A 1970s Jam Productions ad for “Poptown”
Chicago has long been recognized as a city of music pioneering spirit ever since the city’s African-American musicians transformed Delta Blues into Chicago Blues in the first half of the twentieth century. The city also thrived in the fifties and sixties when labels like Chess Records and Mercury Records were deeply rooted there. Since then, however, the reputation for Chicago being a musical vanguard has mostly dwindled. While I’m not suggesting that Chicago musical artists don’t have the chops to make it in a world of seemingly New York, Los Angeles, Nashville or Austin-centric music meccas, it certainly seems that Chicago-based artists don’t enjoy that same sense of community or support that other well-known music cities share. And it’s a shame.
Recently, I wrote a piece entitled ‘An Open Letter To The Chicago Music Community,’ in which I received overwhelming response, albeit mostly from the people I had reasonably expected to get feedback from – namely, artists and fans. Not surprisingly, I did not get much (though, I did get some!) response from the people I had hoped to generate discussion with – club owners/bookers, promoters, record labels, managers, booking agents, music press and pundits, performing rights organizations, radio, the existing Chicago Music Commission, or the City of Chicago. You see, the people who stood to gain the most, the people with the most control – the “business people,” the ones I thought needed to be part of the discussion, because I felt their commitment needed to be there to make it work – stood silent to the call-to-arms for collective change that is needed to fix a very real problem in the Chicago music community. And while I spent a few days proverbially shaking my fist at a lot of these people, it dawned on me that what needed to happen to spur the change was to reach the people that actually make the music and build the community. In this case, artists and fans, and the “business people” that seem to gravitate more towards belonging to the grass roots music community, rather than the aforementioned establishment.
Now, don’t get me wrong, I don’t necessarily subscribe to anti-establishment ideology (usually), and this isn’t an emotional outcry to try and rally troops against the “suits.” In fact, many might say that I am part of the machine, as I am General Manager and Co-Executive Producer at iconic Chicago music television show JBTV, and I also run an artist management company, Goldmill, and a record label, Sinister Muse. But what I am saying is that without an effective, collective, and united grass roots effort, not many folks with a financial stake in Chicago music are going to care much about the commotion. And, the truth is, we do need great clubs, promoters, managers, press, etc. to put Chicago back on the musical map, because we can’t do it simply as musicians. But, we need to view the change as a collective effort with overall community success in mind.
I was inspired to have come across a few recent articles (thanks to my friend John Tolva, new CTO for the City of Chicago) where Chicago’s new mayor, Rahm Emanuel, is trying to reinvigorate the Chicago music community by transforming the Uptown neighborhood into a music district. Frankly, I love this idea. And I hope that with the help and guidance of some visionary people from the Chicago music community working with city officials, it comes to life in a well-thought out manner that doesn’t impose on the success of the great venues Chicago already offers. But, I tread with wary caution and optimism, as it seems a bit ‘cart before horse’ to me. Mr. Mayor, let’s not forget about laying the proper foundation first and looking at our own existing resources. Sure, the proposed music district may expand the scope of outside music entering Chicago. And, yes, it will offer Chicago-based musicians the opportunity to play new venues. So, theoretically it will be good for Chicago music. But what will it do to educate and incubate the tens of thousands of Chicago musicians and artists that struggle on a daily basis between multiple jobs, with no insurance, in an economy that sees most local governments slashing art and music budgets for schools? Jobs? Perhaps. But, before we create that mecca of Chicago music, let’s make sure that the foundation, the artists in our own community, are given the opportunity and the tools to compete and succeed in their own backyard.
Another insightful article was presented from Dan Bobkoff at WBEZ 91.5 (“Can Music Boost The Midwest Economy?”) that suggested that Midwest cities like Chicago, Cleveland, Milwaukee, Detroit and Pittsburgh, who once had vibrant music communities which are now struggling, should invest in music collectives and embrace best practices used by cities like Austin, TX, where music thrives and musicians are widely supported by the community. Bobkoff went on to say that such programs have shown to contribute hundreds of millions of dollars, presumably through music festivals like South By Southwest (SXSW) and Austin City Limits (ACL), to the local economy. The State of Michigan even goes so far as offering tax breaks up to 42% for artists recording music or making music videos in their state. It’s time to replicate some of these incentives in our own city.
Many of you that contacted me after I wrote my last piece asked me what a music collective or “incubator,” if you will, would look like. Many more asked how they could help. I seriously thank you all for your passion and ideas. I don’t think a better opportunity has ever existed to band together (pardon the pun), plan a path, foster change, educate artists, support the arts, and enrich a community. There is no time like now for a true Chicago music collective.
Here are some ideas that some of you provided, along with some actions that I think can be taken. And I challenge all of you reading this to act and participate.
- Name the organization. CHICAGO MUSIC COLLECTIVE. Done. Let’s move on.
- Put together a “steering committee” that can help shape the collective. This should be made up of representatives from the artist community, club owners, promoters, music press, managers, city officials, agents, labels, essentially anyone who shares the common interest of supporting the arts, helping musicians navigate and become educated about their business, and enabling them to take control of their businesses (all musical groups ARE businesses, after all)
- Educate the music community-at-large about programs that already exist – Recording Academy’s MusiCares, Lawyers for the Creative Arts, free dental clinics for musicians, and ASCAP’s low-cost insurance options
- Create a support network for musicians and offer assistance to those struggling with alcoholism, substance abuse, or depression
- Assemble a think/do-tank to brainstorm, research, plan, and advise city officials on potential win-win programs for the community
- Develop a long-term plan/vision to “incubate” artists that display merit and have the potential to reach outside of Chicago and represent our community – we need artists like this to show the world that Chicago is a supportive and thriving music city
- Create partnerships with organizations that help musicians and the music community
- Work with city officials to develop programs that encourage music-focused companies to start up or move to Chicago
- Develop programs for artists that help them write, record, produce, market and distribute their music – let’s invest in promising talent and artists at the foundational level. We’ve got great studios and recording engineers in the city that are going widely unused. Let’s find ways to connect the Chicago music biosphere
- Record store day? How about ‘record store Tuesdays?’ Why limit it to one day a year? Support these great independent institutions, at least for local music
- Lobby to get dedicated “Chicago music” stages at Chicago’s largest music festivals, like Lollapalooza and Taste of Chicago.These events do a lot for the local economy, let’s help these festivals incorporate a plan to do a lot for Chicago musicians as well
So, I will issue a general challenge yet again. Hear me, Chicago Music Commission, City of Chicago, Chicago artists, clubs, promoters, media, and music fans. Mr. Mayor, you said you want Chicago to be a city “where arts and culture can be the engines of economic growth.” Sounds like a plan. I’m in.
If readers would like to provide feedback or share ideas, I can be reached at cpicciolini@gmail.com
Bands shouldn’t be scared to give away some of their music for free. Think of your tunes like a free salty bowl of pretzels in bar. When a patron sits down, they begin by munching on the saliferous treats, not knowing a damn thing about what the pretzels taste like or who made them. Before they know it, these drunkards (and music fans are definitely lushy, in theory) will want something more to wash them down. The more they snack on them, the more they drink. Before they know it, they’re totally wasted and they’ve spent $120 on the bar tab. Think of the beer as your merchandise, albums and live event ticket sales. Reel them in with something that’s free and enough to make them want to come back for more or to quench their thirst. If you’re lucky, they’ve bought their friends some rounds and now they’re part of the party and wasted too. All because of a darn bowl of salty pretzels. My point is, if you want to compete against all the other bands out there trying to hock their wares and compete for your beer money, maybe you should think like a bar owner and give people some salty pretzels to make them really thirsty first. Just sayin’.
Wow, here we are. Issue 18. I’m truly amazed at how far we’ve come in such a very short time. Against all odds and, for many of us, completely against a course that we once believed we were destined to tread many years ago.
