Podcasts about Chicago Transit Authority

This episode of The Other Side of the Bell, featuring trumpeter, recording artist and co-founder of the bank Chicago, Lee Loughnane, is brought to you by Bob Reeves Brass.  About Lee Loughnane:   Lee Loughane of the band Chicago joins host John Snell today to talk about discovering the trumpet and committing to a career in music, the groundbreaking idea of putting horns front and center in a rock and roll band, and stories of writing and recording some of those famous and iconic trumpet parts!   Lee Loughlane was eleven when his father asked him if he wanted to play an instrument. His dad had played trumpet when he was a kid, all the way through his time in the Army Air Force, but the horn was now up in the attic. Fortunately, that meant Lee already had a great instrument: a Bach Stradivarius.   Lee's dad took him to meet the band director at St. Celestine grade school in Elmwood Park, Ralph Meltzer, who said “show me your teeth.” He wanted to make sure they were straight so the mouthpiece wouldn't tear up the inside of Lee's lip. Lee passed the visual audition and became a trumpet player that day.   Lee met Walt Parazaider at Depaul University; Walt was playing in a band called The Missing Links and invited Lee to come sit in with them. Terry Kath and Danny Seraphine were also in the band. When they broke up, Walt wanted to form a horn band, which was initially going to be a Las Vegas show band, but turned out to be Chicago.   Once they got signed to a record deal with Columbia Records, the group went to New York and recorded the Chicago Transit Authority album at the 42nd Street studio. Having never recorded before, it was very intimidating standing in front of a Neumann mic. These mics pick up every aspect of your playing, so there's a learning curve until you figure out how to relax and blend with the band. The group learned more and more about the recording process through the years and as the technology developed, they developed along with it.   Chicago continue to tour the world every year, including with original members Lee Loughnane, James Pankow and Robert Lamm. Lee has put together a traveling studio in order to record on the road, with much less overhead. The late great Phil Ramone advised them to, "Get a great mic and a great preamp." You can't start with mediocre stuff and make it great later. It's got to be the best sound right off the bat, then you can enhance the sound even more in mixing and mastering.   Lee and audio engineer Tim Jessup convinced the rest of the band that the studio was going to be good enough quality to make a record with, and they recorded a version of “Dialogue”, on the bus, one instrument at a time and then mixed. Everybody was so pleased with the final product that Chicago XXXVl was recorded over 2013-14 without going into a studio.   Chicago have kept very busy throughout their career, and it's not slowing down. In fact, they're busier than any of them could have ever imagined they'd be. As Lee says, "I can't think of anything I'd rather be doing."   What a pleasure to be joined in this episode by rock icon and horn legend Lee Loughnane, someone who helped pioneer an entire genre of music and gave horns exposure to a whole new audience.   Episode Links: Official Website for the band Chicago Cover art photo credit: Blushing Cactus Photography Podcast Credits: “A Room with a View“ – composed and performed by Howie Shear Podcast Host – John Snell Audio Engineer – Ted Cragg  

"As I was walking down the street one dayA man came up to me and asked meWhat the time was that was on my watchYeah... and I said, Does anybody really know what time it is?Joining us to welcome Daylight Saving Time were Gil Scott-Heron, The Who, Strawbs, Moody Blues, Michael  Jackson, Joe Jackson, Tom Petty, Bob Welch, Dave Mason, The Alan Parsons Project, Led Zeppelin, King Crimson, Talking Heads, Dire Straits, Cyndi Lauper,  Bob Dylan,  Marvin Gaye, Flo & Eddie, Iron Butterfly, Stevie Wonder,  The Bee Gees, Derek & The Dominos,  Dire Straits, Pink Floyd and Chicago Transit Authority.

Chicago's second album, simply titled Chicago but at times retconned to Chicago II, is what really broke the band. The singles from Chicago Transit Authority didn't exactly light up the charts in 1969, but a year later they were re-released and shared the spotlight with the ones from Chicago. The band went on a massive tour and then right back into the studio for Chicago III, having to come up with all new material. In contrast to the hit machine that was Chicago, Chicago III saw the band taking the jazz part of their sound much more seriously, as well as adding in some funk and R&B. It was decidedly non-commercial, and would be their last double album for quite awhile.

Our "Best Debut Album" this week is "Chicago Transit Authority!" Next week, The Boss Bruce Springsteen takes center stage. Enjoy!

Desde sus inicios en 1967 hasta su consagración como una de las bandas más influyentes de todos los tiempos, Chicago ha marcado la historia del rock con su sonido único que fusiona jazz, pop y R&B. En este episodio especial de Vinyl Radio, George Paz te lleva en un recorrido por la evolución de la banda, sus cambios de formación, sus himnos inmortales y el legado que sigue vigente hasta hoy.

This episode of Seeing Them Live features an in-depth and in-person conversation with Ray the Roadie and Hollywood Mike, hosts of the Rock and Roll Chicago podcast. Joined by producer and co-host Doug Florzak, the episode was recorded inside the Illinois Rock and Roll Museum on Route 66 in downtown Joliet, Illinois, where the Rock and Roll Chicago podcast is also recorded. The Rock and Roll Chicago podcast provides a platform for bands and musicians from the Chicago area, delving into the history of rock and roll in Chicago and Illinois, the current scene, and the challenges and opportunities for musicians today. Mike and Ray share humorous anecdotes, such as Mike jokingly proposing 'The Procrastinators' as a name for his next punk band, and Mike mentioning his varied musical activities, including performing with bands like Cadillac Groove and Mike and the Stillmasters, and his solo work. Mike also uncovers a rich musical heritage after meeting a cousin who fronts a Zydeco band in Louisiana, leading him to discover his extended family's significant contributions to various facets of the entertainment industry. Ray recounts his multifaceted career journey, involving roadie work, being a firefighter for 28 years, and later diving back into music and podcasting post-retirement. Personal anecdotes include Ray's memories of his first concert, seeing Chicago Transit Authority, and his best concert experience with ZZ Top, where he enjoyed backstage access and partied with the band. Mike fondly recalls his first concert, a Billy Squire show with Def Leppard as the opener, and his best concert experience, which was a transformative Buddy Guy performance that inspired him to become a musician. The episode concludes with Ray and Mike previewing their plans for upcoming podcast episodes and discussing the Illinois Rock and Roll Museum's ongoing development and various exhibits, including guitars from Buddy Guy, and its status as a non-profit organization reliant on donations and memberships for support.BANDS: 4 Non-Blondes, Alison Krauss, Billy Joel, Billy Squire, Buddy Guy, Cadillac Groove, Def Leppard, Flat Cats, Iron Maiden, Joker, Led Zeppelin, Lynyrd Skynyrd, Mabel's, Mike and the Still Masters, Outlaws, Rage Against A Machine, REO Speedwagon, REM, Robert Plant, Stevie Ray Vaughan, Train, Vulgar Boatmen, Wrought Iron Soul, ZZ Top.VENUES:  Alpine Valley, Chicago Theater, El Macomber, Illinois Rock and Roll Museum, Illinois Rock and Roll Museum on Route 66, International Amphitheater, Mabel's, Ravinia, Rialto Square Theater, Rosemount Horizon, Route 66, Taste of Westmont, The Amphitheater, The Flat Cats, The Forge, The Riviera Theater. PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

The Chicago Transit Authority's $2.1 billion Red and Purple Line Modernization Project (RPM) is rebuilding a 5.6-mile elevated rail rapid transit structure and four stations, ensuring structural integrity, expanding capacity, and improving ride quality along a corridor on the North Side of Chicago. Included in this six-year project is removal of a failing embankment and returning land to the community. Here to talk with us about this project is Grace Ohs, Chicago Transit Authority RPM vice president and project lead. Grace earned her BS in Civil Engineering from the University of Illinois.

Today Jim Garrity revisits the headaches caused by examining lawyers who frequently interrupt your deponents' answers. To combat this problem, Garrity offers you a six-pronged strategy for stopping this practice and/or creating a strong record that will allow your deponents to later add materially to their interrupted testimony, whether by errata sheet, affidavit, or live testimony. Courts are far more likely to allow that where you've used Garrity's strategies. (By the way, if you have a moment, would you send our production team a small "thank you" by leaving us a five-star rating wherever you listen to our podcast? It takes just 30 seconds - we timed it! - and it's deeply appreciated. Our crew devotes a great deal of time to research and production, and the podcast is not only free, but also uncluttered by pesky advertising. Thank you so much.)SHOW NOTESIn re Injectafer Prod. Liab. Litig. ALL CASES, No. CV 19-276, 2022 WL 4280491  (E.D. Pa. Sept. 15, 2022) (“Defendants propose. . . changing “It would be one of the—yes” to “It would be one of the sources of information. Yes.” This change is not necessarily inconsistent with the original testimony because it appears that the deponent was cut off or otherwise stopped speaking in the middle of the sentence and is justified as making the answer more complete. See id. While finishing a thought is not necessarily a proper justification for an errata modification, here it appears to be justified and within the flexible scope of the Third Circuit's approach to Rule 30(e)")Grey v.  Amex Assurance Company, 2002 WL 31242195, No. B152467 (Ct. App. Calif. Oct. 7, 2002) (reversing summary judgment in part because trial court abused discretion in failing to consider errata sheet containing “changes. . . made because the witness was interrupted before completing her answers;” further noting that the defendant “. . .took the risk that [the plaintiff's] corrections would bring some of its undisputed facts into controversy”)Arce v. Chicago Transit Authority, 311 F.R.D. 504, 512 (N.D. Ill. 2015) (denying, without prejudice, motion to strike errata sheet, as motion failed to specifically discuss many of the 67 changes defendant wanted stricken; noting that “The reason given for the vast majority of the 67 changes was that [Plaintiff] “did not finish” her answer during the deposition, though the transcript does not reflect that she was interrupted and prevented from doing so,” and outlining how various courts and commentators deal with the extent to which changes to testimony can be made on errata sheets)Arce v. Chicago Transit Authority, F.R.D. 504, 512, fn. 5 (N.D. Ill. 2015) (noting that, if one looks back at the early origins of the rule on errata sheets, quoted in this opinion, it may be argued that the intent of the drafters was indeed to limit changes to clerical-level mistakes, not to allow substantive changes): "One commentator who examined the history of the rule dating back to the original Equity Rule 67, and the twin Equity Rules 50 and 51 that succeeded it, concluded that Rule 30 was never intended to allow for more than the correction of transcription errors: "Appeals to the plain language of Rule 30(e) are incomplete and misleading without reference to the Rule's transcriptive focus. Read in historical context, the Rule appears to be distinctly clerical, ill-equipped—and never intended—to embrace substantive changes. Although its wording has changed over time, Rule 30(e) has retained one modest but steady focus: the who, how, and what of accurate transcription. The Rule is meant to secure an accurate representation of what was said, leaving to another day (and frequently to the mechanisms of Rule 56) the question of the meaning and implication of the deposition content for purposes of material factual disputes. The common understanding of Rule 30(e) has moved far afield from that mild ambition, giving us the confusion and circuit split we know today. Read in light of its history, the Rule clearly embraces a transcriptive focus. Ruehlmann, Jr., supra, at 915. Rule 30(e)'s counterpart in Illinois state court, Supreme Court Rule 207(a), was amended to limit corrections to transcription errors because the “potential for testimonial abuse” had “become increasingly evident as witnesses submit[ted] lengthy errata sheets in which their testimony [was] drastically altered....” Ill. Sup. Ct. R. 207(a), Rules Committee Comment to Paragraph (a) (1995)Arce v. Chicago Transit Authority, 311 F.R.D. 504, 511 (N.D. Ill. 2015) (citing Deposition Dilemmas: Vexatious Scheduling and Errata Sheets, 12 Geo. J. Legal Ethics 1, 60 (1998), for its author's argument that Rule 30(e) permits “opposing counsel, at her choosing, to introduce both versions to the jury”)Thorn v. Sundstrand Aerospace Corp., 207 F.3d 383 (7th Cir.2000) (observing, as to changes in errata sheet, that what the witness “tried to do, whether or not honestly, was to change his deposition from what he said to what he meant;” quoting the common refrain that “a deposition is not a take home examination,” the court remarked that while this was a “questionable basis for altering a deposition.” the court would allow the change under Rule 30(e) since the rule expressly “authorizes ‘changes in form or substance'.”Tchankpa v. Ascena Retail Group, Inc., No. 2:16-CV-895, 2018 WL 1472527 (S.D. Ohio Mar. 26, 2018) (refusing, based on Sixth Circuit's strict interpretation of errata sheet changes, to allow “. . .impermissible substantive alterations to Tchankpa's testimony. . .”, including explanations stating “Incomplete; I was cut off,” allegedly because “defense counsel interrupted him;” “In this circuit, a deponent cannot make substantive changes to his deposition testimony under Rule 30(e) based on defense counsel's interruptions. . .”)Hirsch v. Humana, Inc., No. CV-15-08254-PCT-SMM, 2017 WL 9991896, at *2 (D. Ariz. Nov. 17, 2017) When a party makes changes to his deposition pursuant to Rule 30(e), the original answers remain part of the record. See Thorn v. Sundstrand Aerospace Corp., 207 F.3d 383, 389 (7th Cir. 2000) (“[T]he rule requires that the original transcript be retained (it is implicit in the provision of that rule that any changes made by the deponent are to be appended to the transcript) so that the trier of fact can evaluate the honesty of the alteration.”); Arce v. Chicago Transit Authority, 311 F.R.D. 504, 511 (N.D. Ill. 2015) (“Subject to the rules of evidence, the jury is permitted to hear the original answer, the change, and the reasons for the change and decide – in the context of all the other evidence – whether to credit either answer and what weight to assign it.”); Coleman v. Southern Pacific Transportation Co., 997 F. Supp. 1197, 1205 (D. Ariz. 1998) (accepting the argument that “a change in a deposition statement does not eradicate the deponent's original answers”); Lugtig v. Thomas, 89 F.R.D. 639, 641-42 (N.D. Ill. 1981) (“Nothing in the language of Rule 30(e) requires or implies that the original answers are to be stricken when changes are made.”). The reason for this is obvious: “[t]he Rule is less likely to be abused if the deponent knows that ... the original answers[,] as well as the changes and the reasons will be subject to examination by the trier of fact")Hirsh v. Humana, Inc., No. CV-15-08254-PCT-SMM, 2017 WL 9991896, at *2 (D. Ariz. Nov. 17, 2017) (court-ordered second deposition of plaintiff did not extend deadline for submitting errata sheet following delivery of transcript from first deposition; counsel claimed he “believed that the first deposition did not ‘count,' because it was ordered [to] be redone, and therefore corrections were reserved”; errata sheet rejected as untimely)Neutrion Dev. Corp. v. Sonosite, Inc., 410 F. Supp. 2d 529, 550 (S.D. Tex. 2006) (allowing and considering – without apparent challenge or concern – expert's substantive changes to errata sheet, necessitated “. . . [because he] began to explain the knowledge that one of ordinary skill in the art would possess, but was interrupted by Neutrino's counsel”)Trout v. FirstEnergy Generation Corp., 339 F. App'x 560, 565 (6th Cir. 2009) (noting argument made by defendant that plaintiff “. . . is not entitled to benefit from her corrected deposition testimony because her counsel did not rehabilitate her statements during the deposition,” meaning plaintiff's counsel could and should have asked followup questions while the deposition was in progress)Bahrami v. Maxie Price Chevrolet-Oldsmobile, Inc., No. 1:11-CV-4483-SCJ-AJB, 2014 WL 11517837, at fn. 2 (N.D. Ga. Aug. 4, 2014) (Although Plaintiff's brief in response to Defendant's objections discusses a long day and interruptions by Defendant's counsel during the deposition, those reasons were not provided in the errata sheet. The Court also notes that if Defendant's counsel interrupted Plaintiff such that he could not elaborate much as he wished, Plaintiff's counsel had the opportunity afterwards to examine her client on those points and did not do so.”)Fed. R. Civ. P. 30(e)(1)(B) (federal rule of civil procedure on errata sheets, which expressly contemplates possible changes in form or substance)Fed. R. Civ. P. 30(c)(2) (requiring objections not just to evidentiary issues but to a party's conduct, to the manner of taking the deposition, and to any other aspect of the deposition)Fed. R. Civ. P. 32(d)(3)(B)(i) (requiring objections to errors or irregularities at an oral examination if they relate to the manner of taking the deposition, a party's conduct, or other matters that might have been corrected at that time)

Graham Garfield has worked for the Chicago Transit Authority for almost 25 years. He is currently coordinating the construction of Phase 1 of the Red-Purple Modernization Project. Graham also runs Chicago-L.org, a website that provides extensive information about Chicago's rapid transit system.

1995's While You Were Sleeping is Molly's pick for this week! After a quick summary of the movie (powered by AI, LOL), she and her co-hosts (Meredith Lynch and Kristina Lopez) have a loose conversation about the characters, the themes, lessons learned, and enjoy several tangents. From IMDb: A hopelessly romantic Chicago Transit Authority ticket booth operator is mistaken for the fiancée of a comatose patient. Support the show and get episodes ad-free and early on Patreon Listen to our bonus episode of Lifetime's holiday movie based on the romance between Taylor Swift and Travis Kelce, Christmas in the Spotlight Learn more about your ad choices. Visit megaphone.fm/adchoices

I am joined by The Pat Whelan from BestEveningEver! to discuss Peter Schivarelli best known as the manager for the band Chicago and owner of now defunct hot dog stand Demon Dogs; however there is so much more. His story involves Streets and Sanitation, No-Show jobs, the Blizzard of 1977, dead bodies, and lawsuits. It is so Chicago it hurts!  We also have some fun digressions.  I laughed until I cried. Show Notes: Chicago Sun-Times: 43rd Ward aide under fire // TV catches sanitation chief doing errands on city tim Chicago Tribune: SCHIVARELLI TO RETIRE AMID JOB CONTROVERSY Chicago Reader: Schivarelli's Beef Chicago Tribune: CTA carryout order: Demon Dogs to go SCHIVARELLI v. CHICAGO TRANSIT AUTHORITY (2005) SCHIVARELLI v. CBS INC WBBM (2002) Chicago Tribune: EX-SNOW CHIEF SHOOTS INTRUDER Chicagoist: The Bill Comes Due For Demon Dogs Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike Stephen learns about a new CTA surveillance pilot program from Justin Agrelo, community engagement reporter at The Trace, discusses the impact of ending cash bail in Illinois with State Senator Robert Peters (13th), and gets the lowdown on local prog rock band McLuhan from vocalist & bassist Neal Rosner.

Forrest Claypool has one of the most impressive and varied resumes in politics...early campaign and operative work with David Axelrod and Rahm Emanuel, two-time Chief of Staff to the mayor of Chicago, opposing Barack Obama in mock debates in his 2004 Senate race, running the Chicago Park District, Chicago Transit Authority, and Chicago Board of Education, elected to the Cook County Board, intense races against the Chicago machine, and now author of the new book - The Daley Show - about the 20+ year tenure of Chicago Mayor Richard M. Daley. In this conversation, Forrest talks his path from small town Southern, IL to breaking into politics to his time running major city departments to being an integral part of the Chicago machine before running against the machine a few years later and deep into the last 40+ years of Chicago politics through the impact of the mayoralty of Richard M. Daley. IN THIS EPISODE...Forrest's roots in Southern Illinois and the state politics of his youth in the 60s and 70s...Forrest connects with David Axelrod at the start of the Axelrod rise as a national media consultant...The x-factor that made Axelrod such an effective political consultant...One of Forrest's favorite races he worked on as a political consultant...Forrest plays the role of Alan Keyes in Barack Obama's 2004 debate prep...Forrest's initial impressions of the 1990s Barack Obama who started making the rounds in Chicago politics...Forrest remembers the Rahm Emanuel he first worked with in the mid-1980s...Of the numerous positions he held around Chicago and Cook County politics, which did Forrest find most exciting...Why Forrest turned down an almost sure-thing, safe seat in Congress...What he learned when he ran for Cook County office himself...The Forrest Claypool 101 on effectively running organizations...His evolution as a foot soldier of the Daley machine to a prominent machine critic and opponent...What made Forrest write his new book, The Daley Show, about the 20+ year mayoralty of Richard M. Daley...How the original Mayor Daley, Richard J. Daley, dominated Chicago politics for decades...The story of Richard M. Daley in the political wilderness after the death of his father, and how he rose to the mayor's office via an "outside game"...Details on how the Chicago mob controlled an entire city ward into the 1980s and 90s...The importance of "abandoned cars" in running a city...The most important accomplishment of the Mayor Richard M. Daley era...The biggest "missed opportunity" from Daley's time as Mayor...The "most brilliant ploy" Forrest saw from Mayor Daley during the 1990s wars over Chicago-area airports...The story from Forrest's first race in Cook County, with his opponent trying to convince voters that Forrest (who is white) was a Black candidate...How far one has to go back in Chicago politics to find election-counting interference...Forrest's take on why Chicago is no longer "a city that works"...Forrest's favorite story of the influential Chicago columnist, Mike Royko...Forrest's must-see recommendations around Chicago for political junkies...AND AKPD, Yasser Arafat, Thomas Barnes, Evan Bayh, Michael Bilandic, Rod Blagojevich, Jane Byrne, Jimmy Carter, council wars, Fred Cowan, Andrew Cuomo, John D'Arco, Richard Dennis, economic invalids, eye-glazing agencies, Paul Findley, Newt Gingrich, The Grateful Dead, iron-handed bravado, Brandon Johnson, Martin Kennelly, Martin Luther King, Lori Lightfoot, Machiavellian power plays, Ron Madison, Millennium Park, The Rolling Stones, John Stroger, Ed Vrdolyak, & more!

Chicago Transit Authority is this week's Best Debut Album! Frank and I will tell you all about this great double-album. Next week, back to 1972 for Steely Dan's "Can't Buy A Thrill."

This week, Frankie and I continue looking at some of the Best Debut Albums of Rock--this time around it the Pretenders! Next week, one of Frankie's favorites--Chicago Transit Authority. Enjoy!!

Today's program features tunes from Jean Luc Ponty, Jeff Beck, The Wallflowers, Van Morrison, Eagles, Graham Parker, Counting Crows, America, Doobie Brothers, Batdorf & Rodney, Chicago Transit Authority, John McLaughlin, Bob Dylan, The Doors, Outsiders, Tommy James & The Shondells, Steppenwolf, Ten Years After, Spirit, The Troggs, Shadows Of Knight, Electric Flag and Savoy Brown.

Lee Loughnane of Chicago shares memories of the band's early period, the Chicago Transit Authority debut, Chicago's live performances, rediscovered recordings and the band's enduring legacy. Topic Include: Lee Loughnane – intro Early days – memories of Jimi Hendrix Jimi wanted to play/jam with Chicago Terry Kath and Jimi got along well Learnings from Jimi and Janis Audience of high improvisation tolerance Chicago has so many hits, they can't play them all in a show Touring with Earth Wind & Fire Playing when the power goes out Recording the 1971 Kennedy Center show Common to debut material live before recording The process of writing Chicago songs Jimmy writing the Ballet The naming of albums with Roman numerals Changing band name from Chicago Transit Authority Origin story of the Chicago band logo Releasing a double album as a debut Recording/rehearsing and writing 1st few albums Band house under the Hollywood Freeway AM radio wouldn't play early Chicago material “Make Me Smile” single for AM radio Band was concerned about feasibility to do multiple albums Playing Carnegie Hall – recent remix and box set Remixing early Chicago records Challenge of playing live in early days Terry's amp position on live stage Did Chicago record many early gigs? The Kennedy Center gig was special and recorded as such Chicago put out a lot of records early on Current tour going to Japan but not Australia Rediscovering Kennedy Center recording Debuting the song “Saturday In The Park” at the Kennedy Center Unheard Chicago songs and tapes been archived Chicago tapes – multitracks and masters Lee enjoys modern CDs much more than vinyl What's Lee listening to these days? Lee never got into punk rock Interview wrap up Order "Chicago at the Kennedy Center" LP set here Extended, Commercial-Free & High Resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

During any crisis, the "cool" heads prevail. In this episode we'll cover some Chicago's most daunting and outrageous challenges -- like an airport bulldozed in the middle of the night. Forrest Claypool has held the highest leadership post at three of the most critical municipal institutions: the park district, the public schools, and the Chicago Transit Authority. Claypool is the author of The Daley Show: Inside The Transformative Reign of Chicago's Richard M. Daley. Thom Serafin goes behind the scenes at City Hall with Claypool, who served as Daley's Chief of Staff for two tenures.  This is a conversation about the unapologetic use of power, and an adept use of passion for the Windy City.

A hopelessly romantic Chicago Transit Authority ticket booth operator is mistaken for the fiancée of a comatose patient. Watch on Philo! - Philo.tv/DTH

Bienvenue dans cet épisode de La Partition, où nous plongeons dans l'histoire du groupe légendaire Chicago. Formé en 1966 à l'université DePaul, à Chicago, ce groupe a su se démarquer par son son unique, mélange de rock, de jazz et de pop.Sous la direction du guitariste virtuose Terry Kath et du chanteur-bassiste Peter Cetera, Chicago a su conquérir les cœurs du public américain, puis du monde entier. Leur premier album, intitulé Chicago Transit Authority, a été un véritable coup de poing musical, avec ses cuivres puissants et son énergie débordante.

"Guinnevere had golden hairLike yours, mi'lady, like yoursStreaming out when we'd rideThrough the warm wind down by the bayYesterdaySeagulls circle endlesslyI sing in silent harmonyWe shall be free"Please join Guinnivere and me on this morning's Red Eye Edition of Whole 'Nuther Thing. Joining us are Ben E. King, Joni Mitchell, America, Fleetwood Mac, The Beatles, Rolling Stones, Hall & Oates, Jeff Buckley, Jean Luc Ponty, Paul Simon, Aretha Franklin, Herbie Mann, Van Morrison, Chicago Transit Authority, Ray LaMontagne, Blood Sweat & Tears, Otis Redding, Grateful Dead, Cream, John Lennon, ELO, John Mayall, Stevie Wonder, Simon & Garfunkel, Led Zeppelin and Crosby Stills & Nash.

This afternoon's program features tuneage from The Blue Dolphins, Oliver Nelson, Sting, Van Morrison, Christopher Cross, Chuck Mangione, Style Council, Bob Lind, James Lee Stanley, James Lee Stanley w John Batdorf, Beatles, The Cyrkle, Judy Collins,  Jefferson Airplane, Simon & Garfunkel,  Moby Grape, Love, Fleetwood Mac, Savoy Brown, Steely Dan, Chicago Transit Authority, Gypsy and Blood Sweat & Tears.

This is the inaugural DT101 Live!, with guest George Aye. George co-founded Greater Good Studio with the belief that design can help advance equity. Previously, he spent seven years at global innovation firm IDEO before being hired as the first human-centered designer at the Chicago Transit Authority. He speaks frequently across the US and internationally. George holds the position of Adjunct Full Professor at The School of the Art Institute of Chicago. Today, we are talking live about ethics in design in the design industry.  Listen to learn about: >> What is ethical design? >> The current state of ethics in the design industry >> Project “gut checks” and saying no to projects >> How power can warp ethics Show Highlights [01:33] Audience welcome + breakfast fun + mochi doughnuts! [05:20] Dawan shares the event agenda. [07:42] Dawan introduces George. [09:06] George starts off by talking about human-centered design. [09:41] The story of the invention of e-cigarettes on the Stanford campus and how it relates to human-centered design. [11:13] What George found most shocking about the story. [11:24] It's not just about can we do something, it's about should we do it? [12:38] Looking at the roots of the design industry. [13:13] The weakness of Dieter Rams' ten principles of good design. [14:20] What we need is an ethical framework for good design. [15:12] How Greater Good Studio approaches ethics in design. [15:58] Lived experience is expertise. [16:21] Design is transformative. [17:04] The design industry and education has trained designers to always say yes to projects, but not to know when to say no. [18:01] George's Ten Provocative Questions. [19:10] Losing one's inner conscience and voice. [20:47] A succinct definition of power. [21:24] Power asymmetry. [23:59] The risk of working on projects that potentially cause harm. [26:00] Greater Good Studio's weekly gut checks and breakup emails. [27:38] Some patterns and a framework when writing your own breakup emails. [29:12] Design is an accelerant. [31:08] We must call out the ways in which design can be harmful. [31:24] George's ideas around a possible standard design code of ethics and standards for practice. [32:05] Accountability, not gatekeeping. [37:21] Leadership needs to constantly practice being receptive to hard feedback from the team. [38:19] The gut check is a deliberate tripping hazard. [40:28] Ethics for people who don't normally handle ethics. [42:48] Approaching the potential for harm in a trained-to-be-optimistic design industry. [47:58] How do we approach C-suite and other leaders to have conversations around ethics? [51:49] What the next ten years looks like for ethics in design. Links George on LinkedInGeorge at SAICGreater Good StudioGreater Good Studio on MediumArticles by George Why designers write on the walls (and why you should, too)Design Education's Big Gap: Understanding the Role of PowerIt's Time to Define What “Good” Means in Our IndustryThe Gut Check, by Sara Cantor Aye DT 101 EpisodesDesign for Good + Gut Checks + Seeing Power with George Aye — DT101 E50 Design for Good + Ethics + Social Impact with Sara Cantor — DT101 E100 Trauma-informed Design + Social Work + Design Teams with Rachael Dietkus — DT101 E81

Cheech and Chong Dave's Not Here Deodato Also Sprach Zarathustra 8:47 Prelude 1972 Chicago Beginnings 7:41 Chicago Transit Authority 1969 Santana Stone Flower 6:10 Caravanserai [2014 Remaster] 1972 Cazayoux Wrecking Krewe 5:43 CAZAYOUX 2023 BOTTAZZ! Palamito 10:30 BOTTAZZ! Vol. 1 2023 Return To Forever Theme To The Mothership 8:38 Hymn Of The Seventh Galaxy 1973 […]

The embattled Chicago Transit Authority is taking another hit from Springfield, this time from a bill that would dramatically change the face of mass transit around the city and who controls it. Crain's political columnist Greg Hinz discusses the issue with host Amy Guth.Plus: A deal to restore peace at Northwestern is sparking more friction, mostly empty former Salesforce office property hits the market, owner of homeless shelter near Mag Mile files for bankruptcy amid foreclosure suit, and Rivian will add over 500 jobs in Normal to make its new SUV.

From the recent death of an employee on the job raising concerns about driver safety, to a program meant to bolster employment that's falling short of its goals, and a controversial appointment to the board, the Chicago Transit Authority continues to struggle. Reset talks through these issues, and some possible solutions, with Block Club Chicago's Manny Ramos, Chicago Sun-Times' Lauren FitzPatrick, and Commuters Take Action's Morgan Madderom. For a full archive of Reset interviews, head over to wbez.org/reset.

Guest: Abhishek Jaiswal, Data Analytics Intern at Chicago Transit Authority [@cta]On Twitter | https://twitter.com/jabhijOn LinkedIn | https://www.linkedin.com/in/jabhij/________________________________Host: Saman FatimaOn ITSPmagazine | https://www.itspmagazine.com/itspmagazine-podcast-radio-hosts/saman-fatima________________________________This Episode's SponsorsAre you interested in sponsoring an ITSPmagazine Channel?

"Across the evening sky, all the birds are leavingBut how can they know it's time for them to go?Before the winter fire, I will still be dreamingI have no thought of timeFor who knows where the time goes?Who knows where the time goes?"Well, the only time that matters today is 3PM PDT on the Saturday Edition of Whole 'Nuther Thing. Joining us are Earth Opera, Carly Simon, Larry Coryell, Bob Welch, Led Zeppelin, Tim Buckley, Blood Sweat & Tears, Fleetwood Mac, Chicago Transit Authority, Bob Dylan, Kenny Rankin, Santana, Free, Paul Butterfield Blues Band, Janis Joplin, Cream, The Electric Flag, America, Bert Sommer, The Byrds, Fred Neil, Jimi Hendrix Experience, Eric Clapton and Judy Collins.

In this week's episode, we take a look at the pros and cons of some of the most popular writing software, and a share a preview of the new HALF-ELVEN THIEF audiobook narrated by Leanne Woodward. I'm hoping to start on SHIELD OF DARKNESS soon, so let's look back at some of the DRAGONSKULL audiobooks! This coupon code will get you 25% off the audiobook of DRAGONSKULL: SWORD OF THE SQUIRE (as excellently narrated by Brad Wills) at my Payhip store: SPRINGSQUIRE The coupon code is valid through April 23rd, 2024. So if you need a new audiobook for spring, we've got you covered! Transcript   00:00:00 Introduction and Writing Updates Hello, everyone. Welcome to Episode 195 of The Pulp Writer Show. My name is Jonathan Moeller. Today is April 5th, 2024 and today we are talking about the pros and cons of different types of writing software. We also have an update on my current writing projects and as usual, Question of the Week. Before we get into that, let's do Coupon of the Week. For this week's coupon, I'm hoping to start on Shield of Darkness soon. So let's look back at some of the Dragonskull audiobooks. The following coupon code will get you 25% off the audiobook of Dragonskull: Sword of the Squire at my Payhip store and that is SPRINGSQUIRE. Again that is SPRINGSQUIRE and that will be in the show notes. This coupon code will get you 25% off Dragonskull: Sword of the Squire audiobook, as excellently narrated by Brad Wills. This coupon code will be valid through April the 23rd, 2024. If you need a new audiobook for spring, we have got you covered. Now for an update on my current writing projects. The rough draft of Wizard Thief is done. It came to about 74,000 words, which means it is about 15,000 words longer than the first book. I suspect no one will complain. I am now writing Thief's Favor, an ebook short story set in the world of Wizard-Thief. Newsletter subscribers will get a free ebook copy of Thief's Favor when Wizard-Thief comes out, hopefully before April is over. I am also 19,000 words into Cloak of Titans and after Wizard-Thief is published that will be my main project and then once Cloak of Titans is done, it'll be back to Ridmark and Andomhaim with Shield of Darkness. In audiobook news, the audiobook of Half-Elven Thief is done, as excellently narrated by Leanne Woodward. You can get it at all the usual audio bookstores, Audible, and all the others except for Google Play. For some reason, they seem to be having slow uptake on audiobooks for the last couple of weeks, and hopefully that should be cleared up soon. Otherwise, you can get Half-Elven Thief, as excellently narrated by Leanne Woodward at all the usual audiobook stores, and we will include a sample of the audiobook at the end of this podcast episode. So hang around for that. 00:02:13 Question of the Week Now, for this week's question of the week, which we do have interesting discussions on my blog and Facebook page. This week's question of the week was: what was the first musical album you ever purchased with your own money? No wrong answers, obviously. The idea for this week's question arrived because over Easter weekend I helped someone set up a device for ripping LP records to MP3. This was an interesting experience because it was in fact the first time I had ever attempted to use an LP record in any form, since by the time I became interested in purchasing music (more on that at the end of the segment), the LP era was well and truly over. Or was it? I thought it was amusing that vinyl outsold CDs in 2023 because as I learned firsthand, when I was setting up this LP ripper, vinyl is so much more cumbersome and fragile than either CD or streaming. Anyway, we asked people what their first album they purchased with their own money was and here are some of the answers. Malcolm says War of the Worlds LP vinyl. Justin says Rush, A Farewell to Kings on cassette tape. In the mid ‘90s, my daughters found my box of cassettes, a legacy of my military days, and it immediately became theirs. ABM says my first album (well in this case, CD) was Tragic Kingdom by No Doubt. Chris says Grand Funk Railroad, Survival. I'm that old, lol. Bonnie says Chicago Transit Authority and K-TEL Hits of the Month. Had “Cover of The Rolling Stone” on it. Brad says Jaws 1975 and that set me on the path of being a lifelong fan and rabid collector of film music. Venus says: my last day of 8th grade, I bought Annihilator-Alice in Hell and Metal Church-Blessing in Disguise. Same day, same store, same transaction. Cheryl says my very first purchase at the age of 14 back in the ‘60s was an album by the Walker Brothers from a secondhand shop. The first new album was Sticky Fingers, Rolling Stones, 1971. Tom says the Trainspotting soundtrack. Pamela says the Letterman 1968 Going Out of my Head. Michael says the soundtrack for Mad Max-Beyond Thunderdome, a musical feast of Jean Michel Jarre crossed with Tina Turner. On cassette tape, naturally. Scott says Guns and Roses, Appetite for Destruction. Brandy says Sisters of Mercy, Vision Thing. Rhion says I grew up in a college town and by age 4 I had a full, green milk of LPs from the discount bin. By five, I had four. I had my own personal collection and my own stereo because my uncle would go to dorm dumpsters at the end of the semester to grab stereos, et cetera, to refurbish. My first purchase was Oingo Boingo's Only a Lad and my second was Men at Work. They were $0.75 each. I remember because it was $0.25 over my budget. I had to ask for a quarter from my uncle. And finally, John says Leonard Nimoy Sings at a garage sale for twenty-five cents. It had The Ballad of Bilbo Baggins on it. Oh dear. If you have never seen The Ballad of Bilbo Baggins, which is a song about Bilbo Baggins sung by Leonard Nimoy of Star Trek fame, once you've finished listening to this podcast episode, go to YouTube, search for The Ballad of Bilbo Baggins and watch the music video of Leonard Nimoy singing The Ballad of Bilbo Baggins. It is hilarious. Thanks to everyone for their comments for Question of the Week. For myself, my answer for what the first musical album I ever purchased was a bit odd because it was, I suspect it was later than most of the people who mentioned this and the reason for that is I have a very odd relationship with popular music because for some reason I almost always have a hard time understanding song lyrics. Song lyrics usually sound like either monotonous droning or warbling to my ear. I don't know why. My brain just works that way. One of the few exceptions is Johnny Cash, who I can usually understand on the first try without any difficulty. Because of that, I've never really connected with most popular music, whether way back when I was a teenager or in the modern age. To this day, I still gravitate towards the soundtracks of computer games and movies that I like. So the first soundtrack I deliberately purchased with my own money was part of a computer game collection, specifically, the Quest for Glory collection, which came out in 1997 and that came with a CD of Quest for the Glory 5: Dragon Fire soundtrack, which I wanted. I already had all the Quest for Glory games on CD or in some cases floppy disk, but I bought that collection just so I could have the soundtrack CD. 27 years later, I still have it and I listened to that soundtrack while working on the final scenes of Wizard-Thief. 00:07:12 Main Topic: Pros and Cons of Writing Software Now let's venture into our main topic of the week, the pros and cons of the best writing software. I got thinking about this because a few years ago I was at the gym. Usually when I'm at the gym, I go on the treadmill and I bring a tablet with me with an ebook and whether I'm running or walking or whatever, I will read on the treadmill. While I was doing this, an elderly gentleman came up next to me on the next treadmill and asked if I knew of any word processing programs that would work on an Android tablet. Boy, did I have answers for him. I started to describe the various pros and cons of different writing software, and he very quickly got bored, made a polite excuse, and wandered away. However, this is a writing podcast with people who are interested in the business of writing, and so I thought it would be a good topic for this week's show because if you ever want your book to be read by other people, if you're not just, you know, handwriting it in a journal for your own emotional satisfaction, then at some point you will probably have to convert your book to a digital file and you will need a software program to do that, and if you're really serious about writing, you will probably need a word processor of some kind or a similar program. So the first one we're going to look at is one that many indie and traditional writers swear by. It's called Scrivener, and it is a program specifically designed for writing books or novels. The pros: it is designed specifically for writing. It has features for outlining, breaking documents into chapters, and tracking writing goals, etc. It has a one-time cost of $60.00 US instead of a subscription, which is increasingly rare nowadays since everything seems to require a subscription instead of a one-time price. And as an added bonus, they offer a free trial so you can try it out and see if it is to your liking. They offer a student discount, where if you buy it with a valid.edu address, you should be able to get a discount. So now here are the cons. The learning curve on Scrivener is pretty high. For basic writing, for something like Microsoft Word, you just open up Word to a blank document, start typing, and if you just want to do that, then the program will definitely meet your need. Scrivener is a bit harder to learn and you would probably benefit from watching a few tutorial videos on how to use it beforehand. I personally do not use Scrivener, though I don't object to it obviously because I know many indies and tradpub writers who know what they're doing swear by it, but for me it is kind of overkill and I don't use it. If you are thinking about Scrivener, it's probably good to ask yourself, will you actually use the extra features? Because my own writing process is pretty simple. I just type out an outline in one Word document, and then I type out the rough draft in a different Word document, and I don't need fancy outlining software or something like that for my process. That's not to say you can't use fancy outlining software, or that the software isn't good. You might remember last year on podcast I had an interview with Troy Lambert of Plottr, which is a very excellent program designed to help you outline your novel but if that's not something you're interested in doing, then Scrivener will probably be overkill for you. Scribner is probably best for people who take extensive notes on their work, especially if they're trying to organize research based on the chapters where it's needed. It may be best for the kind of people who enjoy curating Notion and Trello accounts and they're able to think about their book in a visual way. It is also good for people who extensively revise blocks of text within a chapter or move chapters around a lot. If that sounds like your writing process, and it sounds like something would be good for you, then it is definitely worth giving the free trial of Scrivener a try. Now let's move on to a more general word processing program and one that probably many people out there are familiar with: Google Docs. That is part of the Google suite of office software. You can do PowerPoint-esque presentations, spreadsheets, and documents in Google Docs. The biggest pro of Google Docs is that it's free. All you need to do is sign up for a free Google account and then you have free access to Google Docs and can start typing. It is very easy to use between multiple devices since it runs primarily in a web browser. If you are using one computer, you can close out and open a web browser on a different computer and use it that way. There are dedicated apps for both Android and iOS devices. It's very easy to share between multiple people and accounts and collaborate in real time, and this is honestly its biggest advantage over Microsoft Office besides the cost. Autosave also works extremely well. However, like everything else in life, there are cons. One of the cons of Google Docs is that it gets really slow with large files. I did try to write a book in Google Docs once and I tried a couple of short stories. The short stories are fine. If you try to write a novel in Google Docs, I found that starts to get really slow after about the 25,000 word mark or so. For obvious reasons, since Google Docs is an online service, it is very hard to use without an Internet connection. Perhaps the most important con of all is to be sure to back up to an additional location. If you lose access to your Google account for whatever reason, that means you lose access to all your files, including the book you were working on in Google Docs. So if you're using Google Docs, it's a good idea, it's in fact an excellent and imperative idea, to download your document every so often and save it in another location. Now let's move on to probably the most common word processing software on the planet as of this recording, Microsoft Word. Full disclosure, that is what I use most of the time. In fact, my podcast notes are in a Microsoft Word document. The pros are that you've probably already heard of it and many people are familiar with this product through work or school. If you've had an office job, you've probably used Microsoft Word at some point. And if you have gone through the modern educational system, there's a very good chance that you used Microsoft Word or Google Docs in school. Another advantage is that it's very easy to find online tutorials from Microsoft Office products. Another advantage is that Word is essentially the industry standard for publishing, which makes it a lot easier to share with the editors, translators, beta readers, etcetera. There are a couple of cons, though. Microsoft, like many other software companies, has been switching heavily to the subscription model, so I believe they still sell individual licenses for Office where it's a one-time fee, but then it's tied to a specific computer forever. If you want to really use Office, you have to get a Microsoft 365 subscription, which is often kind of a bummer if you are on a limited budget, which is why it's good there are free options like Google Docs available. Another con of Microsoft Word is that the program is, at this point, 41 years old. The first version of Word was released in 1983. Obviously, it has changed a great deal since then but feature after feature has been built up and piled onto Word to the point where in all honesty (this is as someone who uses Microsoft Word pretty much every single day for the last 15 years), it has a monstrous maze of overlapping and interlocking features. There's a common meme about how if you try to move a bullet point half an inch in Word, you'll start hearing sirens and explosions outside and your entire document will be messed up. This is not far from the truth. For just straight typing, Word is fine, but for more elaborate stuff it quickly becomes a big headache. Another con is that the real time collaboration features like Google Docs has are definitely lacking, and you really can't do that well with Word. If that's not something you do, it's not something you need to worry about but if you do a lot of collaboration, that is something to keep in mind. Again, in full disclosure, I could sit here for the next two hours and talk about the various bad experiences I've had with Microsoft Word, but the fact of the matter is, I've written 150 novels and I've written most of them in Microsoft Word. So it is right now the program I use to write. So on to the next writing suite of software. I wrote most of my books in Microsoft Word, but the ones I haven't written in Word I've written in LibreOffice, which is a free office suite that you can download for free. It doesn't require an Internet connection once it's downloaded. So let's go to the pros. It's free and open source. The interface kind of sort of looks like Microsoft Word, so if you are familiar with Word, the learning curve is not terribly steep. Some think that LibreOffice is faster than Word. Depending on how your system is configured, LibreOffice can be quite a bit faster than Word, having used both. LibreOffice is probably the best for privacy advocates, especially for those who are concerned about Microsoft and Google storing their work in their cloud services and possibly training various AIs on it. For myself, that's not something I worry about a great deal, because all my stuff has been pirated extensively for years, and as we all know, most of the big AIs out now were trained on pirated data, which they're getting sued about now. From my point of view, the horse is already out in the out of the barn for this, so there's no point in worrying about it. LibreOffice also has the advantage of being interoperable with most file formats. By default, it saves in what's called the open document format, but it is mostly cross compatible with the Microsoft Office formats. The cons aren't quite as many as Google Drive in my opinion, because it doesn't have to be online. Even though the user interface is very similar to Word, it's not identical and some people don't care for it. LibreOffice also has no built-in cloud storage functionality like Microsoft Word or Google Docs, so if you need to store your documents in the cloud somewhere for backup, you have to piece it together with another storage option. Though this is the other side of one of the pros, because LibreOffice does not require an Internet connection in order to work once you have it downloaded. So those are the pros and cons of some different writing software. Which one you pick is up to you and your particular writing needs. So that's it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A quick word of thanks to my transcriptionist for helping me pull together the research for this episode. A reminder that you can listen to all the back episodes on the official website at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcast platform of choice. Stay safe and stay healthy and see you all next week. And now let's close out this week's episode with a preview of Half-Elven Thief, as narrated by Leanne Woodward.

With blind spots in classic rock comes the need to explore what you don't know. This week is exactly that. It's time for the critics to listen to and talk about Chicago Transit Authority by Chicago.

A huge song from a band that should have taken over the world, an early cover from a band that kinda did, and a family band that can hold their own with both of them. I'm a Man, originally by Spencer Davis Group, covered by Chicago Transit Authority, and by Los Lonely Boys. Outro music is 25 or 6 to 4 by Chicago, where they really let the horns go wild. 

The Chicago Transit Authority and Chicago Department of Transportation released a plan in November that aims to create a more reliable bus service in the city. Reset learns more on what the plan includes from Jennifer Henry, CTA's director of strategic planning. We then heard from public transit advocates Kyle Lucas of Better Streets Chicago and Julia Gerasimenko of Active Transportation Alliance about what improvements they'd like to see to the CTA bus system.

If you like the Chicago Blues, you are going to love this episode as host Jim Ervin welcomes Toronzo Cannon in for a chat about his journey in the Blues. Listen in as Toronzo shares his experiences with some of the biggest names in Chicago Blues, and founding his music career, while driving a bus for the Chicago Transit Authority. It's a compelling discussion you won't want to miss! Come join us….the Chicago Way!Official Website: Toronzo CannonToronzo Cannon on SpotifyToronzo Cannon on InstagramToronzo Cannon on YouTube_________________________Facebook: Time SignaturesYouTube: Time SignaturesFacebook: Capital Area Blues SocietyWebsite: Capital Area Blues Society

Architect Andrew Schachman and multidisciplinary artist and educator Faheem Majeed are two of the four artists who, along with poet avery r. young and sculptor Jeremiah Hulsebos-Spofford, co-lead Chicago's Floating Museum. As its name suggests, the Floating Museum does not have a brick-and-mortar fixed space; rather it creates inventive projects through which to explore and strengthen the relationship between art, community, architecture and public institutions in sites throughout Chicago. One example of past Floating Museum projects is “Cultural Transit Assembly,” which activated not only the Chicago Transit Authority's green line but also parks and spaces along its track. Some green line CTA cars served as pop-up performance spaces and galleries, and giant movable sculptures as well as community-art events could be spied from the train throughout its route, inviting riders to visit neighborhoods that perhaps were new to them. Another example is “River Assembly,” which over a month saw an industrial barge dock at different sites along the Chicago River, bringing a host of performances and interactive exhibits to several neighborhoods, celebrating the entire city as one giant museum campus, all corners of which have always been hubs of culture and art.In a sign of the Floating Museum's cultural influence not only citywide but also nationally and abroad, its four leaders were tapped to be the co-directors of the fifth Chicago Architecture Biennial, one of only two architecture biennials in the world, the other being the century-old Biennial in Venice, Italy. Here Faheem and Andrew describe the municipal savvy and community trust they had to cultivate for the Floating Museum and its many projects to move throughout Chicago. They also discuss how as a quartet they manage a growing institution that must remain nimble and responsive enough to continually engage with its home city. https://floatingmuseum.org/

Chicago was one of the most successful bands of the rock era, racking up 21 Billboard Top Ten hits between 1970 and 1990. They were a band that placed equal (if not greater) emphasis on horns as guitar and picked up where Blood Sweat & Tears left off. Chicago quickly learned how to channel their expansive sound into concise pop songs, scoring hits in the early 1970s with punchy tunes like "25 or 6 to 4" as well as producing sweet melodies like "Does Anybody Really Know What Time It Is?" and "Saturday in the Park." As the ‘70s went on, the band began to emphasise their softer side with bassist Peter Cetera singing mellow standards like "If You Leave Me Now," "Baby and "Hard to Say I'm Sorry." The band kept the same sound after Cetera's departure in the mid-1980s. They continued touring and producing albums despite the fact that hits dried up in the ‘90s. Despite this, Chicago remained a pop/rock institution, with original members keyboardist Robert Lamm, trumpeter Lee Loughnane and trombonist James Pankow. Our guest today is Chicago co-founder Lee Loughnane who had been a music student at DePaul University with reed player Walter Parazaider and trombonist James Pankow. The three had moonlighted in St Louis' clubs, playing everything from R&B to Irish music but it wasn't long before organist and singer Robert Lamm was asked to join the band. The new group started playing around the Midwest and soon the sextet became a septet when Peter Cetera became the group's third lead singer. In 1968, they moved to Los Angeles and the album Chicago Transit Authority was released. The album reached the Top 20 and was certified gold. It went on to sell more than two million copies. The band shortened its name to Chicago and the second album in 1970 vaulted into the Top Ten even before its first single, "Make Me Smile," hit the Hot 100. It went on to reach the Top Ten, as did its successor, "25 or 6 to 4." The album quickly went gold and eventually platinum. "Does Anybody Really Know What Time It Is?" drawn from the group's first album, as its next single; it gave them their third consecutive Top Ten hit. Chicago III came out in 1971, Chicago V in 1972 spending nine weeks at #1, spurred by its gold-selling Top Ten hit "Saturday in the Park.” The next Top Ten hit, "(I've Been) Searchin' So Long," was released in advance of Chicago VII while Chicago X  included the Grammy-winning number one single "If You Leave Me Now." Chicago XI in 1977 generated the Top Five hit "Baby, What a Big Surprise." By 1984, the band released the biggest-selling album of its career, Chicago 17. It spawned two Top Five hits, "Hard Habit to Break" and "You're the Inspiration." At the turn of the '80s into the '90s, Chicago underwent two more personnel changes. In 1998, they released Chicago 25: The Christmas Album. The band was inducted into the Rock & Roll Hall of Fame in 2016. Their documentary “Now More Than Ever: The History of Chicago" debuted in 2017. Chicago received a Grammy Lifetime Achievement Award in 2020 and their 38th album was released in 2022. Our guest today is co-founder Lee Loughnane who discusses how and why after 56 years, 100 million in album sales and 21 top 10 singles, the Chicago band are still rolling. If you'd like to know more about Chicago head for the band's website https://chicagotheband.com/ If you have suggestions for future guests or would like to get in touch with feedback or comments please email me through my website https://abreathoffreshair.com.au/ I hope you enjoy this week's episode.

WBBM Political Editor Craig Dellimore talks with the Chicago Transit Authority's first ever Chief Equity & Engagement Officer Denise Baretto about the need for a position like this, what the job entails & more.

It takes a lot to drive a Chicago Transit Authority train. Since the pandemic, the job itself hasn't changed, but challenges remain.

Anna Davlantes, WGN Radio's investigative correspondent, joins Bob Sirott to share what happened this week in Chicago history. Stories include Pope John Paul II’s visit to Chicago, Michael Jordan’s retirement, the invention of the zipper, and more.

I'm Julie Gates and this is your Transit Unplugged News Minute. We're seeing a big win for Chicago. We're talking a potential funding in the billions. The Federal Transit Administration announced that funding for the Red Line Expansion Project has moved to the next phase. The project would extend the Red Line 5.6 miles to Chicago's far South Side, providing a more equitable transit system for communities that have historically lacked access. The Chicago Transit Authority is in line for $1.9 billion in critical grant funding needed to build the project. This would be the largest transit infrastructure grant awarded in the agency's history. In early September, the FTA notified CTA that the project has advanced into the next phase of the federal New Starts Program. That means that CTA can begin the engineering phase of the project, which will continue into 2024. Once all approvals have been met, funding is anticipated by the end of 2024 and then construction can begin in 2025. This Transit Unplugged News Minute is being brought to you by Modaxo, passionate about moving the world's people. I'm Julie Gates.

Actor & podcaster Benjamin Jenkins flexes his OnePiece knowledge on the boys, throws shade at James Corden, gets dirty with the mayor of Winnipeg, and destroys the Chicago Transit Authority.  Benjamin Jenkins: 2 Many Flix: https://podcasts.apple.com/us/podcast/2-many-flix/id1451981475 2ManyDice Astronautica: https://podcasts.apple.com/us/podcast/2manydice-presents-astronautica/id1571223656 Submit Segments: https://forms.gle/rfwsaeFFnX5AAFHY8 Drunk Shakespeare United: Instagram: https://instagram.com/drunkshakesunited Twitter: https://twitter.com/dshakesunited Check out our DnD show: 'What We Do in the Basement': https://podcasts.apple.com/ca/podcast/what-we-do-in-the-basement/id1552947049

This week we bring you our final segment from the UTIP Global Summit held earlier this summer in Barcelona. In this dynamic CEO Roundtable recorded live at the summit, we hear from Dorval Carter, President of the Chicago Transit Authority, Paul Skoutelas, President and CEO of APTA, Carla Purcell, CEO of Yarra Trams, and Jeremy Yap, Deputy Chief Executive of LTA Singapore. This panel continues the discussions started in the first CEO Roundtable with a focus on innovation across the industry, how places like Singapore are focusing on making public transport accessible for everyone, and how agencies will attract new, non-work trip riders to their systems. Together these two CEO Roundtables give a complete view of the challenges--and opportunities--facing transit today around the world. Sustainability, funding, new ridership patterns, and accessibility, all sewn together with a renewed spirit of innovation. Around the world, as highlighted at the UITP Global Summit, agencies are buoyed with this new sense of purpose. If you haven't listened to Part One, check it out and give it a listen. Next week on the show, we have William (John) Slot, Chief Innovation Officer at LYNX in Florida, and in our leadership segment, we have Rudy Vidal of Vidal Consulting Group. Please take a moment while you're listening to Transit Unplugged to leave a rating and review of the show. This helps other people find the show can become part of the Transit Unplugged community. If you have a question or comment, you can email us at info@transitunplugged.com.

The 16:9 PODCAST IS SPONSORED BY SCREENFEED – DIGITAL SIGNAGE CONTENT The out of home media company Intersection is probably best known as the operator of that network of smart cities display totems - called LinkNYC - on the sidewalks of Manhattan and New York City's boroughs. But the company has a much bigger footprint around the United States - mainly mass transport systems, but also the flashy Hudson Yards mixed-use development in New York, and United Airlines. I had a good chat with Chris Grosso, who took over as CEO a couple of years ago, but had already been with the company for a few years, having come over from the broadcast and digital world. We got into several things - like the state of the DOOH industry and the evolving needs and demands of the municipal governments who become business partners for Intersection. Smart cities needs, for example, are shifting. We also get into Intersection's recently announced addition of AI-driven ad and content targeting, with the idea of making what's on screens not just relevant to the city, but all the way down to neighbourhoods and streets. Subscribe from wherever you pick up new podcasts. TRANSCRIPT Chris, thank you for joining me. Can you give me a rundown on what Intersection Is all about?  Chris Grosso: Sure, and thanks so much for having me. Very excited to be here, Dave and I very much enjoy reading your publication and the newsletter, and the email all the time. I'm Chris Grosso, the CEO of Intersection. We are a leading out-of-home advertising company in the USA focused on major US cities. We really are differentiated from the other out-of-home companies in three ways. One is typically we put in consumer amenities in center cities, most notably things like the LinkNYC program in New York, so Wifi kiosks across the city of New York. We do customer information and advertising systems for places like Chicago Transit Authority and SEPTA Transit Authority in Philadelphia. And we do bus shelters in many US cities as well. So very much driven by bringing consumer amenities and partnerships with cities and transit authorities. The second biggest differentiator for us, which is most relevant to this conversation, is our focus on content and programming. We like to put useful content on our digital screens, and we wanna put entertaining content on our digital screens, and that could be anything from what time your train is coming to what the weather might be to art or fun facts. We want to program these screens just as you program any other screen in order to make them entertaining and engaging for consumers. And the last piece of our business we pride ourselves on is selling data-driven advertising. We like to be very focused on the data that helps our advertisers understand who they're reaching when they advertise with us, as well as what happens after the release.  So the idea of consumer amenity that I gather that the smart city-ish kiosk that you're putting on the street and other things like that, that's a more modern version of the amenities, to use your term, that outdoor companies have been doing for a whole bunch of time with bus shelters, right?  Chris Grosso: For sure, and we're also in the bus shelter business as well. We do some stuff with Bikeshare, and I think it's a long tradition in out-of-home advertising to bring the amenity to allow us to get access to the public right of way to put the advertising in, and this is very valuable for a city transit authority because they're getting something that they don't have to put up the cash for. So it's a real value-creating event both for the communities as well as the advertisers.  Is it the price of entry now for particularly larger urban geographies like New York and so on, where if you want to play, you're going to have to provide infrastructure as well? Can't you just put in display totems? Chris Grosso: I think it really depends on the municipality and the deal structure. In some cases, companies have to put up the capital and bring the amenity and bring the service into the community, and that can both be the infrastructure, but increasingly also the software and the services that you can bring. But there are also some cases where, you know, particularly with the Infrastructure Financing Act, that the city or municipality might want to put up the capital for the infrastructure themselves, in which case we'll partner with them to create the revenue stream as well as overlay the data and the software to really get the most out of the infrastructure. In all cases, I think that it's important is being able to have these digital screens up, having software to put the right content in the right app at the right time a big is an important part of the equation and a big differentiator for us.  Does that happen much where you have municipalities that are making a capital investment? Chris Grosso: It depends on the deal, but yes, and there's a couple of different ways you do that sometimes the municipality puts up some of the capital themselves. In other cases, in many of these deals, we recoup the capital through the revenues. So we might if we put up the money and then recoup it out of the payments to the city. So there are many different ways you can do a deal.  Chris Grosso: There are many different ways you can do a deal. There are a handful of companies, of which we are really good at this and have built a strong team that knows how to work with cities, work with transport authorities, and create value, both for us and also for the cities. I think one big differentiator for Intersection is we are a mission-driven company, and we are very focused on making cities better through our products.  You came out of Broadcast & Online, which is very much a digital entity, and now you're running a company that has to do a lot of infrastructure and has to do these sorts of capital-intensive deals. Was that a big adjustment?  Chris Grosso: It's a different business. There are a lot of similarities between being in the digital media space and the Intersection space. But certainly, in the last few years, I've learned a lot more than I ever thought I would about trenching and conduit and coin fiber and a lot of construction. I like to say I was in consulting, and then I was in media and software. So this is the first job I actually had, physical things to deal with, and it's an interesting and exciting part of the job, and it's a real differentiator for us at Intersection. Because we have people who are very good at digital media, but we also have people who are very good at working with cities. And we've got an extraordinary team of folks who really understand how to deploy and operate these things in physical space, and that goes for even the guys who are out, cleaning and posting. We've got a really great team of professionals and field operations who really understand work in physical space, and part of what makes our business both fun also gives us a leg up is we're good at these different disciplines.  You also, I assume, had to learn a lot about politics and about city bylaws.  Chris Grosso: We've got people who very much understand that world for sure.  Which is a bit of a labyrinth. Chris Grosso: One could say that. You have to deal with them, so you're being careful. I can understand that.  Chris Grosso: I think the level of talent in these city governments is really impressive and we benefited at Intersection when we started, we were put together by a historic business Titan, which was an out-of-home advertising company, and then Control Group, which was a digital innovation company, we put together to create Intersection in 2016, right before I started. But we had the benefit of Dan Doctoroff being our chairman, who helped put the deal together and was an alumnus of the Bloomberg administration. We've benefited from some folks who come out of that world, who really understand that and did a great job in government and then can help us understand how to do stuff with the government in a way that creates value for the population and citizens, and people who live in the cities for sure, but also, creates economic value for our business. When the whole Smart Cities thing bubbled up with LinkNYC and other initiatives like that, there was a lot of noise around it. This seemed to be the way that digital at home was going, that anything that was going into big municipalities was going to have to be a smart city initiative in some way. Has that really played out?  Because I don't hear as much and/or read as much noise about all that now, and I know that we can maybe get into this a little bit of the LinkNYC has had its revenue struggles through the years. I don't know where we're at with that now, but it doesn't seem like smart cities have the same kind of energy around them that maybe they did in the mid-2010s. Chris Grosso: I think the definition of what a smart city is has evolved, and I think the parts of the smart city that are important people might not have thought of as smart cities but are huge trends in the changing nature of cities. You really saw that during the pandemic.  So what I mean by that is if you look at the evolution of mobility in a city, which wasn't the classic under the rubric of Smart Cities. Still, you think about how people get around cities now versus how they did 10 years ago with Bikeshare with Rideshare, with changes to how the transit authorities function, all of that is a much smarter way to run a city than several years ago and requires data and requires real-time information. So I think a lot of the ethos around the smart cities just got absorbed in how cities are operating, and particularly a lot of that got accelerated during the pandemic. One of the biggest areas of smart cities is what do you do with parking? And that's outside of our world, but if you think about the pandemic that happened. It really made people reimagine what you do with street-level parking in cities because all cities, particularly New York and others in the United States, suddenly put restaurants on the restaurants due to the need for giving these restaurants the ability to run their business without indoor dining, and that reimagined the whole way people do parking. Is that a classic smart city type of initiative? I don't know, but it totally reimagined how the street works, and I think if you walked down the street on the Upper West Side today versus what you saw in 2019, it's a completely different experience with the bike share and the outdoor dining and other things of that nature.  So, are there still demands among municipalities to have these smart city kiosks/totems that are multipurpose devices that they're advertising totems? Obviously, there's an interactive thing, maybe there's WiFi built-in and sensors and so on. Is that still being deployed and asked for?  Chris Grosso: I think the form factors are changing, and I think the needs are changing in the cities, and I think that there are a lot of fundamentals that cities need. So it may not be a totem, but cities need bus shelters, and now it's not just a bus shelter, it's a mobility hub. Cities need advanced wayfinding to manage this multimodal transportation system that's coming out of the pandemic. Cities have always needed it, and I think we all underestimate going to smart cities. Still, we realize now that cities need the ability to broadcast content, localized content at street level. Whether it be what time my train is coming, emergency messaging, or just education around when the community board meeting is, that has a ton of value. So I think the original premise of Smart Cities is let's take an iPhone and put it at street level. I don't think that's turned into the right answer, but I do think there are applications and amenities in the right of way that are required that cities want and are ready to ask and get deployed. And I do think you'll continue to see these kinds of initiatives. It just may not be in the form factor of totems. It may be a bus shelter because, you know what, you can put WiFi in a small shell in a bus shelter, and by the way, the bus shelter provides shade, and that's really important in certain municipalities, shelter from the rain, and that's important. So I think smart cities have evolved into what are the real needs of the people who live in the cities where before it was, “Hey, we've got a cool thing. Let us give you this.” and even if you look at the Link, the core propositions of Link like free WiFi and phone calling for sure are hugely used and hugely important. But what we also recognize is Link as a megaphone to broadcast real-time information to the city of New York is also hugely valuable and something that the community has been able to leverage effectively. Most recently, we played a big role in the we love New York campaign where, you know, if you put content on Link, we can reach, I think, 90%+ of New Yorkers a hundred times a month. That'S a massive megaphone that can be valuable to advertisers, but it also can be valuable To the city. If there are schools that get shut down for a snowstorm, flip the switch and tell everyone the schools are shut down due to the snowstorm, that's a big value for a city. Is that a classic 2015 Smart Cities thing? I don't know, but it's a huge value. If you are a parent, figuring out whether your kid's going to go to school or not the next day.  So where is Link at in terms of rollout and viability?  There've been a number of stories through the years about revenue challenges and pace of rollout, and so on, but I haven't really seen anything for a year or more. So I'm curious where it's at, and as you said, it has its value, and people like it and everything else, but is it still the way forward? Would you continue to deploy this?  Chris Grosso: Yes, so during the pandemic, working with our partners ZenFi, we actually have a new form factor for a next-generation Link, which we call Link 5G, which has many of the original features of Link, like the free WiFi and the tablet to make phone calls, but it's taller, and it allows for multi-tenant small cells, to support New York City's 5G rollout. We are in the process of working through deploying those now with our partners ZenFi, who run Fiber and telecommunications. So this would, this is a nice little partnership for you because they'd be able to share the infrastructure cost, I assume.  Chris Grosso: Exactly, and also they have the expertise in telecommunications. We are in the media content advertising space. We really understand media content and advertising software. But we're not telecom companies. ZenFi is a world-class telecom company. They understand fiber, they understand dealing with carriers and that kind of thing. So it is a good partnership. They've been great partners for us.  Your company recently announced, and you've been talking about localized content, that you're doing localization of content using AI. It strikes me as, great, this is something that absolutely should be done but it was also very reminiscent of stuff that was done, as much as 20 years ago when they would call it hyper-local.  But hyper-local was very difficult to achieve and very difficult to plan at that time, and it seemed more like an aspiration than something that was possible to do it in a way without a whole bunch of work. I assume that's changed hugely because of databases, APIs, and also AI.  Chris Grosso: Yeah, so we've always done localization, and given our screens are often deep in neighborhoods, it's a very effective way of doing stuff. We've always done it, though, with structured databases, right? Weather: give me the weather in a zip code, right? Transit: give me what's going on at the closest train station when the trains are coming. Top 10 lists of the best songs in this neighborhood, but it's all very much tied around structured data, and rules engine and APIs, and we're very good at that.  We have a whole suite of dynamic advertising products. We've got a great product, for instance, that you're a retailer, you put the ad up for the retail and then a map at the bottom to tell you how to get to the closest retail location and that's highly localized, but it's all based on structured data—the big difference now what AI is that it allows you to do things with much more unstructured depth and much more visual creativity, which we're very excited about testing and rolling out. So, for instance, if you have an ad for an alcohol brand, how do you put that alcohol brand in context for a neighborhood? Maybe you show what's the relevant drink for this block, and the AI can figure out that this is the block that Edgar Allen Po lived on, so it'll be Edgar Allen Po's drink. Trying to do that manually would be impossible. But you can do that using these AI engines and then on the visual side as well, which is very exciting. Maybe there's a mascot or character of a brand, and let's actually put that brand in context in the neighborhood and dressed up as someone from the neighborhood. You can do that kind of thing with these AI engines that if you were rying to do this yourself, you may not figure out the creative idea, and could never have the army of people who take to build all that creative. So that's why we're very excited about using these tools to do localization for unstructured data, and yeah, more creative types of ideas than the classic, “Hey, here's the top 10 songs being played in this neighborhood.” It expands a lot of possibilities. But how do you do the gatekeeping on it? Because, as many people have described, AI can sometimes have these “hallucinations” and come up with a strange list that maybe isn't the top 10 songs in that neighborhood. Chris Grosso: Yeah, for sure. One way you do it is to control the prompts and make sure you're being smart about how you're doing the prompting. The second is: We still would envision having a layer of humans looking at all the creative before it goes on the screen to catch stuff that just doesn't make sense. Over time that problem might go away, but you still want some level of quality control, but it's very different to have creative designers take a look at a hundred pictures over the course of an hour and just check everything to make sure it looks good as opposed to trying to create all those mocks literally. It's a huge difference, and so I think, at least to start, we're going to have some level of human quality control in this for sure. But I still think the ability to use these tools to be able to do things you never could do before because you just didn't have the army pf people and it would not be cost-effective to work is really what we're moving towards. In the old days, my understanding of digital out-of-home was a media planner would develop the plan, and the media company would execute it based on the insertion orders for that plan. When you're getting into hyper-local AI-driven targeting and original content by the street, who's doing that plan? Chris Grosso: I think it's often in partnership with the advertiser or the agency, right? There may be cases where the agency has a really good idea of what they want to do. There may be cases where the agency says, help us think this through, and we've always provided creative services to our clients whenever they needed it. So this is not far afield from what we do already.  When I mentioned some of these dynamic advertising, oftentimes, we build them on behalf of advertisers and our agencies as part of our partnership. So we envision it in the same way.  David:] I gather that programmatic is on the rise. The usage level is up. The last number I saw was like 15% of digital out-of-home ads are now booked out of programmatic platforms. Is there a bridge between programmatic and this AI-driven hyper-local stuff, or do they have to operate independently because it's just how it works? Chris Grosso: I think to start, you have to build out these campaigns, and these campaigns will be more high-touch than your classic programmatic campaigns. So I think to start, these really have to be directlt sold because a lot of this is around the creative idea and creative concept, and there needs to be back and forth with clients to really get this right. As opposed to programmatic, which is really about scale and tonnage and efficiency, and we spend a lot of time on programmatic as well, for sure. We launched a Place Exchange, which is an out-of-home ,SSP and we actually spun that business out because they did a lot of work with us, but they were doing work with all the other publishers, too, so it made sense to be an independent company. We have very deep integrations with Place Exchange and several other SSPs. So we're very focused on programmatic and do view it as a growth driver. But I do think the creative side has to be much more, and I really think long term the way the business goes - I used to work for Tim Armstrong at AOL who used to call it the concept of the barbell - and I think you're going to see continued growth of programmatic, and then the direct sales really going to be about driving solutions for advertisers that are highly strategic and deep partnerships with advertisers. It could be something like the AI program, or it could be like other things we do, for instance, where we have advertisers sponsor train stations or whole train lines for multi-year deals where we work together to rename a station or a train line. In New York City, the Bet MGM renamed the line that goes out to the Meadowlands, and we do this in other places as well. So I do think you're going to see the direct sale be much more solution-driven and working very tightly with the advertisers and the agencies to build these really cool things, whether it be AI or long-term sponsorships or big programs and then on, on the flip side, you'll see the programmatic businesses continue to scale as well.  Has the characteristics of venues and the type of venue partners evolved over the years, like the old Titan was about transit and street furniture, but you have other companies that are very active in airports and other mass transport hubs.  Is that evolving for you as well, or are you very much about kind of street-level advertising?  Chris Grosso: We're about cities and the the key thing is street level advertising in cities is really really important for us, and a big area of focus transit remains a big area of focus as well. And then we've done a little bit in airports and airlines. We've also done work with some of the next-generation multi-use developments like Hudson Yards, where we put in the wayfinding directory system and the advertising system, and that's a great business for us. But our criteria for whether or not we want to partner with someone really comes down to being able to do something value creating in big cities, top 25 cities in the US. That's what we're good at. That's how we're differentiated and sure, the types of partners that we work with will continue to evolve just as the audiences are evolving.  If you think about the transit business, the transit business includes street furniture. It includes signage outside train stations, it includes buses, and it includes the train stations themselves. I think during the pandemic, what we found is the vast majority of our revenue, and where all the growth was is on the outside of the train station, the outside of the bus stations, everything that's at street level. And that offset the fact that the train stations themselves have fewer people, but there are still tons of people outside the train stations, and that's where we put a lot of our emphasis on the ad side.  Has the business recovered from the Covid era?  Chris Grosso: Yes. It looks different given our revenue mix, but we're largely back to pre Covid revenue levels. The bus exterior business and the street furniture business are well above. The train station part of the business is still somewhat below because the ridership is just not there. Then we're continuing to look at new types of inventory, whether it be multiuse destinations, as I said, like Hudson Yards, airlines and new forms of street furniture. For instance, we've got a great ad campaign on the bike share in some cities.  Do you have to look at municipal opportunities differently now? Because of the way Covid changed things and the urban downtown areas not being as heavily populated with office workers as they were in the past. It's different in New York or something, but let's say in Cincinnati or Minneapolis, or something where not as many people are coming into the urban area. Chris Grosso: Yeah, we do the exact same methodology when we assess the deals that we look at, which always starts with where the audience is, and we've got folks who are really good at looking at GIS and traffic patterns and people patterns to understand the scale of the audience on all the different assets we might either deploy or take over the ad sales for. That mechanism, we do exactly the same mechanism that we did in 2018-2019, we do today. What comes out of those models is a little bit different, for sure. But what's great about a lot of our business is we typically cover the entire city, not just the central business district. And a good example of this would be in New York, the LinkNYC. If you look at the impressions, both ad impressions generated by the LinkNYC network before and after the pandemic on a network level, they're pretty close. However, the Links in Midtown Manhattan, where people are going to work three days a week are lower, however the Links on, say, the Upper West Side or in Brooklyn are actually higher because of things like outdoor dining and people working from home. So the people are all there. They just moved around different places, and so the methodology we use, which is understanding where the audience is, works fine, we look at everything the same way. But what comes out of those models is different based on how cities evolve.  I talk a lot to people in Europe, and they have asked me where are things at in terms of what they call Green Signage and are there North American digital signage and digital out-of-home network operators that are concerned and doing something about energy costs. Is it something that comes up with you, or is it something you're trying to address?  Chris Grosso: We are definitely looking at sustainability to the extent it's part of our assessment for screens on how much power they use, and then we are also looking at how to make these networks more sustainable. Ways you do that. So, for instance, one is, we do static bus shelters, but they still need a backlight, and we will use solar panels on those shelters, which has the benefit of both being greener friendly, but also just cheaper because you don't have to pull power to the shelters. Regarding digital signs like LinkNYC, we've looked for opportunities to source electricity from green sources and that's been something we've done successfully.  But then also we look at our footprint on how we take care of our infrastructure. So we've started to test, for instance, electric vehicles in one of our markets. All the trucks that we use are electric right now. Running that as a pilot it's gone very well. The guys love the EV trucks to the point where we had a couple of EVs and a couple of gas guys just fighting over who got to use the EVs. So instead of being a half-EV, half-gas pilot, we put everything on EVs in that market because everyone's fighting over to drive the EVs.  Are you being banged on at all by municipal authorities or by public interest groups saying, you need to do something to reduce energy waste. These displays on the sidewalk are not mission-critical.  Just like Europe, where they were saying you need to turn these off for certain periods of time, they don't need to be running 24/7 anymore. Is that something you have to worry about, or are you hearing about? Chris Grosso: I think municipalities want you to be sustainable, but I think we would argue our signs are mission-critical and should be up 24/7. But no, no one's asked us to do anything otherwise, but if you think about the importance of real-time information, if you're looking at when my bus is coming, or the weather and the sign's not on, that's a problem. We like to think, and we would insist all of our signs are actually pretty mission-critical. Now that being said, there are things you can do around how much power you use and dim the signs at night, and that kind of thing to reduce the energy load and optimize that, and everyone consents to do that. And then again, to the extent we can source power from green sources, we do that as well.  Last question. What can we expect to see out of Intersection in the next year? You made that announcement recently about generative AI. What's next?  Chris Grosso: So I think we're very focused on product innovation around serving, meeting our customers on the needs that they want. So I think you will continue to see more innovation around ad formats. You're also going to start to continue to see more innovation around measurement and attribution and our ability to help people, help advertisers understand who's seeing their ads and what they do after their ads and that's a huge focus for us and a big area of investment. I think you'll hear a lot about it, and then, we're always looking at new partnerships and new deployments, and we've got some stuff cooking right now that we're hoping to be able to talk about towards the back half of the year as part of our continued expansion. All right. Chris, thank you very much for spending some time with me.  Chris Grosso: Thank you, David. I appreciate it.

Dirty cars, crime and significant delays are a few of the problems riders have pointed out about the Chicago Transit Authority in recent years. Reset discusses the woes of riding the CTA with Natalie Moore, interim editor of WBEZ's Race, Class and Communities Desk and Cassie Walker Burke, external editor at WBEZ. Then we hear from Illinois State Rep. Kam Buckner (D-Chicago), co-chair of Mayor Johnson's transition team transportation subcommittee and Brian Steele, CTA spokesperson about how they plan to address the issues.

Artist Track Album Year Time Chicago Poem 58 Chicago Transit Authority 1969 8:33 Leonid & Friends Fantasy YouTube rip 2023 4:51 Leonid & Friends Beginnings YouTube rip 2018 5:40 Kagero The Pinball Kagero I 2022 5:35 Charisma Hikosen Encounter 2015 5:40 T-Square Prime Time Welcome to the Rose Garden 1995 6:02 T-Square As You Wish! […]

Even before mayor-elect Brandon Johnson is sworn in May 15, he'll face questions about his plans for city departments and who will lead them. Media and voters focused a lot on policing and public schools during the campaign, but host Jacoby Cochran and lead producer Carrie Shepherd dissect next steps for the Chicago Transit Authority and bike infrastructure, the Dept. of Public Health, and whether the Johnson will revitalize the Dept. of Environment.  Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Interested in advertising with City Cast? Find more info HERE  Learn more about your ad choices. Visit megaphone.fm/adchoices

It's not just the "Chicago Minute", it's a whole 15! This week's retrospective we talk about riding the CTA, going through the loop, seeing the wheels on the bus go round, and give this well oiled machine some praise. Site: https://anchor.fm/deadpixelsoftheinternet Youtube: https://www.youtube.com/channel/UC6DRMrv0PIxafjvjWH9rT8g Spotify: https://open.spotify.com/show/6ROO69EAySRoc7Ag7SEtq7 Joe's Twitter: https://twitter.com/joerckpeko Lorne's Twitter: https://twitter.com/BrokenHexagram --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Since 2015, Dorval Carter has been atop of the Chicago Transit Authority. While the CTA has been a hot topic for the Chicago Mayoral race, WBBM Political Editor Craig Dellimore talks with Carter about the challenges, accomplishments & future of the CTA. 

The second in a two part look at the Windy City showcases all the ribbon cutting and unveiling and local club gigging taking place in the big town in 1967! After an introduction from beloved friend of the show and ReconCinemation co-host David Munchak, Sarah & Joe stroll up Michigan Ave and over to City Hall and west on Madison and east on Ontario to discuss the reopening of the Auditorium Theatre, Mayor Daley's election to a fourth term, the expansion Chicago Bulls' first season, the opening of the Museum of Contemporary Art, the formation of the Chicago Transit Authority (later, just Chicago) band, and much more! And stick around after the wrap-up for twenty-four new seconds of audio from the upcoming Visitors to Nova Scotia episode! Coming soon!

This is a very special episode. Tomorrow is my two-year podcast anniversary. It is also the day my mother transitioned from this world due to breast cancer. I wanted to do something positive and meaningful during the midst of  COVID and I started this podcast. I thank you so much for listening, a special thank all of my past and future guests. Thanks for all the suggestions, the recommendations. I appreciate all the love. This week's guest I met shortly after I moved to Chicago. Thanks to Gabrielle Barber who I met in Berlin who told me about Men Run Deez Streets. They were the first group I ran after I moved to the city. Although they were lightning fast, and I am not they were welcoming all the same. Terrance Lyles is my guest this week.  Terrance L. Lyles AKA The Machine, AKA Optimus Prime, is a marathoner, triathlete, and the founder of Men Run Deez Street.. His father is  Bernard Lyles, a previous guest on this show. Terrance  has completed over 30 marathons,  50-mile ultra-marathon and more recently a half IornMan distance race, 70.3 triathlon.   After Terrance  witnessed so many women of Black Girls Run taking on the sport, he became inspired to recruit men from social media to start his own club. Terrance's goal was to bring more black men into marathons. He formed  Men Run Deez Streets (MRDS) in 2013. He uses every opportunity to promote health and fitness through running.   Episode Highlights: Terrance in the midst of a life crisis started running as a coping mechanism. Terrance pays tribute to his dad, Bernard Lyles, who inspired him to run. Some memorable marathons, the good and the bad. Terrance talks about his 50-mile ultra-marathon. How Men Run Deez Streets  (MRDS) came to be. Terrance's first triathlon . Terrance talks about some obstacles he's faced and what drives him. Terrance shares some final words of inspiration.   Guest Bio Terrance L. Lyles, “The Machine” AKA “OPTIMUS PRIME” was born and raised in the streets of Chicago. He attended Neal F. Simeon High School and later attended Southern Illinois University Carbondale where he graduated with a Bachelor of Science Degree in Electrical Engineering Technology. He returned to Chicago to pursue a career in engineering and has worked in state and city government for over 20 years. He is currently employed as a Senior Project Manager for the Chicago Transit Authority leading multi-million-dollar infrastructure projects. Terrance began his running experience in 2006 after having many personal and financial issues. He believed that he needed something to keep his mind off of stress and needed a positive outlet. Knowing that his father, Bernard Lyles, was an avid runner, he consulted him and was advised to join the Maxfitness Marathon Training Program led by Coach Rudy Christian. Terrance trained for his first Chicago Marathon that year and completed it with a time of 4:07:28. This is when he developed the passion for running. Terrance went on to complete over 30 marathons in various cities that includes Detroit, Indianapolis, Miami, Little Rock, Atlanta, St. Louis, New Orleans, and overseas in Negril, Jamaica and Berlin, Germany. He has also completed a 50-mile Ultra-Marathon in Chicago, and most recently, an Ironman 70.3 triathlon. With many years of accomplishments and a continued passion for running, Terrance became inspired to help bring more men of color into the sport. After witnessing many women of Black Girls Run taking on the sport, he became inspired to recruit men from social media to start his own club. With the many urban and professional men that reached back to him, Men Run Deez Streets (MRDS) was born in 2013. From there, he has helped train many men, and even women, to become long-distance runners and half marathon/marathon finishers. Terrance is a Road Runners Club of America (RRCA) Certified Adult Distance Running Coach. He is also an avid cyclist and swimmer. Terrance believes in helping people become their best selves. He is passionate about volunteering in the community for charity events and he is an advocate for social justice. He is dedicated to bringing about change to the community and helping others become healthier by running.  He lives by and adheres to a famous quote: “Every great dream begins with a dreamer. Always remember, you have within you the strength, the patience, and the passion to reach for the stars to change the world” – Harriet Tubman.   Connect with Terrance Lyles  Connect with Terrance on Facebook Connect with Terrance on Instagram Men Run Deez Streets on Facebook Send Terrance an email. MRDS got featured on Block Club Chicago   Did you enjoy today's episode? Please subscribe and leave a review. If you have questions, comments, or possible show topics, email runningischeaperthantherapyolb@gmail.com. To subscribe and review use one links of the links below  Apple Spotify Google  Get a copy of the book Running Is Cheaper Than Therapy: A Journey Back to Wholeness. It is available in  hardback, paperback, and newly released audio form.   Connect with Dr. Ouida Brown Instagram @ouilifeouilove Facebook @ouilifeouilove33 Twitter @ouilifeouilove Youtube @ouilifeouilove Sign up for my newsletter http://bit.ly/OuilifeOuiloveNewsletter  

In this episode, Jim Garrity addresses the problem caused by litigators who repeatedly interrupt your deponents' answers, potentially resulting in a transcript full of half answers. It's a common and serious headache for defending lawyers, and you can only fix the problem one of two ways - either during the deposition, or through an errata sheet.  Garrity explains the pluses and minuses of using an errata sheet to complete interrupted answers, and tells you what courts have to say about that approach.  He then offers practical tips for addressing repeated interruptions during the deposition itself, and identifies four steps to fix the problem.  As always we've got supporting research in the case notes, with parentheticals that allow you to quickly scan the holdings or significance of each decisions. (Remember that if you don't see the full text of the show notes, just click through to our home page for the full list). Thanks for listening!SHOW NOTES***(Added after release of episode) In re Injectafer Prod. Liab. Litig. ALL CASES, No. CV 19-276, 2022 WL 4280491  (E.D. Pa. Sept. 15, 2022) (“Defendants propose. . . changing “It would be one of the—yes” to “It would be one of the sources of information. Yes.” This change is not necessarily inconsistent with the original testimony because it appears that the deponent was cut off or otherwise stopped speaking in the middle of the sentence and is justified as making the answer more complete. See id. While finishing a thought is not necessarily a proper justification for an errata modification, here it appears to be justified and within the flexible scope of the Third Circuit's approach to Rule 30(e)")Grey v.  Amex Assurance Company, 2002 WL 31242195, No. B152467 (Ct. App. Calif. Oct. 7, 2002) (reversing summary judgment in part because trial court abused discretion in failing to consider errata sheet containing “changes. . . made because the witness was interrupted before completing her answers;” further noting that the defendant “. . .took the risk that [the plaintiff's] corrections would bring some of its undisputed facts into controversy”)Arce v. Chicago Transit Authority, 311 F.R.D. 504, 512 (N.D. Ill. 2015) (denying, without prejudice, motion to strike errata sheet, as motion failed to specifically discuss many of the 67 changes defendant wanted stricken; noting that “The reason given for the vast majority of the 67 changes was that [Plaintiff] “did not finish” her answer during the deposition, though the transcript does not reflect that she was interrupted and prevented from doing so,” and outlining how various courts and commentators deal with the extent to which changes to testimony can be made on errata sheets)Arce v. Chicago Transit Authority, F.R.D. 504, 512, fn. 5 (N.D. Ill. 2015) (noting that, if one looks back at the early origins of the rule on errata sheets, quoted in this opinion, it may be argued that the intent of the drafters was indeed to limit changes to clerical-level mistakes, not to allow substantive changes): "One commentator who examined the history of the rule dating back to the original Equity Rule 67, and the twin Equity Rules 50 and 51 that succeeded it, concluded that Rule 30 was never intended to allow for more than the correction of transcription errors: "Appeals to the plain language of Rule 30(e) are incomplete and misleading without reference to the Rule's transcriptive focus. Read in historical context, the Rule appears to be distinctly clerical, ill-equipped—and never intended—to embrace substantive changes. Although its wording has changed over time, Rule 30(e) has retained one modest but steady focus: the who, how, and what of accurate transcription. The Rule is meant to secure an accurate representation of what was said, leaving to another day (and frequently to the mechanisms of Rule 56) the question of the meaning and implication of the deposition content for purposes of material factual disputes. The common understanding of Rule 30(e) has moved far afield from that mild ambition, giving us the confusion and circuit split we know today. Read in light of its history, the Rule clearly embraces a transcriptive focus. Ruehlmann, Jr., supra, at 915. Rule 30(e)'s counterpart in Illinois state court, Supreme Court Rule 207(a), was amended to limit corrections to transcription errors because the “potential for testimonial abuse” had “become increasingly evident as witnesses submit[ted] lengthy errata sheets in which their testimony [was] drastically altered....” Ill. Sup. Ct. R. 207(a), Rules Committee Comment to Paragraph (a) (1995)Arce v. Chicago Transit Authority, 311 F.R.D. 504, 511 (N.D. Ill. 2015) (citing Deposition Dilemmas: Vexatious Scheduling and Errata Sheets, 12 Geo. J. Legal Ethics 1, 60 (1998), for its author's argument that Rule 30(e) permits “opposing counsel, at her choosing, to introduce both versions to the jury”)Thorn v. Sundstrand Aerospace Corp., 207 F.3d 383 (7th Cir.2000) (observing, as to changes in errata sheet, that what the witness “tried to do, whether or not honestly, was to change his deposition from what he said to what he meant;” quoting the common refrain that “a deposition is not a take home examination,” the court remarked that while this was a “questionable basis for altering a deposition.” the court would allow the change under Rule 30(e) since the rule expressly “authorizes ‘changes in form or substance'.”Tchankpa v. Ascena Retail Group, Inc., No. 2:16-CV-895, 2018 WL 1472527 (S.D. Ohio Mar. 26, 2018) (refusing, based on Sixth Circuit's strict interpretation of errata sheet changes, to allow “. . .impermissible substantive alterations to Tchankpa's testimony. . .”, including explanations stating “Incomplete; I was cut off,” allegedly because “defense counsel interrupted him;” “In this circuit, a deponent cannot make substantive changes to his deposition testimony under Rule 30(e) based on defense counsel's interruptions. . .”)Hirsch v. Humana, Inc., No. CV-15-08254-PCT-SMM, 2017 WL 9991896, at *2 (D. Ariz. Nov. 17, 2017) When a party makes changes to his deposition pursuant to Rule 30(e), the original answers remain part of the record. See Thorn v. Sundstrand Aerospace Corp., 207 F.3d 383, 389 (7th Cir. 2000) (“[T]he rule requires that the original transcript be retained (it is implicit in the provision of that rule that any changes made by the deponent are to be appended to the transcript) so that the trier of fact can evaluate the honesty of the alteration.”); Arce v. Chicago Transit Authority, 311 F.R.D. 504, 511 (N.D. Ill. 2015) (“Subject to the rules of evidence, the jury is permitted to hear the original answer, the change, and the reasons for the change and decide – in the context of all the other evidence – whether to credit either answer and what weight to assign it.”); Coleman v. Southern Pacific Transportation Co., 997 F. Supp. 1197, 1205 (D. Ariz. 1998) (accepting the argument that “a change in a deposition statement does not eradicate the deponent's original answers”); Lugtig v. Thomas, 89 F.R.D. 639, 641-42 (N.D. Ill. 1981) (“Nothing in the language of Rule 30(e) requires or implies that the original answers are to be stricken when changes are made.”). The reason for this is obvious: “[t]he Rule is less likely to be abused if the deponent knows that ... the original answers[,] as well as the changes and the reasons will be subject to examination by the trier of fact")Hirsh v. Humana, Inc., No. CV-15-08254-PCT-SMM, 2017 WL 9991896, at *2 (D. Ariz. Nov. 17, 2017) (court-ordered second deposition of plaintiff did not extend deadline for submitting errata sheet following delivery of transcript from first deposition; counsel claimed he “believed that the first deposition did not ‘count,' because it was ordered [to] be redone, and therefore corrections were reserved”; errata sheet rejected as untimely)Neutrion Dev. Corp. v. Sonosite, Inc., 410 F. Supp. 2d 529, 550 (S.D. Tex. 2006) (allowing and considering – without apparent challenge or concern – expert's substantive changes to errata sheet, necessitated “. . . [because he] began to explain the knowledge that one of ordinary skill in the art would possess, but was interrupted by Neutrino's counsel”)Trout v. FirstEnergy Generation Corp., 339 F. App'x 560, 565 (6th Cir. 2009) (noting argument made by defendant that plaintiff “. . . is not entitled to benefit from her corrected deposition testimony because her counsel did not rehabilitate her statements during the deposition,” meaning plaintiff's counsel could and should have asked followup questions while the deposition was in progress)Bahrami v. Maxie Price Chevrolet-Oldsmobile, Inc., No. 1:11-CV-4483-SCJ-AJB, 2014 WL 11517837, at fn. 2 (N.D. Ga. Aug. 4, 2014) (Although Plaintiff's brief in response to Defendant's objections discusses a long day and interruptions by Defendant's counsel during the deposition, those reasons were not provided in the errata sheet. The Court also notes that if Defendant's counsel interrupted Plaintiff such that he could not elaborate much as he wished, Plaintiff's counsel had the opportunity afterwards to examine her client on those points and did not do so.”)Fed. R. Civ. P. 30(e)(1)(B) (federal rule of civil procedure on errata sheets, which expressly contemplates possible changes in form or substance)