED FEATURES EXHIBITS AND

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RARE PHOTOGRAPHS OF THE 1960s

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BLUES SCENE.

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AND IT TURNS THE SPOTLIGHT ON

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SOME OF THE GREAT ARTISTS WHO

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CAME TO DEFINE THE INFLUENTIAL

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SOUND OF THE CHICAGO BLUES.

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JOINING US TO TALK ABOUT THE

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LEGACY OF THE BLUES IS JOY

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BIVINS, DIRECTOR OF OCCUR TORAL

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AFFAIRS AT THE CHICAGO HISTORY

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MUSEUM.

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AND WELCOME TO "CHICAGO

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TONIGHT."

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THIS IS A STORY ABOUT MUSIC

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AND PHOTOGRAPHY AND ALSO A STORY

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OF MIGRATION.

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GIVE US A SENSE OF THE BIG

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PICTURE?

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>> SURE.

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SO THE CHICAGO BLUES ARRIVED

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WITH THE SOUTHERN BLACK MIGRANTS

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WHO CAME TO THE CITY STARTING IN

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THE 19-TEEN'S AND WITH THEM THEY

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NOT ONLY BROUGHT POLITICAL

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ASPIRATIONS BUT BROUGHT THEIR

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CULTURE WITH THEM.

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THE BLUES HAS A VERY DEEPLY

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ROOTED SOUTHERN EATING THOSE

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HERE IN THE CITY OF CHICAGO IT

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WAS TRANSFORMED INTO A LOUD

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ELECTRIC AND AMPLIFIED SOUND.

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BUT ULTIMATELY, YOU CANNOT TELL

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THE STORY OF BLUES IN CHICAGO

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WITHOUT TELLING THE STORY OF THE

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GREAT MIGRATION.

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SO THAT IS SOMETHING THAT

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DEFINITELY ROOTS THIS

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EXHIBITION.

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>> THERE IS AN ARCHIVE OF

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PHOTOGRAPHS BY A PHOTOGRAPHER,

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RAY FLERLAGE AND IT FORMS THIS

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COLLECTION FORMS THE BACKBONE OF

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THE EXHIBIT.

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AND HERE IS A PICTURE OF RAY.

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WHAT DO THE PHOTOS DO FOR THE

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ARCHIVES?

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>> THE PHOTOGRAPHS ALLOW US TO

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TELL A REALLY CRITICAL PART OF

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CHICAGO'S HISTORY.

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SO THE BLUES IS SOMETHING THAT

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WE RECOGNIZE AS A CULTURAL TOUCH

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POINT FOR CHICAGO.

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BUT OUR COLLECTION DID NOT HAVE

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THOSE IMAGES FROM THE SCENE IN

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THE 1950s AND 1960s.

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AND SO WE ACQUIRED THIS

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COLLECTION IN 2016 AND IT ALLOWS

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US TO SHARE IMAGES OF THOSE

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GREAT PRACTITIONERS WITH OUR

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VISITORS AND TELL STORIES ABOUT

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THE SOUTH AND WEST SIDES THAT WE

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DID NOT HAVE VISUALLY

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REPRESENTED IN OUR COLLECTION.

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>> YOU ELUDED TO THIS, BUT THE

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BLUES WERE TRANSFORMED WHEN THEY

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CAME TO CHICAGO.

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AND GIVE US CHARACTERISTICS OF

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THE GENRE OF CHICAGO BLUES.

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THE WHOLE NOTION OF AMPLICATION?

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>> RIGHT.

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CHICAGO BLUES IS CHARACTERIZED

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BY ELECTRIC GUITAR SOLOS AND

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AMPLIFIED HARMONICA SOLOS AND

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DRIVING RHYTHM SECTIONS.

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THE SOUNDS THAT THE MADE THE

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MUSIC IMPORTANT, SIGNIFICANT AND

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REALLY AFFECTED SO MANY

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DIFFERENT MUSIC LOVERS IS REALLY

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WHAT WE ARE TALKING ABOUT WHEN

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WE SAY THE CHICAGO BLUES.

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CHICAGO BLUES WHEN YOU THINK OF

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MUDDY WATERS AND HOWLIN' WOLF

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AND GEOFFREY COWAN TAYLOR IN

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YOUR MIND YOU CAN HEAR THE

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ELECTRIC GUITAR.

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WHEN YOU THINK ABOUT THE SOUND

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YOU CAN HEAR THAT WAY THAT

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LITTLE WALTER, THE FAMED HARP

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PLAYER TRANSFORMED THE SOUND OF

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HARMONICA BY AMPLIFYING THAT

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INSTRUMENT AND TURN TO GO INTO

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SOMETHING THAT WAS NEW AND

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DIFFERENT.

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>> BECAUSE THE BLUES IT WAS

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ACOUSTIC GUITARS AND AR MONICAS

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NOT AMPLIFIED.

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WAS IT CONSIDERED HER RHETORICAL

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WHEN MUSICIANS.

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>> NO, WHEN YOU THINK ABOUT THE

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BLUES OR BLACK MUSIC

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TRANSFORMING AS TECHNOLOGY IS

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ADDED, REALLY TRYING TO BE

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INNOVATIVE AND HAVE A NEW SOUND.

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I DO NOT THINK IT WAS HERITICAL

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AT ALL.

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>> THE IMAGE WAS LITTLE WALTER

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ON MAXWELL STREET.

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ALSO AND THAT IS LITTLE BROTHER

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MONTGOMERY.

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AND THERE WE HAVE THE FAME MUDDY

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WATERS IN HIS HOME AT 4339 SOUTH

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LAKE PARK.

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HE IS BEING INTERVIEWED BY RAY

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FLERLAGE AND MIKE BLOOMFIELD IN

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HIS LIVING ROOM.

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AND LETTING THEM KNOW WHAT THE

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BLUES IS AND SO ON AND SO FORTH.

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THERE WE HAVE JAMES COTTON AND

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OTIS SPAN IN THE BASEMENT AT

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MUDDY WATERS' HOME DURING A

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REHEARSAL.

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MUDDY WATERS HOME WAS A PLACE

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THEY REHEARSED.

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AND WE HAVE AN IMAGE OF LITTLE

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WALTER AT THERESA'S.

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41ST AND INDIANA, A PLACE WHERE

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YOU COULD GO AND HEAR THE BLUES

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ANY NIGHT OF THE WEEK.

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THAT IS THE WILLIE DIXON.

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WHO ARE IS ONE OF THE SUPREME

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ARCHITECTS OF THE CHICAGO BLUES

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SOUND.

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HE WROTE, PRODUCED HE WAS A

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TALENT SCOUT.

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AND THERE WE HAVE A YOUNG

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CO--COTE LORE AND NEXT TO

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LIGHTNING HOPKINS ON THE WEST

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SIDE OF THE CHICAGO.

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>> A HALL OF FAME OF THE CHICAGO

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BLUES.

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>> IT IS THE HALL OF FAME AND WE

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HAVE THE NAMES THAT YOU WOULD

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EXPECT IN A CHICAGO BLUES

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EXHIBITION.

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BUT WE ALSO INCLUDE ARTISTS THAT

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ARE NOT AS WELL-KNOWN.

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I THINK WE'RE TRYING TO PAINT A

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PORTRAIT OF WHAT THAT COMMUNITY

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WAS IN THE 1950s AND 1960s.

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>> PAINT A PORTRAIT OF RAY

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FLERLAGE, DIFFICULT NAME TO

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PRONOUNCE.

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>> IT IS.

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>> WHO WAS HE?

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YOU SAW A PICTURE AND HERE IS

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THIS WHITE GUY HANGING OUT WITH

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THE AFRICAN-AMERICAN BLUES

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MUSICIANS.

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TELL ME ABOUT HIM?

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>> RAY FLERLAGE HAD AN AFFINITY

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FOR MUSIC HE LOVED ALL TYPES OF

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MUSIC AND IN THE LATE 19 KNIFE

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OWES HE --

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1950s HE TOOK HIS TRAINING AS

05:59.533 --> 06:04.533 align:start position:10% line:74% size:55%
A PHOTOGRAPHER AND THE

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CONNECTION TO THE MUSIC BUSINESS

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AND STARTED TAKING IMAGES OF THE

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BLUES MUSICIANS.

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>> HE MUST HAVE ESTABLISHED A

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GOOD RELATIONSHIP THAT THEY

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WOULD LET HIM INTO THEIR HOMES.

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>> HE LIVED IN THE NEIGHBORHOOD.

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HE LIVED ON THE SOUTH SIDE OF

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CHICAGO.

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HE WENT TO THE CLUBS ALL THE

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TIME.

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HE WAS A RECORD MAN.

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A PROMOTER.

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SO HE HAD SOME RAPPORT WITH

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MUSICIANS WITHIN THE COMMUNITY.

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>> JOY BIVINS THANK YOU FOR

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JOINING US.

06:26.500 --> 06:30.633 align:start position:10% line:74% size:32.5%
>> THANK YOU.

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THANK YOU.

06:28.033 --> 06:34.333 align:start position:10% line:74% size:77.5%
>> AND THE EXHIBITION AMPLIFIED