Podcasts about Marina City

Ryan Argast of Marina City returns to Car Con Carne for Italian beef sandwiches at the iconic Johnnie's Beef. We eat the beefs while wearing rubber exam gloves, but I swear it's normal behavior. We spent some time chatting about the new Marina City EP, Reflections, another big step forward for the band. Start with “I'm So Broke” … you'll thank me for it later, I swear.   We also talk about Argast's run on “The Voice” earlier this year. He should have gone farther.   ## Car Con Carne is sponsored by Easy Automation. Safety and security are things you and I want, need and expect. What if you could always come home to a well-lighted house knowing that you and everyone inside were safe?   Or know that the package you were waiting on was delivered and secured.   Embrace the future of smart living. Empower your home with intuitive control. Call Dan at Easy Automation for a free, no-hassle quote. 630-730-3728. Or visit easy-automation.net.  See omnystudio.com/listener for privacy information.

Welcome to the first of a three volume Episode 1000 anniversary episode recorded at live events held at four locations throughout the greater Chicagoland area. The next two volumes will be released over the next two days. My original idea was to combine all the interviews and performances into one single release. As fate would have it… it's just too much content for one single episode, so I decided to break it up and make it more digestible.   For this episode, recorded at Skeleton Key Brewery in Woodridge, Siren Records in McHenry, and Liar's Club in Chicago, you'll hear (and see):   An interview and performance from super cool jazz combo the Black and Blue Hearts. An interview and performance from the incredible Ike Reilly. A comedy set from Kevin Kellam. An interview and performance from the very scary Halloween band the Ooozin' Ahhhs, and an interview with Chicago punk legends the Effigies.   In between segments, you'll also get to enjoy messages from former podcast guests, sharing their Episode 1000 greetings. This time around, that includes Garry Meier, Marina City, Kill Scenes, 13 Monsters and Smashed Plastic.   ##   CCC is sponsored by Easy Automation. Are you ready to turn your home into a smart home?   Transform your living space with cutting-edge home automation. Experience seamless control over audio/video, lighting, climate, security, and more. Embrace the future of smart living – your home, your rules.   Get a quote by visiting Easy-automation.net, or call Dan at 630.730.3728   ##     Thank you: Skeleton Key Brewery - Paul and Emily Slayton Liar's Club - Herb Rosen. Also Gary and Scott! Siren Records - Bill and Jenny Lindquist The Black and Blue Hearts Mike Stricker The Ooozin' Ahhhs AM Taxi Ike Reilly Steve Silver wht.rbbt.obj Showoff Josh Caterer Bellhead Kevin Kellam clubdrugs The Effigies DEHD Zach Spangler Henry Scherer Matt Winkelman Asim Ali James Kurdziel Dan Pursel   Most importantly: Thank you for listening to, watching and supporting Car Con Carne. I don't take any of it for granted.See omnystudio.com/listener for privacy information.

Chicago's own Marina City hop on the pod to talk about their latest single, "I'm So Broke," their upcoming shows, Ryan's recent stint on The Voice and more.You can listen AND watch the video over on our brand-spankin' new YouTube channel.______CHECK OUT MARINA CITY:Insta | TikTok | Twitter | Site______INTERVIEWS ALL IN ONE PLACEWe created a fresh Interview Only YouTube channel. Make sure to go and give that a follow so you don't miss any of our upcoming interview videos!______Make Me A Fan Spotify PlaylistCheck out our Spotify playlist for all of our upcoming episodes, so you can see if you'll become a fan yourself (if you aren't already) of these artists we're going through.EMO SOCIAL PATREONIf you're looking for more content from us, subscribe to our Patreon FOR FREE or, if you want a lil' more access, it's only $1/month as we restart it! This includes content left on the cutting room floor, full interviews and more.______AFFILIATE LINKSTubebuddy has helped us reach a larger audience, streamline our videos, and perfect the way we use the algorithm. Try Tubebuddy today and support our channel.----Like the music on the channel? Need copyright-free music for your streams and YouTube videos? Check out Epidemic Sound!Use our link for a free, one-month trial. ______Join the club!Twitch: https://emosocialclub.tvDiscord: https://emosocial.club/discordTikTok: https://www.tiktok.com/@xemosocialclubxTwitter: https://emosocial.club/twitterInstagram: https://emosocial.club/instagramYoutube: https://emosocial.club/youtubeFacebook: https://emosocial.club/facebook  Follow us!Brian: @spookypants1Lizzie: @bordenbathory

This week's guest is Eric Somers-Urrea…a Chicago-based drummer, educator and producer who I very-much admire both on and off the kit. His main project is a band called Marina City and his sincerity / kindness as a person matches his incredible prowess on the drums. I just can't say enough good things about him. This is a edited and re-airing of my conversation with Eric from a few years ago so some references are a little dated, but I'm pushing this to the top of the feed because I might be switching things up a bit and, to keep things cryptic, let's just say I want you to get to know Eric a little bit more. Stay tuned. Please enjoy our chat about the 5 main influences that shaped Eric into the drummer he is today, but first…we play a little game. Cheers! ERIC'S BIG FAT FIVE: Performance - Drum Corps International 2004 Finals Release Year - 2004 Artist - The Cavaliers Song Choice - https://youtu.be/KpUuMM1y2_o?t=140 (anywhere between 2:20-4:20ish) Drummer - The Cavaliers Drumline - Album - Quadrophenia Release Year - 1973 Artist - The Who Song Choice - The Real Me (1:30ish) Drummer - Keith Moon - Album - Deadwing Release Year - 2005 Artist - Porcupine Tree Song Choice - Glass Arm Shattering (3:30ish) Drummer - Gavin Harrison - Album - Mer De Noms Release Year - 2000 Artist - A Perfect Circle Song Choice - Judith (2:40) Drummer - Josh Freese - Album - With Teeth Release Year - 2005 Artist - Nine Inch Nails Song Choice - All the Love in the World Drummer - Dave Grohl/ Trent Reznor - HONORABLE MENTIONS: "Glass Prison" by Dream Theater "Heart Don't Stand a Chance" by Anderson .Paak (Tiny Desk Concert version 3:45) For more information on Big Fat Snare Drum, check out www.bigfatsnaredrum.com and follow us on Instagram. 

Steve Grzanich has the business news of the day with the Wintrust Business Minute. The restaurant replacing Dick’s Last Resort in Chicago’s Marina City towers finally has an opening set for July. According to Crain’s, Legal Sea Foods has two floors in the space at 315 N. Dearborn with private event spaces and outdoor terraces […]

Shamus Toomey, Editor in Chief and co-founder of Block Club Chicago, joins Wendy Snyder, filling in for Bob Sirott, to share the latest Chicago neighborhood stories. Shamus has details on: Want To Own A Piece Of Chicago's Past? These Historical Properties Are For Sale: From a spot in the iconic Marina City to a landmark art […]

Join Aaryaman and Juan David on a journey to Carbondale, Illinois, where they step inside Buckminster Fuller's iconic geodesic dome. In this special episode of The UIUC Talkshow, we have a conversation with Cornelius Crane, former president of RBF Dome, and the late Jon Davey, within the Fuller Dome itself. Buckminster Fuller was far more than just an architect and inventor - he was a boundless thinker driven by a profound philosophical quest. After a period of intense self-reflection and an almost "out-of-body" experience, Fuller dedicated himself to uplifting humanity by "doing more with less." His inventions like the Dymaxion Car, House, Map, and geodesic domes were mere demonstrations of his ambitious 4D vision to unlock the fundamental geometric codes underpinning the universe itself. Buckminster Fuller understood that true progress required holistic solutions that transcended individual disciplines. His concept of "Spaceship Earth" envisioned the planet as a single, interconnected entity, highlighting the need for cooperation and sustainability. Fuller's mission transcended worldly success - he sought to rapidly create a sustainable world benefiting 100% of humanity through spontaneous cooperation without disadvantaging anyone. An unconventional genius centuries ahead of his time, Fuller's legacy continues to inspire. Words cannot encapsulate the transcendent experience of being inside Fuller's dome. It evokes a profound sense of boundless creativity, where ideas flow uninhibited, and the mind is consumed by profound thoughts. The unique dome design allows natural light to illuminate the interior, cultivating a warm and inviting atmosphere reminiscent of being cocooned within a giant seashell imbued with an aura of ingenuity. This geodesic dome house served as the residence of Buckminster Fuller and his wife Anne Hewlett Fuller from 1960 to 1971. It was the only dome he called home and where he was awarded 9 patents, published 11 books, and designed iconic works like the Montreal Biosphere during his most prolific years. Now a historic landmark, it preserves his radical humanitarian legacy for generations to come. The home has been rightfully added to the National Register of Historic Places. Join us as we learn from the dome's former caretakers about Fuller's paradigm-shifting ideas and tireless efforts to create an enduring planet that uplifts all beings without compromise. An immersive experience inside the physical manifestation of a mind that transcended conventional dimensions. Explore the full behind-the-scenes story at: https://juandavidcampolargo.substack.com/p/juan-davids-newsletter-january-29th EPISODE LINKS: Buckminster Fuller's Wikipedia: https://en.wikipedia.org/wiki/Buckminster_Fuller The Fuller Dome Home: https://fullerdomehome.com/ Buckminster Fuller Institute Website: https://www.bfi.org Bill Perk: https://www.bfi.org/2022/12/19/the-passing-of-bill-perk/ Bertrand Goldberg (Architect of Marina City, Chicago): http://bertrandgoldberg.org/ OUTLINE: 0:00 - Introduction 1:34 - Suicide 2:16 - Dome 6:04 - Bucky and Carbondale 14:15 - CIA 17:17 - Bill Perk 36:02 - Bucky's Seeds 40:58 - The Unique Nature of the Dome 45:40 - Global Cooperation 55:00 - Trust Your Intuition 58:42 - Buckminster Fuller's Life Mission 1:01:29 - Dymaxion Map 1:05:16 - Dymaxion House 1:08:41 - Public Perception 1:12:17 - Manufacturing 1:14:44 - Ideas never die 1:17:23 - Synergy

Rand Sperry, CEO of Sperry Commercial, joins Lisa Dent to talk about Marina City's retail space and the big plans Sperry Commercial has for the iconic River North site. Follow The Lisa Dent Show on Twitter:Follow @LisaDentSpeaksFollow @SteveBertrand Follow @kpowell720 Follow @maryvandeveldeFollow @LaurenLapka

Crain's reporters Danny Ecker and Rachel Herzog join host Amy Guth to discuss the biggest stories in commercial real estate of the last year, including companies' changing office space needs, and properties to watch in 2024, like the Thompson Center and Soldier Field.Plus: Federal judge declines to stay assault weapons ban ahead of Jan. 1 registration deadline, former Chicago CFO Bennett heads to UChicago finance post, Mayor Johnson names three new commissioners and Marina City retail space sold for $30 million.Crain's Daily Gist listeners can get 20% off a one-year Crain's Chicago Business digital subscription by visiting chicagobusiness.com/gist and using code “GIST” at checkout. 

Saturday January 20 sees a fantastic double bill of independent local headliners at Thalia Hall. Marina City and Night Spice top the bill, with Muted Color and Grayson Dewolfe also performing. Joining me for this episode are Kevin Singleton of Night Spice and Ryan Argast of Marina City. Ryan and Kevin talked a lot about their years of knowing each other, as well as the importance of the scene developing local headliners, and the creative process and evolution of both bands. Oh yeah, we also chat while eating hot dogs at Gene and Jude's.   Watch/listen, then go support two of Chicago's finest independent artists at Thalia Hall next month!   Car Con Carne is presented by Alex Ross Art. Visit Alex Ross on YouTube to keep up to date with one of the comics industry's most important and celebrated creators.  

Joe Clark, CEO and founder of Architectural Elements, joins The Fabricator Podcast to talk custom fabrication, business ownership, video production, and more. He discusses the early days of his career and how he took his Seattle-area business from a garage shop to what Clark calls a multi disciplined organization that focuses design, production and installation of art, signage, architectural components and furnishings. Clark, who produces a series called “Made With Metals” with Online Metals , also talks about the the importance of storytelling in video production and why it's important to the perception of metalworking industry. Along the way, he also touches on the nuances of custom architectural fabrication, the metal fabrication scene in the Pacific Northwest, and various Architectural Elements projects. At the top, the guys talk about Chicago architecture and pop cultural references to Marina City, like Wilco's Yankee Hotel Foxtrot album cover and Steve McQueen's last film, The Hunter. Email us at podcast@fmamfg.org with any comments, questions, or suggestions.

Bad tattoos, empty bottles, excess travel… the dark side of rock ‘n' roll? Or moments and mishaps from Mile 10 with the Drew Crew?As the post-Mile freedom sets in, Kuber Producer returns from hiatus to chat with Drew about this year's highlights in part one of the TDHS Moments From Mile 10 series. She'll tell you she took a more relaxed approach this year, but you'd never know it from these stories!From first songs to epic takeovers, hear all about the volunteering experience, standout artists, and major Mile moments, including featured music from Oshima Brothers and Marina City. Stay tuned for more Recap and Recall episodes coming soon to hear how the rest of the crew Made It Out this year!! #SawYouAroundTheMile

Car Con Carne Extra - 1/17/23 Marina City - "Youth" Support Marina City on all streaming platforms

Ryan Argast and Eric Somers-Urrea of Marina City return to Car Con Carne to chat about the making of their current release, “The Simulation.” We chatted outside Fabulous Freddie's Italian Eatery on 31st and dined on “Yerminators” and pizza puffs. South Side, represent. We talked about Ryan's time on “American Idol,” bachelor parties, eating unhealthy food (and loving it), and whether the music industry is out of its “a la carte” phase. __ Looking for a holiday gift or something cool to read on a road trip this season? Try Ninety Days in the 90s: A Rock N Roll Time Travel Story. It's the ultimate novel about the '90s and Chicago's music scene. Join record store owner Darby on her trip back to 1990s Chicago as she jumps on the Grey Line to time travel back to her carefree twenties, soaking up all the pop culture and rock n roll nostalgia you could ever imagine.  Get a signed copy at 90daysinthe90s.com

Follow Chris Dudley:Listen, Insta, Twitter______ESC'S BANGERZ ONLY POTW: No Love for the Middle Child, Marina City, Wicked BearsWe love showcasing new music and we're doing so every week during our podcast episodes. This week we feature Chicago band Marina City and their new song "Runaways," Wicked  Bears drop their new single "The Darkness," and No Love for the Middle Child collabs with tour mates Stand Atlantic for "My Friends."Check out these & other bangers on our weekly Spotify playlist.______OKCool Spicy TakesWe're back club! Our friends OKCool hop on to go head to head to see who has the spiciest takes. Watch the video over on YouTube! As always, thank you to our sponsor Soothsayer Hot Sauce.-----EMO SOCIAL MERCH SALEIt's prime layering season, club! So make sure you get some discounted Sun's Out, Stay Inside & Emo Social Nu-Metal tanks in our store!Thanks to our designer Joey Resko for our designs.Join the club!Twitch: https://emosocialclub.tvDiscord: https://emosocial.club/discordTikTok: https://www.tiktok.com/@xemosocialclubxTwitter: https://emosocial.club/twitterInstagram: https://emosocial.club/instagramYoutube: https://emosocial.club/youtubeFacebook: https://emosocial.club/facebook  Follow us!Brian: @spookypants1Lizzie: @bordenbathory

Marina City lead singer Ryan Argast talks about navigating American Idol as a solo artist. He also shares his thoughts on how the show has evolved to become a better place for artists, and we play his recent single "Open Water," from his EP Twice on Sundays which you can listen to by clicking here. Follow Ryan on Instagram @ryanargast and follow Marina City @marinacityband as well!  You can also follow us on Instagram or TikTok @idolunairedpodcast for exclusive info on upcoming guests, and video clips from the show. Be sure to SUBSCRIBE, RATE, and REVIEW American Idol Unaired on Apple Podcasts, FOLLOW and RATE on Spotify, and SHARE WITH/TELL A FRIEND about this show!!    

Hello Fearless fan One of my favorite subjects to talk about, music, but this time..... We have amazing musical talents joining us to talk about their journey with music and the music industry. I had the pleasure of interviewing them about 4/5 years ago. Level 1 elephant. If you haven't heard them, then you will. Joining us: Marina City band @marinacityband from a Chicago, IL Alternative/Indie Pop Band Come join us to meet the band members and what has been going on since the last time weinterviewed them. Season 9: Episode 92: Marina City Band Watch the interview on youtube on 03/30/2022 #nofiltersnofears #awareness #livestream #photo #photos #photograph #photography #photographer #choobiejiroux #spotify #choobiejphoto #adventure #camera #women #creative #nonbinary #podcast #studios #artists #logo #anchor #youtube #facebook  #graphicdesigner #nofilters #nofears #marinacityband #chicago --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/nofiltersnofearspod/message Support this podcast: https://anchor.fm/nofiltersnofearspod/support

Novaworld Mui Ne Marina City là điểm đến nghĩ dưỡng nằm ở biển Hòn Rơm trên đoạn đường bờ biển tuyệt đẹp của Bình Thuận, nằm trong tổ dự án bất động sản thương mại Phan Thiết do Novaland phát triển. Với cụm tiện ích khủng với đầu đủ các khu TTTM, thể dục thể thao, spa, du lịch, nghĩ dưỡng và chăm sóc sức khỏe. Khu đường biển Bình thuận đang phát triển mạnh mẽ về du lịch biển. Vậy nó có đặc trưng, tiện ích ra sao, đó có phải một nơi đáng nghĩ dưỡng hay không? Mời bạn lắng nghe podcast để được hiểu thêm về địa điểm này nhé!Tham khảo website: https://novaworld.info

#WindyCityJoes #MarinaCity #TrustFundBabyWindy City Joe's Michael & Jackson sit down with the incredible human and front-man of Marina City, Ryan Argast, before their benefit show at Joe's on Weed Street on Thursday, March 3rd. Get your tickets now https://bit.ly/3szjoXXMarina City dove headfirst into the alternative pop scene in 2019. Within one year, they sold out their headliners and shared the stage with Judah and The Lion, Lovelytheband, Coin, and Joywave. The band has had the pleasure of partnering with major Chicago sports teams (Chicago Bulls and Chicago Bears) and performed live on WGN News. Their continued success landed them both radio play and licensing spots on MTV which gained worldwide press.Follow Marina City: http://www.marinacityband.com/subscribe for more content - https://linktr.ee/windycityjoes Presented by Untied EntertainmentPartnered with Joe's Bar, Joe's Live! in Rosemont, & Carol's PubMusic: I'm Never Drinking Again by Josh Kiser - https://www.instagram.com/kiserkountry

Chicago is known around the world for its unique architecture, from the corn-cob Marina City towers to the new Aqua building downtown. But not all buildings are created equal. Reset brings on expert tour guide Mike McMains to discuss his new tongue-in-cheek “Ugly Buildings Tour” in Chicago, which kicks off Friday.

BECOME A PRODUCER! http://www.patreon.com/themidnighttrainpodcast   Find The Midnight Train Podcast: www.themidnighttrainpodcast.com www.facebook.com/themidnighttrainpodcast www.twitter.com/themidnighttrainpc www.instagram.com/themidnighttrainpodcast www.discord.com/themidnighttrainpodcast www.tiktok.com/themidnighttrainp   And wherever you listen to your favorite podcasts.   Subscribe to our official YouTube channel: OUR YOUTUBE   Support our sponsors www.themidnighttraintrainpodcast.com/sponsors   Ep. 112 Haunted Venues   On today's episode we're going on tour!!! That's right Moody and myself are heading back out on the road and this time we're bringing Logan to carry our shit instead of us lugging everyone else's shit! Why are we heading out on tour you ask? Well it's because we are doing a tour of haunted music and theater venues throughout the world! This is an episode we've been wanting to do for a while especially because we've been to quite a few of these places! There's even one in our home town! Like we have at that certain Cleveland venue, we're sure some of our listeners have spent a ton of their time at some of the venues on the list. This is gonna be a fun one for us so hopefully you guys love it too! First up we've got a big one that will be on every list of haunted venues. The House Of Blues in Chicago. So the history of the building took a bit to find because every search for the house of blues in any city comes up with the main house of blues page but with a little digging we found some info on the building's history. The House of Blues is part of a complex called The Marina City complex. The Marina complex is also known as the Corn cob apparently, and looking at it… You can see why. If you're listening in Chicago and are like "what the fuck, nobody calls it that", will remember our mantra.. Don't blame us, blame the internet… Although we did find that reference in a couple spots. The Marina is a mix of residential condos and commercial buildings built between 1961-1968. The complex consists of two 587-foot, 65-story apartment towers, a 10-story office building which is now a hotel, and a saddle-shaped auditorium building originally used as a cinema. When finished, the two towers were both the tallest residential buildings and the tallest reinforced concrete structures in the world. The complex was built as a "city within a city", featuring numerous on-site facilities including a theater, gym, swimming pool, ice rink, bowling alley, stores, restaurants, and, of course, a marina. WLS-TV (ABC Channel 7) transmitted from an antenna atop Marina City until the Willis Tower (formerly known as Sears Tower) was completed. Marina City was the first post-war urban high-rise residential complex in the United States and is widely credited with beginning the residential renaissance of American inner cities. These days the complex is home to the Hotel Chicago, 10pin bowling lounge, and several restaurants including… You fucking guessed it... Dick's Last Resort bitches!!! Oh and also the complex is home to the house of blues. The house of blues was built in the shell of the cinema which was out of use for quite some time. The story is that the hob is haunted by the spirit of a little girl that died due to an illness. There are many reports of weird things happening. The most circulated story seems to be that of a little boy who was playing with some of his toys toys. As he was playing he stepped away for a moment and when he came back he saw a little girl playing with his toys. She asked him if he'd like to play with her. FUCK THAT SHIT!!!! The little boy screamed and the girl vanished. Oddly enough, I did find a comment on one website from a man named Skyler seeming to corroborate this story. The comment reads as follows:              " This can not be… no way… I have performed there 2 times. once was in 2013, and there was a boy in the back playing with his cars. a few minutes after he screamed and started to cry. I was feeling bad,, but this can't be him… also know that in 2015 in march i had another performance and all the lights turned off. This is too creepy."   Was this the same boy that the story is referring too? Who knows. We also found several comments from people staying in what we assume is the hotel Chicago as it's in the complex and pretty much right next to the house of blues. There's comment also claim the hotel is haunted. One of the claims says this:            "It's haunted!!! I saw a middle aged/older woman (dressed in clothing from a period long ago) in my room when I stayed there in 1999/2000. I woke in the early morning to see a woman staring at me. I went through a rational thought process of it being my female business colleague (who stayed in a separate room) and I thought, oh well she can sleep in the other bed (it was a double room & I was in the bed furthest away from the front door) and then quickly snapped out of it and said to myself she has her own room why would she be in my room, I opened my eyes again and that's when I could see it was a woman clearly (w/ angry face) staring at me. I then thought this is a stranger/intruder in my room – I laid there with my eyes just open enough to see – she was there staring at me & she still didn't look happy. I laid there thinking of what to do – I decided I was going to reach and turn the light on and then charge her or run after her when she ran for the door (fortunately, there was a switch right next to the bed). HOWEVER, when I reached for the light and turned it on she was gone. This is what makes this story interesting — I called the front desk and simply asked, ‘had anything significant ever happened at the site of the hotel' (b/c as the person above points out, its not an old or historic looking building (e.g. PreWar). I asked another question that any tourist could have just asked (I don't recall what it was right now). She said immediatley, “No, why did you see a ghost?” My response was, yea, I saw a ghost, I'm in my twenties and not some nut job.” I asked if anyone else had ever reported seeing a ghost and she said, “No.” Anyway, when I met up with my colleague, she could tell I was shaken up and I was pretty pale (like “I had seen a host.”). My story has never changed in all this time. I did stay at the hotel 1 other time after (not in the same room) & didn't see anything – but I slept with the bathroom light on… Scary & Cool experience for sure!"   Sounds spooky!    Next on our list of haunted venues we are heading to Milwaukee! Which is actually pronounced meely waukay, which is Algonquin for the good land. Now the Rave is amazing for several reasons: first it's the location of one of Moody's favorite tour stories which also involves Jon and our friend Brad from Voudoux.  2: it's huge and creepy as shit. 3: the pool... The Rave/Eagles Club is a 180,000 square foot, seven-level, live entertainment complex in Milwaukee, Wisconsin. The building contains eight independent clubs with capacities ranging from 400 to 3500. The Eagles Ballroom is the building's showpiece, featuring a 25,000 square feet (2,300 m2) oval wooden dance floor, originally installed when the building was constructed, in addition to a large, old-fashioned domed ceiling and a stage on one side. Originally a ballroom, it has hosted everything from boxing matches to concerts to ethnic dances. The ballroom head hosted huge acts ranging from Bob Dylan to Green day, from the grateful dead to slayer and of course none other than Lil Pump.    Along with the eagles ballroom, the building houses the Rave hall, The eagles hall, the Rave bar, The Rave craft beer lounge, The penthouse lounge, and the eagles club.  Since its construction in 1926, the Eagles Club has known several incarnations. Prominently among them, it housed the Fraternal Order of the Eagles, a notable organization whose considerable impacts on America's cultural landscape remain in effect today.   In 1939, the idea of using the building for music presentations took hold, reinventing its purpose. The grand ballroom became a popular venue for big band music, such as band leaders Guy Lombardo and Glen Miller and their orchestras. Soon, other types of music, theatre and performing arts also offered shows and concerts in the large, elegant ballroom; from 1939 through the mid-sixties. Comedians like Bob Hope and Red Skeleton did stand-up comedy. In 1959, people who bought a $1.50 ticket to the Winter Dance Party, were treated to the music of Buddy Holly and the Crickets, Big Bopper, Dion and the Belmonts, and Richie Valens. This would be the last show for buddy Holly before he died. In 1964, The Eagles Club had its first rock concert, with the Dave Clark Five performing on the ballroom stage. The 1970s brought even more famous groups and people, such as Eric Clapton, Crosby, Stills and Nash and other rising rock stars.When the Athletic Club was closed, a homeless men's shelter opened up temporarily in the basement area, providing shelter for the destitute which is life-saving during the freezing winter months. By the late 1980s, The Eagles Club was in a state of disrepair and The Eagle Club put it out on the real estate market, after getting it listed on The National Register of Historic Places, in 1986.  In late 1992, the Eagles Club was rescued when it was bought by Wauwatosa businessman Anthony J. Balestrieri and his wife, Marjorie, who performed in the Milwaukee Symphony Orchestra. They began the long process of restoring the historic beauty of the elegant ballroom and interior art, as well as the outside facade. They also restored and renovated other areas turning the building into the multi venue building it is today.    We wanted to include this history because: A. We love the history of places like this and B. It shows how many things this building way used for and how many people have passed through the building. We all know where there tons of history there tends to be ghost stories!    Let's get into the spooky shit! Remember the pool we mentioned earlier… Well at one point a 17 year old boy had a fucking heart attack and died in the pool. Later, at least two more children would die in the pool. This would ultimately cause the closure of the athletic club.  Also the man who ran the homeless shelter was said to be extremely cruel and abusive to the men staying there.    The basement area which is the home of the former men's shelter, is one of the more haunted areas. The shelter manager mentioned earlier is thought to be the reason behind the heavy negative energy felt there. Cold spots are often felt by staff in the late hours after closing. Shadow people have often been reported by staff as well as band members packing up after a show.    Next is the pool area, which we've seen and it's fucking creepy. A little girl is said to roam around the area. People have heard her laughter and have said her presence can bring a sense of dread. Staff have said they have heard shuffling footsteps and have smelled a strong odor of bleach in the pool area.    In the boiler room under the pool, a former employee still hangs and he doesn't like people in his area. "Jack" was once recorded telling a group on a ghost hunt to "get out, get out now" Apparently, you can find a video of this on YouTube, we'll try and find it to post on our page.   The ballroom has had its share of apparitions hanging around during sound checks and after shows when everyone has left. An employee told a story of when he was standing on the floor of The Eagles Ballroom, making sure that the people going to the roof patio didn't “get lost” and go into the Eagles Ballroom by design.  He said that one of his fellow workers had seen what they thought was a man, standing in one of the second floor boxes located above the Eagles Ballroom. He called security and when they approached this person, he ran down the aisle but disappeared before the staff person that was behind him and the security person cutting off his escape could try to grab him.    One other common theme is people hearing either happy laughing children or sad crying children. Some staff have stated they've seen entities of children playing in groups.    We've been here.. This place is awesome. Also another fun tidbit… not to far away from the Rave is the ambassador hotel. Which of you're up on your serial killers, you know is the place where Jeffrey Dahmer killed his first victim in Milwaukee. Steven Tuomi was Jeffrey Dahmer's first victim in Milwaukee. Dahmer met Tuomi in September of 1987. At the time, Dahmer was out on probation after molestation charges of a minor. The two men spent the night together drinking heavily and visiting multiple bars. Later that night, they ended up in a room together in the Ambassador, room 507, which is a room some Dahmer historians have requested to stay in. Dahmer killed Toumi while he was in a drunken stupor. Upon waking up to find Tuomi dead, Dahmer put the body in a suitcase and took it to his grandmother's house where he was living. In the basement, he acted out necrophiliac desires and then dismembered the body. Supposedly when Dahmer awoke to find Tuomi dead, the body was in an awkward position hanging off the side of the bed. Some visitors have reported instances of waking up to discover their partner in a similarly awkward position.   Visitors to room 507 have reported a variety of experiences, such as a heaviness to the room that they can't quite explain. Some people get woken up in the middle of the night by odd circumstances. There's an extra little bit for ya!!!   Info on the Hauntings and most of the historical facts on the Rave was taken from an excellent article on hauntedhouses.com   Next up we're gonna head across the pond, so to speak. We're heading to London and the famous Royal Albert Hall! This place has a long and rich history behind it. The Royal Albert Hall was built on what was once the Gore estate, at the centre of which stood Gore House. The three acre estate was occupied by political reformer William Wilberforce between 1808-1828 and subsequently occupied between 1836-1849 by the Countess of Blessington and Count D'Orsay.   After the couple left for Paris in May 1851, the house was opened as the ‘Universal Symposium of All Nations', a restaurant run by the first celebrity chef, Alexis Soyer, who planned to cater for the Great Exhibition in Hyde Park.   After the exhibition and following the advice of Prince Albert, Gore House and its grounds were bought by the Exhibition's Royal Commission to create the cultural quarter known as Albertopolis. A complex of public Victorian buildings were developed to house exhibits from the Great Exhibition and to further the study of art, science and industry. On May 20, 1867 7,000 people gathered under a purpose-built marquee to watch Queen Victoria lay the Hall's red Aberdeen granite foundation stone, which today can be found underneath K stalls, row 11, seat 87 in the main auditorium. The Queen announced that “It is my wish that this Hall should bear his name to whom it will have owed its existence and be called The Royal Albert Hall of Arts and Sciences”, as a 21 gun salute was heard from Hyde Park and a trumpet fanfare from HM Life Guards sounded. By December 1870 construction of the Hall had moved on so much that HM Queen Victoria and her daughter Princess Beatrice visited the Hall to listen to the acoustics.   Almost three months later, on 25 February 1871, the Hall's first concert was held to an audience for 7,000 people comprising the workmen and their families, various officials and the invited public. Amateur orchestra, The Wandering Minstrels, played to test the acoustics from all areas of the auditorium.    This place has been running as a venue for 150 years! Again… History breeds ghosts and Hauntings! There's so much history in this building that we are not going to be able to include but please check out the official website for the royal Albert Hall to really drive into the history of this place. You won't be sorry you did. We gave you the beginnings to show how long this place has been around. We're gonna get right into the spooky shit though!    On 13 July 1930 the Spiritualist Association rented the Royal Albert Hall for a seance for Sir Arthur Conan Doyle, following the death of the Sherlock author on 7 July.   Conan Doyle was a spiritualist and believed in the existence beyond the grave. Upon his death 10,000 people gathered expectantly in the Hall to watch a medium take to the stage, hoping to witness some supernatural activity and hear a message from Conan Doyle from the other side…          Lady Doyle: “Although I have not spoken to Arthur since he passed, I am certain that in his own time and his own way he will send a message to us” Time Magazine, 21 July 1930   Lady Conan Doyle took to the stage alongside members of his family, with a vacant chair on her right reserved for her late husband.Time Magazine, who attended the seance, reports:   ‘Mrs. Estelle Roberts, clairvoyant, took the stage. She declared five spirits were “pushing” her. She cried out their messages. Persons in the audience confirmed their validity. Suddenly Mrs. Roberts looked at Sir Arthur's empty chair, cried: “He is here.” Lady Doyle stood up. The clairvoyant's eyes moved as though accompanying a person who was approaching her. “He is wearing evening clothes,” she murmured. She inclined her head to listen. A silent moment. Her head jerked up. She stared at Lady Doyle, shivered, ran to the widow, whispered. Persons nearby could hear: “Sir Arthur told me that one of you went into the hut [on the Doyle estate] this morning. Is that correct?” Lady Doyle, faltering: “Why, yes.” She beamed. Her eyes opened widely. The clairvoyant to Lady Doyle: “The message is this. Tell Mary [eldest daughter]…' Time Magazine, 21 July 1930   At this the audience rose in a clamor, and the great organ of the Hall began to peal, the noise drowning out the answer of Mrs Roberts.   But what was the message delivered to Lady Doyle that night? Did the ghost of Sir Arthur Conan Doyle really visit the Royal Albert Hall on that night in 1930?   Seances are always fun and definitely work as we found out...yea...right….   Here's some more stories taken straight from the RAH website!   THE GIRLS Beneath the Door 6 foyer, in the carpeted basement area, there is one spot where two young women, known as ‘the girls', briefly appear each  November 2nd a little before 2am, when the building is almost deserted, except for some security staff.   Over the years, several staff members reported hearing ‘the girls' laughing, and seeing their animated and excited silhouettes appear, clothed in the fashion of slightly risqué Victorian ladies (extravagant long dark dresses embellished with lace from neck to bodice, with many ruffles, especially around the sleeves and hem, and their hair styled in cottage-loaf buns with ringlets hanging over their ears). The Duty Security Incident Book indicates that there had been appearances by ‘the girls' for the three years prior to 1991. They have been seen passing across the foyer space, which is bounded by double doors at each end, leading on one side to the staff canteen (where we still eat today) and on the other to the kitchen corridor, and then disappear. That is why some believe that ‘the girls' may be responsible for unexplained accidents, tappings and footsteps that occur behind locked doors late at night in the kitchens. Assistants Chefs, who have to clean the kitchen every night after use, often used to hear noises and have been frightened whilst in that area.    FATHER WILLIS Whenever restoration work is carried out on our organ, its original constructor Henry Willis, fondly nicknamed ‘Father Willis', returns as a stooped ghost wearing a black skull cap. When the organ was being reconstructed in 1924, workmen saw a little old man walk down the stairs late one afternoon. On returning to their workshop and relating the facts, their foreman asked what the man was wearing. When told that he was donning a black skull cap, the foreman decided it was the ghost of Father Willis, the original builder of the organ, long since dead, who would not approve of the alterations being undertaken. Since then there have been many reports of a sudden cold atmosphere in the area behind the organ.   When interviewed in 2018, Michael Broadway, the Hall's organ custodian was asked if he had ever seen signs of the legendary ghost of Henry Willis. He answered: “I remember the organ builder Clifford Hyatt telling me about this over forty years ago. The tuner […] was making the final visit of the Willis contract before the Harrison & Harrison rebuild in the 1920s. When he got up on to the Great passage board he saw Father Willis there saying ‘They shan't take my organ from me'. A lovely story, but I haven't seen him. There are many questions I would ask him and hopefully have his approval of the way I look after this instrument. Perhaps he has no reason to be disturbed.”    THE MAN IN WHITE During a Jasper Carrott comedy event in May 1990, the Duty Manager was ordered to clear the Middle Choir seats and to post a Steward at either end to avoid anyone entering as it is very distracting for a performer to have people walking across the back of the stage during the show. That's why a very angry Stage Manager demanded on radio to know why there was someone crossing the stage. The description was of a man dressed in white, walking oddly as if on drugs. The Stewards insisted no one had passed them and on further investigation no one except Jasper Carrott was onstage, but several people had seen the figure cross the stage from left to right.   THE VICTORIAN COUPLE A staff member during the 2000s reported having seen a couple in Victorian clothing walk across the second tier near to Door Six and vanish into a box. As a venue whose history is so closely tied to the Victorian times, this didn't seem particularly odd (people dress up sometimes…)   But in 2011, a Head Steward was finishing off his shift one evening and had made sure that all members of the public had left the second tier. On going downstairs into the auditorium, he noticed a couple sitting in the box so he returned to the second tier but found no one in the box. He assumed they had left while he was on his way back, so once again he returned to the auditorium… Only to see them again. So he went back to the second tier, and that's when he heard the couple chattering. He assumed they were in the box but on opening the door, there was no one there.   There are several more accounts on their website and tons and tons of stories all over the web about experiences at the historical venue. It sounds like it's one crazy place!!!   We've got a couple more for you guys.                Next up is another club we've been too, the Masquerade in Atlanta. The Masquerade features three indoor venues with capacities ranging from 300 to 1000, appropriately named Heaven, Hell and Purgatory.  The Masquerade was founded in 1988 at the historic DuPre Excelsior Mill, a former excelsior mill at 695 North Avenue in the Old Fourth Ward neighborhood. The venue had both indoor and outdoor concert space. It was sold in 2006 and moved in late November 2016 after it was made part of a new mixed-use development called North + Line. The building was designated as historic by the city and all of the original parts will be saved through adaptive reuse. The masquerade had hosted tons of national and local acts from cannibal corpse to the greatest entertainer in history, Weird Al Yankovic.     This night club is said to be visited by the spirits who died in fire and tuberculosis outbreaks long ago, both of which killed several members of the building's former staff. Apparitions have been seen and unexplained footsteps have been reported.One popular story is that of a large and tall black man who is always seen walking around the nightclub. The staff believes that it is this man who turns the musical amplifiers every night.   The staff has also reported hearing footsteps from unidentified sources, as well as cold spots all throughout the building. Horrifying screams can also be heard coming from the back of the stairs even when there is no one there. They believe that the screams come from the young woman who died in a freakish accident in the nightclub. Nowadays, there are rumors that real vampires come to the nightclub and even live there.  Some people believe that this rumor has been spread to promote business as vampires have suddenly become very popular.   Next up were heading to Nashville and a place the Moody had been to, but not for music, for the national beard and mustache competition. He did not place unfortunately. The auditorium opened as the Union Gospel Tabernacle in 1892. Its construction was spearheaded by Thomas Ryman, a Nashville businessman who owned several saloons and a fleet of riverboats.When Ryman died in 1904, his memorial service was held at the tabernacle. During the service, it was proposed the building be renamed Ryman Auditorium, which was met with the overwhelming approval of the attendees. The building was originally designed to contain a balcony, but a lack of funds delayed its completion. The balcony was eventually built and opened in time for the 1897 gathering of the United Confederate Veterans, with funds provided by members of the group. As a result, the balcony was once called the Confederate Gallery.[5] Upon the completion of the balcony, the Ryman's capacity rose to 6,000. A stage was added in 1901 that reduced the capacity to just over 3,000. Though the building was designed to be a house of worship – a purpose it continued to serve throughout most of its early existence – it was often leased to promoters for nonreligious events in an effort to pay off its debts and remain open. In 1904, Lula C. Naff, a widow and mother who was working as a stenographer, began to book and promote speaking engagements, concerts, boxing matches, and other attractions at the Ryman in her free time.  Naff gained a reputation for battling local censorship groups, who had threatened to ban various performances deemed too risqué. In 1939, Naff won a landmark lawsuit against the Nashville Board of Censors, which was planning to arrest the star of the play Tobacco Road due to its provocative nature. The court declared the law creating the censors to be invalid W.C. Fields, Will Rogers in 1925, Charlie Chaplin, Bob Hope with Doris Day in '49, Harry Houdini in '24, and John Philip Sousa (among others) performed at the venue over the years, earning the Ryman the nickname, "The Carnegie Hall of the South". The Ryman in its early years also hosted Marian Anderson in 1932, Bill Monroe (from KY) and the Bluegrass Boys in '45, Little Jimmy Dickens in '48, Hank Williams in '49, The Carter Sisters with Mother Maybelle Carter in 1950, Elvis in '54, Johnny Cash in '56, trumpeter Louis Armstrong in '57, Patsy Cline in '60, Lester Flatt & Earl Scruggs (bluegrass) in '64, and Minnie Pearl in '64. The Grand Ole Opry was first broadcast from the Ryman on June 5, 1943, and originated there every week for nearly 31 years thereafter. Every show sold out, and hundreds of fans were often turned away. During its tenure at Ryman Auditorium, the Opry hosted the biggest country music stars of the day and became a show known around the world. Melding its then-current usage with the building's origins as a house of worship, the Ryman got the nickname "The Mother Church of Country Music", which it still holds to this day. The last Opry show at the Ryman occurred the previous evening, on Friday, March 15. The final shows downtown were emotional. Sarah Cannon, performing as Minnie Pearl, broke character and cried on stage. When the plans for Opryland USA were announced, WSM president Irving Waugh also revealed the company's intent to demolish the Ryman and use its materials to construct a chapel called "The Little Church of Opryland" at the amusement park. Waugh brought in a consultant to evaluate the building, noted theatrical producer Jo Mielziner, who had staged a production at the Ryman in 1935. He concluded that the Ryman was "full of bad workmanship and contains nothing of value as a theater worth restoring." Mielziner suggested the auditorium be razed and replaced with a modern theater. Waugh's plans were met with resounding resistance from the public, including many influential musicians of the time. Members of historic preservation groups argued that WSM, Inc. (and Acuff, by proxy) exaggerated the Ryman's poor condition, saying the company was worried that attachment to the old building would hurt business at the new Opry House. Preservationists leaned on the building's religious history and gained traction for their case as a result. The outcry led to the building being added to the National Register of Historic Places in 1971. Following the departure of the Opry, the Ryman sat mostly vacant and deteriorating for nearly 20 years, as the neighborhood surrounding it continued to see the increasing effects of urban decay.  In 1986, as part of the Grand Ole Opry 60th-anniversary celebration, CBS aired a special program that featured some of the Opry's legendary stars performing at the Ryman. While the auditorium was dormant, major motion pictures continued to be filmed on location there, including John Carpenter's Elvis (1979), Coal Miner's Daughter (1980 – Loretta Lynn Oscar-winning biopic), Sweet Dreams (1985 – story of Patsy Cline), and Clint Eastwood's Honkytonk Man (1982). A 1979 television special, Dolly & Carol in Nashville, included a segment featuring Dolly Parton performing a gospel medley on the Ryman stage. In 1989, Gaylord Entertainment began work to beautify the Ryman's exterior. The structure of the building was also improved, as the company installed a new roof, replaced broken windows, and repaired broken bricks and wood. In October 1992, executives of Gaylord Entertainment announced plans to renovate the entire building and expand it to create modern amenities for performers and audiences alike, as part of a larger initiative to invest in the city's efforts to revitalize the downtown area. The first performance at the newly renovated Ryman was a broadcast of Garrison Keillor's A Prairie Home Companion on June 4, 1994. Beginning in November 1999, the Opry was held at Ryman Auditorium for three months, mostly due to the success of the January shows, but partly due to the ongoing construction of Opry Mills shopping mall next door to the Grand Ole Opry House. The Opry has returned to the Ryman for all of its November, December, and January shows every year since then, allowing the production to acknowledge its roots while also taking advantage of a smaller venue during the off-peak season for tourism and freeing the Grand Ole Opry House for special holiday presentations.The Ryman has also served as a gathering place for the memorial services of many prominent country music figures. Tammy Wynette, Chet Atkins, Skeeter Davis, Harlan Howard, Bill Monroe, Waylon Jennings, Johnny Cash, Billy Block, George Hamilton IV, Earl Scruggs, and Jim Ed Brown have all been memorialized from the Ryman stage. In 2018, the Ryman was named the most iconic structure in Tennessee by Architectural Digest. And just because….On June 9, 2019, Wu-Tang Clan performed the first pure rap concert ever at the Ryman. The concert was sold out.   Again, we like to give history on these places for context and honestly it's just interesting to us so whatever. But this again illustrates the point that many crazy things happened here over the years as many many people have passed through this auditorium… Including Moody.   Ok, so let's get to the ghosts and spooky shit. Ryman's spirit was fine with most performances but would rise if the people onstage were getting a bit risqué. Apparently, he disrupted shows by stomping around the room so loudly that spectators were forced to leave. Famously, the ghost wreaked havoc while the opera Carmen was taking place. Probably because it tells the story of a gypsy temptress.    During the grand ole Opry period, rumors surfaced that the venue was cursed since apparently, most singers that performed there wound up dead. A total of 37 people met their fate in the most gruesome ways, dying from O.D.s, car accidents, fires, or slaughterings. Among the artists believed to have succumbed to the curse are: Stringbean Akeman, Patsy Cline, Texas Ruby, and many more. In a blog post by Virginia Lamkin titled Haunted Ryman Auditorium, the author explains that when the show relocated to the Opryland USA theme park, 14 additional acts died. It is believed that the curse followed because a large portion of the Ryman Auditorium stage was cut out and brought to the new location.   The spirit often referred to as “The Grey Man,” is believed to have been one of the Confederate soldiers who frequented the auditorium during post-war gatherings. Some say they've witnessed him sitting in the balcony while artists rehearse. He watches the stage steadily but disappears as soon as anyone gets too close.   ”The lady,” on the other hand, isn't a spectator; she's a performer. Believed to be the ghost of Patsy Cline, she has been heard singing by staff. Usually, her performance happens late at night as they prepare to close. Patsy Cline, who died tragically in a plane crash, has also been linked to the Opry Curse. Could the curse not only kill but also trap artists in the venue?   Speaking of Opry Curse victims, Hank Williams is said to have been another casualty. The successful singer/songwriter passed away in 1953, after mixing prescription drugs with alcohol. Similar to the other artists haunting the auditorium, Hank's voice has been heard clear as day by employees. They have also heard his songs being played onstage, without explanation. Along with Patsy, Hank Williams' soul has lingered in the old venue ever since he passed.   The info on the history of the ryman comes mostly from their own website while the stories of the hauntings we found on the website ghostcitytours.com   Next up is the Phoenix theater in Petaluma California. The club has been in existence since 1905 and has changed in both structure and purpose, mostly due to severe damage caused by several fires. Petaluma's Phoenix Theater has been entertaining Sonoma County residents for over 116 years. Hosting everyone from the likes of Harry Houdini to Green Day, the fabled teen center and music venue has a varied and interesting history.   The entertainment center opened in 1904 as the Hill Opera House. The structure was designed by San Francisco architect Charles Havens, who also designed Petaluma's Carlson-Currier Silk Mill in 1892. The Beaux Arts-style theater hosted operas, theatrical performances, high school graduations and music for over 15 years until the early 1920s when it was gutted by fire.   In 1925, the venue reopened as the California Theatre playing silent films accompanied by music. A Jan. 24, 1925, Press Democrat article proclaimed the showplace the “largest playhouse in Petaluma and one of the finest theaters of Northern California.” A packed house attended the opening night performance which include a double feature picture show and live entertainment.   The theater switched to movies with sound in later years and lost major sections of its roof to a second fire in 1957. Petaluma's Tocchini family bought the floundering venue in 1967 switching to a program of live music and entertainment.   In 1983, the theater was renamed the Phoenix - reflecting its ability to be reborn from the ashes. Tom Gaffey, a young man who had grown up in Petaluma and worked at both the California and the Showcase theaters, was hired as manager, a position he holds to this day. The theater gained unwanted attention after a late-night performance by the band Popsicle Love Sponge performed a questionable act with the body of what was believed to be a dead chicken. The late-night shows ended, but the movies continued for a short time.   Today the venue serves as a graffiti-covered teen center and venue for rock, punk, reggae and more. In 1996, it hosted the last show of the Long Beach ska band Sublime as well as rock and punk legends the Ramones, Red Hot Chili Peppers, X, Metallica and Primus. The guiding principle of the Phoenix has always been that it's "everyone's building" and this was formalized in the early 2000's when the Phoenix became a 501(c)3 nonprofit  community center.   This place sounds pretty awesome. This following except it's taken directly from their website :               The Phoenix Theater is open seven days a week, generally from 3pm to 7pm, for drop-in “unstructured” use. Our building interior is large and soulful, with several rooms to accommodate a variety of activities. On a typical afternoon, you'll find kids playing acoustic music (we've got two pianos and a big stage), skateboarding (across the large wooden floor and up one of four quarter-pipe ramps), doing homework in the tutoring room, or sitting in one of the overstuffed sofas: reading, talking with friends, or napping. There's always a staff member onsite, but the atmosphere is casual.    On top of this they have free music programs from lessons to recording to production to podcasting to band management and everything in between. Also they have many programs for teens in the art community to hone their skills. Not only that they have a teen health center to help inform teens and help them make better, more  conscientious choices regarding their personal health. They also have services for  transitive health and STD help as well. We feel like every town needs a place like this. Especially if it's haunted!!! Speaking of which we found an interview that Gaffney did where he talks about some of his experiences and other things that have happened. The following was taken from petaluma360.com:   Gaffey began by talking about his earliest days. “It was my job to close the theater down. By 10:15 it would just be me, and whatever people were watching the movie. Near the end, I'd go up to the projection booth. After the audience exited, I'd turn off the projector, come down onto the stage where the sound equipment was, turn off the amps, check doors, balcony, bathrooms, lock the doors, hit the security alarm, then go out the door by the box office.”   On three separate nights, as he was leaving, the box office phone rang.   Gaffey explained the building had five phone stations. The light on the box office phone indicated the call was from the projection booth.   “I'd have to turn off the alarm and pick up the phone. ‘Hello? Hello? Hello?' But there was nobody there.   “You can't believe in ghosts when you're shutting down a theater. You have to check.   “Three times I mustered my courage, turned the lights back on and burst into the projection booth. There was no one there.   “That was my first experience, when I was an unknown here, a spooky ‘welcome back.'”   Gaffey is quick to temper his conversation with “it could have been” and “maybe someone playing pranks.” He keeps an open mind. Ghosts or explainable experiences: it's for the individual to decide.   “Blue lights have been seen floating through the building. There's the Little Kid: he'd been seen even when I was a kid working down here. And one night, sleeping on stage as a teen, I could hear and feel big footsteps. I never felt afraid.   “The big guy has been felt by many over the years,” Gaffey said. “We named him Chris. Big Chris. He's the only ghost - if there are ghosts here - who's not from a show business background.” He added that psychics who've visited the theater have talked about Chris dating to the livery stable-era and that someone was murdered on this spot, possibly with a knife.   But Gaffey continued firmly, “My experiences in this building have been warm and protective. “Chris had the spirit of the Phoenix before it became what it is. Chris may have loved this spot. I think it's one of the coolest corners in town.” He commented he sensed from the warmth he felt as he was talking that Chris was on stage, observing.   Then there's the Little Kid - a boy. “That's an interesting one,” Gaffey said. “Again - a psychic had come in. First off, he talked about the guy in the attic [the projection booth], said he seemed to be older, white hair and faded green, almost khaki, clothing; tall, thin with angular knees and elbows.   The older man, the psychic told Gaffey, is trying to make good on something wrong he felt he did to a child. The psychic added the old man hadn't, however, done anything.   “I'm wondering,” Gaffey said, “if it's the little boy. This was the fly area” - the area to the rear of the stage where backdrops hung. “With stuff hanging here and ladder work, maybe the kid was injured. He's been seen by many. He's got shaggy hair, maybe less than five feet, wearing shorts or knickers, a wool suit and a cap, from the 1920s.”   In the 1990s, a security guard for the thrash metal band GWAR got down off a ladder and asked, “Who's that little kid back there in the exit?” When no one could find the boy, the guard quit.    There is much more to the interview and we would definitely recommend checking it out! We've got one one more venue for you guys even though there are a bunch more out there. Some of the more well known and covered places like Bobby Mackey's in Kentucky, The Avalon in Hollywood, Le Petit Théâtre du Vieux Carre in New Orleans, The rapids theater in Niagara falls NY among others we've left off but will definitely be back to cover at a future point as the history and Hauntings in these places is awesome.    So that brings us to our home town of Cleveland Ohio and to the World famous Agora Theater. Now this a place where we've both spent many nights jamming out to some great fucking shows. And yes.. Whether you like it or not… Here comes some history fuckers.    The first Agora in Cleveland, informally referred to as Agora Alpha, opened on February 26, 1966, at 2175 Cornell Road in Little Italy near the campus of Case Western Reserve University. In 1967, the Agora moved to a second building on East 24th Street near the campus of Cleveland State University. Once settled in their new location, the new Agora Ballroom, informally referred to as Agora Beta, played a role in giving exposure to many bands, both from the Cleveland area and abroad. Many artists such as Peter Frampton, Bruce Springsteen, Boston, Grand Funk Railroad, ZZ Top, Kiss and many others received much exposure after playing the Agora.[3] The Agora Ballroom was also the setting of the concert by Paul Simon's character in the opening minutes of the 1980 movie One-Trick Pony. The front facade of the Agora Ballroom was temporarily swapped for the one shown in the movie. It is also one of three locations used to record Todd Rundgren's live album Back to the Bars in 1978.   The East 24th Street building also housed Agency Recording Studios, located above the Agora. The onsite recording studio and the close proximity to radio station WMMS allowed for high-quality live concert broadcasts from the Agora. Some of these concerts were later released commercially, including Bruce Springsteen's “The Agora, Cleveland 1978”, the Cars' “Live at the Agora 1978”, Ian Hunter's “You're Never Alone with a Schizophrenic, Deluxe Edition” and Dwight Twilley Band's “Live From Agora”.   The popularity of the club led the Agora to expand during the 1970s and 1980s, opening 12 other clubs in the cities of Columbus, Toledo, Youngstown, Painesville, Akron, Atlanta, Dallas, Houston, Tampa, Hallandale, Hartford, and New Haven. However, the Cleveland location is the only one still in existence today.   In 1984, the Agora was damaged by a fire and closed.   The building currently known as the Agora first opened on March 31, 1913, with an English performance of Aida as the Metropolitan Theatre. It was the brainchild of Max Faetkenheuer, an opera promoter and conductor who had also been involved in the construction of the monumental Hippodrome Theatre on Euclid Avenue five years earlier. The new opera house was well received and did well early on, but later struggled to stay profitable. Among various uses, the Metropolitan was home to a Cleveland's Yiddish theatre troupe in 1927. This brief episode in its history came to an end a few months later in 1928 after the troupe was involved in a bus accident on the way to a performance in Youngstown; the actors were too injured to perform and the venture went bankrupt. By 1932, the venue had turned into a vaudeville/burlesque house called "The Gayety," hosting "hoofers, comics and strippers." The Metropolitan returned to its original use for a short time during the mid-1940s staging comedic musicals, but by the end of the decade stage productions had ceased and the theatre became a full-time movie house. From 1951–78, the theater offices were home to radio stations WHK (1420 AM) and WMMS (100.7 FM); the theater itself was known as the WHK Auditorium. In 1968–69 the theater was known as the Cleveland Grande. In the early 1980s, it briefly re-opened as the New Hippodrome Theatre showing movies. Following the fire which damaged the Agora Ballroom on East 24th Street, club owner Henry LoConti, Sr. decided to move to the 5000 Euclid Avenue location. Following extensive renovations, the new Agora Metropolitan Theater, the third Cleveland venue to bear the Agora name, opened in October 1986. The Agora has two rooms: a 500-person capacity, standing-room-only ballroom with adjoining bar, and an 1800-seat theater.   As far as some spooky shit goes, we were able to get some info straight from the source! We spoke with Mike who works at the agora and we got some cool stuff from him. In an email mine related the following information.            "Prior to our merger with AEG Presents, I used to lead our ‘Ghost Tours' with a group called Black Sheep Paranormal.   While I didn't know what to expect, and I wasn't exactly familiar with paranormal investigations, that quickly changed working with the group.             One of the members of the Black Sheep Paranormal group was a retired police officer. Pretty easy to say he's seen some shit, and could be characterized as fearless. Another member told him to check out the men's room, where we have a utility closest between our sinks and stalls. From past experiences, we usually get some decent activity from that closest. However, nothing occurred this time. After giving up on this spot, the team member decided to use the bathroom. Seconds later, he hears **CLAP, CLAP, CLAP** from behind his neck, and he exited the bathroom about as white as a ghost.   Oh man… Good thing he was in the bathroom in case he pissed himself!! This next story is pretty crazy. He talks about "The Cleaning Lady"!             "One of the known spirits at The Agora, who we call “The Cleaning Lady,” as you could have guessed, was responsible for cleaning the venue many decades ago. While I'm not exactly sure what happened to her, she was said to have fallen off our balcony, and died. One night, during an investigation, we were sitting in silence at the top of our balcony on the left hand side. As we sat there, we started to hear sweeping sounds. As the broom sweeps started to happen for a few seconds, all of the sudden, the sound traveled from the left side of the venue, all the way to the right side of the venue. We couldn't really explain it, but that's exactly what happened."   Wow! That's awesome! This next one would probably freak a lot of people out… but it's definitely cool.           "Another occurrence was when we were up in one of the suite boxes up in the balcony. The venue was blacked out, and from where we were sitting, you could still see the bar area in our lower level. The bar had a mini fridge up against the wall that had lighting in it. We draped it off with a black table cloth, but there was still exposed light coming from the fridge. As we're sitting there, we see a shadow fading in, and fading out of the light. Almost as if a person was pacing back and forth. We were able to see this because of the light from the fridge. As this shadow figure is pacing back and forth for a good 30 – 60 seconds, one of our team members calls out “if anyone is over by the bar, please make a sound.” And I shit you not, with no hesitation, a stack of plastic cups falls off the bar and onto the ground. That was definitely one of my favorite experiences."   Hopefully we get some action like that on our ghost hunt! Mike goes on to say that he actually got to see an apparition as well!       "Over the years, we've heard and seen many things. We've had items that turn up missing, seen plenty of white anomalies, and other occurrences. Apparitions are rare, but sounds are usually constant. We've heard bangs on our doors, we've heard voices, we've even heard music; big band music to be specific. The apparition I've seen was an unreal experience. We were sitting in the balcony, and we just saw this shadow figure in one of the seats across/behind us. The figure was perfectly human-shaped, but you could see through it. It definitely seemed like it was staring at us the whole time. Sadly, my story telling doesn't do this moment very much justice.   He said that a lot of the investigation stuff was mainly communication based with the spirits. He said they would ask  questions and they frequently got answers. We asked about how the spirits would answer and he told us:             "Most of the time in our investigations, we used dowsing rods for the questions, and asked them to cross the rods in a ‘yes or no' type of questioning. They were always responsive in this form. As long as we got it started, we usually were able to keep the questions going. Obviously, noises would happen all the time. I remember one evening just working (no event going on), but we use to have these ‘garage' type doors for our balcony entry. And for whatever reason, the spirts would not stop banging on them. Like something out of a movie, non-stop banging. That was the same day where my coworker went to use the bathroom, and as she was coming back to the office she heard “There she goes…” in a whisper type voice.   Damn! That's some crazy shit! We would like to thank Mike for his time and this incredible stories of the strange stuff that occurs at the agora! Hometown spooky shit is always awesome!  Top ten horror movie musicals https://screenrant.com/horror-musicals-best-ever-imdb/

Our guest Eric Somers-Urrea is a very accomplished drummer and educator. Listen to him discuss touring with his band Marina City, gear, influences, and more.   Follow Eric: www.instagram.com/ericsurrea Follow the podcast: www.instagram.com/dumbanddrummerpod

The time I said these incredible artists were gunna start making waves next with Friends of Clay, Queens Pleasure, Maple Hill and Marina City.  The post Gone Fishkin Presents: Rising Tides, Artists Who Are About To Make Waves with Friends of Clay, Queens Pleasure, Maple Hill and Marina City first appeared on idobi Network.

The night before they drop their new song, "Undone," Ryan Argast of Marina City returns to Car Con Carne to catch up on everything the band’s been writing and working on over the past year.   Car Con Carne is sponsored by C&H Financial Services and Siren Records McHenry

The night before they drop their new song, "Undone," Ryan Argast of Marina City returns to Car Con Carne to catch up on everything the band’s been writing and working on over the past year.   Car Con Carne is sponsored by C&H Financial Services and Siren Records McHenry

Bringing this great chat with Marina City vocalist Ryan Argast to our IEP faithful on the Indecent Exposure Podcast. We chat style, live music in 2021, and Marina City's newest single "Trust Fund Baby", available wherever you download or stream music.    You can find Ryan and Marina city at: www.marinacityband.com Instagram: @marinacityband / @ryanargast

Warning! This latest episode of the Underbelly Hours features…...Ryan of Marina City's inspirational plea for rock and roll to be more open to change...Vagabond Maurice making a good case for why his music could be featured in Cowboy Bebop…Exclusive sneak peeks into the minds of both artists as they share with us their latest music, projects in progress, deepest inspirations, and outlooks on the world around them.Linktreehttps://linktr.ee/UnderbellyHoursThe Underbelly Hours | Adela | Danhttps://www.auxchicago.com/the-underbelly-hourshttps://www.facebook.com/UnderbellyHours/https://www.instagram.com/theunderbellyhours/https://www.instagram.com/cellocabbage/https://www.instagram.com/dan_asio_music/https://www.youtube.com/channel/UCvYgbu_m3EH__ifRrUVe2RQ

It's all about GoFundMe campaigns and new music this episode. Links to GoFundMe campaigns will be added to our LinkTree, and make sure you check out the phenomenal list of musicians covered here:Marina City, Nick Sky, Synovial, Isaiah Eby, Ashen Swan, MMCM, Daniel Izaaks, Council of Fools, Microcosms, He Who Walks Three Ways (Juba Kalamka), and Laura Les.PS: Got some great news coming in August. Stay tuned to the show and our profiles on Facebook and Instagram for more information.Linktreehttps://linktr.ee/UnderbellyHoursThe Underbelly Hours | Adela | Danhttps://www.auxchicago.com/the-underbelly-hourshttps://www.facebook.com/UnderbellyHours/https://www.instagram.com/theunderbellyhours/https://www.instagram.com/cellocabbage/https://www.instagram.com/dan_asio_music/https://www.youtube.com/channel/UCvYgbu_m3EH__ifRrUVe2RQ

Ryan Argast, front man for Chicago's finest pop band, Marina City, "stops by" to talk about how the band has been navigating through the Covid-19 crisis and the different types of projects they've been working on to stay busy.

This episode features Ryan the lead singer of the Chicago pop band Marina City. Their music is available on iTunes, Spotify, etc.

In this week's episode, I'm joined by Chicago-based indie pop group, Marina City. We talked about their newest release, working like a team & winning the lottery. Please share this podcast with your friends :) 'No Diggity' | Listen Here - http://www.marinacityband.com/ Instagram | @marinacityband Facebook | @marinacityband Twitter | @marinacityband Follow The Grant Milliren Show on social media! Instagram | instagram.com/thegrantmillirenshow Facebook | facebook.com/thegrantmillirenshow Web | millirenmusic.com/thegrantmillirenshow Support me on my 2020 Isolation Couch Tour! See when I'm streaming by clicking the link below. https://millirenmusic.com/tour Want to check out my pages and music? Look below! All Music | linktr.ee/themillirenthings All Podcast Providers | linktr.ee/thegrantmillirenshow Instagram | @themillirenthings FB | @themillirenthings Twitter | @millirenthings *All rights to No Diggity belong to Marina City* --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

After a break from recording during quarantine, AUX Populi is finally back with its first remote episode, featuring lead singer Ryan Argast from the band Marina City. Described as “indie pop with an R&B twist”, you can find Marina City’s latest EP “The Crush” on most major streaming services.Stay tuned after the episode for two tracks from Marina City, the first being the song “Life” from The Crush, followed by their recent cover of Blackstreet’s “No Diggity”.Marina Cityhttps://music.apple.com/us/artist/marina-city/497924683https://open.spotify.com/artist/4XnvP2HMylZqFhgRfPNuslhttp://www.marinacityband.com/https://www.instagram.com/marinacityband/https://www.facebook.com/MarinaCityBand/AUX Populi / Andy Kinghttps://www.auxchicago.com/auxpopulihttps://www.auxchicago.com/https://www.instagram.com/AUXPopuliPod/https://www.instagram.com/auxchicagoandy/Theme by Kevin MacLeodLogo by Baitul Javid

Rick Valicenti (founder and design director of Thirst, a communication design practice for clients in the architectural, performing arts and education communities), Iker Gil (architect, director of MAS Studio, editor in chief of the quarterly design journal, MAS Context), and Jenn Stucker (associate professor and division chair of graphic design at BGSU, founding board member of the American Institute of Graphic Arts, AIGA Toledo) discuss community-based collaborative design.    Transcript: Introduction: From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG Ideas. Intro Song Lyrics: I'm going to show you this with a wonderful experiment. Jolie Sheffer: Welcome to the BG Ideas podcast, a collaboration between the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Jolie Sheffer, associate professor of English and american culture studies and the director of ICS. Today we're joined by three guests working in collaborative design fields. First is Rick Valicenti, the founder and design director of Thirst, a communication design practice for clients in the architectural, performing arts and education communities. His work has been exhibited in the Museum of Modern Art and resides in the permanent collections of the Yale University Library, Denver Art Museum, and the Art Institute of Chicago. In 2011, he was honored by the White House with the Smithsonian Cooper-Hewitt National Design Award for communication design. Jolie Sheffer: We're also joined by Iker Gil, an architect, the director of MAS Studio, editor in chief of the quarterly design journal, MAS Context, and the editor of the book, Shanghai Transforming. He curated the exhibition, Bold: Alternative Scenarios for Chicago, included in the inaugural Chicago Architecture Biennial. Iker is the associate curator of the US Pavilion at the 16th Annual Venice Architecture Biennale. In 2010, he received the Emerging Visions Award from the Chicago Architectural Club. Jolie Sheffer: Finally, I'd like to welcome Jenn Stucker an associate professor and division chair of graphic design at BGSU. Her work has been published in several books on design and she's received various awards including two international design awards from How Magazine for her community based works in Toledo. She's also a founding board member of the American Institute of Graphic Arts, AIGA Toledo. And she previously co-chaired two national AIGA design education conferences. Jolie Sheffer: The three of them are here to talk to me as part of the Edwin H. Simmons Creative Minds series. Thank you and welcome to BGSU. I'm thrilled to discuss more of your work on creativity and collaboration. I like to start by having you each give a little background on your current work and how you came into the kind of design work that you're doing. So Rick, how did your career change from your time as a student at BGSU to your work now? What are some of those major u-turns or forks in the road for you? Rick Valicenti: Well, thank you. That's a good question. That's a really good question. Okay, so let me fast backwards to 1973 when I graduated from Bowling Green. I went back to Pittsburgh, spent some time in a steel mill for two years, went to graduate school at the University of Iowa. Came to Chicago afterwards with two graduate degrees in photography and discovered that I was not interested in photographing hotdogs, cornflakes and beer. So with that I thought I would leverage a time in the writer's workshop doing a little bit of letter press work as well as my time at Bowling Green studying design. And I thought I'll be a designer. It wasn't that easy. But it has been a journey for now almost four decades since then to get to a place where I feel there's relevance in what I do. And that has been the challenge, and it continues to be the challenge. Design, as you know, is a practice that has at its core, or patronage, somebody else. Rick Valicenti: In fact, it's been said you have to be given permission to practice graphic design. Not necessarily the case, you can do self-initiated projects. And it was in leveraging what I learned in graduate school, which was how to make up a project, how to provide for myself a thesis and then create work in response to that. That has allowed me to both do that on my own as well as in collaboration with other people. And then to encourage younger designers under some guidance to do the same. And of late, the more interesting work has been work that has been related to an issue, not unlike the work that Jenn practices in her classwork. But to me that's the most fulfilling and it was unfortunately not the work that I showed because it was work I was prepared to end the evening with. But I chose because we had been blabbing for so long last night to just stop early. But it's okay. Jolie Sheffer: Tell me what led you to start your own firm? Rick Valicenti: I was one of those lucky designers who, while it was difficult to crack the Chicago design scene, two years of doing what I would refer to as thankless design work, design work where I was asked to do something prescriptive. Like do this by Friday. Yes, I could do that. I was quite good at it. I lucked out by having the opportunity to be the dark room guy for a very reputable Chicago designer, who was at that time 63 years old. And so in his last three and a half years of practice I had moved from the new guy in the studio to the last employee he had. And it was a fantastic experience to be in the company of real design practice. Design practice that understood the history, it understood the present, and it was looking out to the future. This guy was connected to the other thought leaders in the Chicago design community and I had access to them even though it was vicarious. Jolie Sheffer: Great. Thank you. Iker, tell us about your journey into Chicago architecture and the current kinds of collaboration you do. How has your approach to design changed over time and what were some of those key junctures for you? Iker: So I'm originally from Bilbao, which is a city in the North of Spain in the Basque country. And I think a lot of the changes in design and a lot of the ways that I've been thinking had been motivated also by the change of place or how the people that I've encounter or any other aspects that really change as I move from other places. So from Bilbao I went to Barcelona to study architecture. I had the chance there to not only have the professors that were faculty there, but also other visiting professors, like David Chipperfield and Kazuyo Sejima. So that was a way of beginning to connect with other experiences that maybe were not the local ones. And I was very interested in expanding that. And I've had the luck to get a scholarship from IIT in Chicago to go there for a year. Iker: So it was a little bit coincidentally in a way that I ended up in Chicago. And I was there for a year as an exchange student, I still had to do my thesis so I went back to Spain. But there was something about Chicago, a apart from my girlfriend that now is my wife, who is from Chicago. But there was something very intriguing about the city, a lot of potential, very different from being in Barcelona. But there was something always in Barcelona that was interesting for me about the cultural aspect of architecture. There was the aspects of people building a significant building or just a civic building that there was always a publication and an exhibition, a way of coming together to talk about why those things were important. Iker: So when I went to Chicago, when I moved back and I did my master's, I worked for an office. I was always interested in the ADL, the community, the design community, the architecture community. How do you strengthen that and how do you create the platforms to do that beyond what you can design? So I decided at some point that I really wanted to make sure that I did both of those things. And I went on my own about 11 years ago just to make sure that I could create the designs within my office, but create other platforms for others to have that conversation. And more recently I've been able to create the structures to support or organize design competitions and really began being interested in not only the final product, but how do you structure the conditions for those things to happen. Jolie Sheffer: So you're talking about not just designing buildings, but designing communities and relationships. Iker: Yep. And I think that's a role of, in my case, an architect or designers. Like the work that you do, but also the work in the city that you do. And how are you part of the community, and also how are you proactive shaping that community? Not something that you want to benefit from someone else's effort to structure something. What is what you can do and why you can give to the community back? Jolie Sheffer: Great. Jenn, talk to us about your path into graphic design and how your approach has shifted over time. Jenn Stucker: So I was at graduate here at BGSU. Very proud of the training and the experience that I had from Ron Giacomini, a chair that Rick also had the opportunity to study under. And when I graduated I went right out into the field, I got a job in graphic design. And I think was pretty good at my craft and pretty good at making. And also at the same time pursuing this educational path. I am originally a transplant from Colorado, I guess you could say. And one of the things about the Toledo area is there's this "neh" mentality. It's the rust belt. I- Jolie Sheffer: Better days are behind us. Jenn Stucker: Yeah. [crosstalk 00:09:16]. Yes. It's definitely like, why did you move from Colorado to Toledo? Is usually the question that I get asked. And I'm always like, wow, there's so many great things here. You're four hours from Chicago, you're this far from Toronto, you're this far from here. In Colorado you're four hours from the border of Wyoming, at least where I live. Right? And you're looking at the same topography and you're not getting any cultural change. And so for me, my family was here. My husband and his family. And so I was here for the long haul. Jenn Stucker: So the idea really just became, I need to bloom where I'm planted. I need to make this space and place better, and contribute to it and work towards that. Changing the attitude, how do we create positivity in this community? And so I started getting involved in creating projects that really illuminated Toledo in a positive way. And so then I reflected back on the fact that I wasn't necessarily armed with that as a student, with that understanding of the fact that I had agency and power that I could do something. I didn't necessarily have training with, how do you collaborate and get a, you know, writing a grant to get the funding for this? And who do I need to talk to and who needs to bring this to the table? And all of those things. Jenn Stucker: So part of that I think now is coming to what I do as an educator, is to show those students. I tell them, I have no idea what I'm doing. I'm completely fumbling through this. I don't know what I'm doing. This dots project in Toledo that I'm literally the one that's going to be photographing all the dots around Toledo, or trying to find spaces in January and it's cold. And then actually putting them down on the ground and actually taking them off the ground and doing these sort of things. I don't know that when I'm creating the idea. But I know it has to get done and I'm going to do that. And the fact that I'm just Jenn is what I tell them. I'm just one person, I'm not any different than you. And so I try to give them a lot of power that they can do that thing that they want to make change for. Jolie Sheffer: You're all talking about very place-based design practices, or in different ways your work is all very much about locating yourself, right? And building in relationship to that community, and creating community. Could you give an example, Rick, of one of your projects that had a very Chicago-centric, and how that place shaped the process and the collaborations that you developed? Rick Valicenti: With pleasure. In 2016, I was the artist in residence at Loyola University. And there we devoted an entire year to prototyping empathetic ways of grieving for those who were left behind by gun violence. That was a very Chicago-centric theme. And it was something that I was curious about beyond the candle vigil, right? Or the protest march. Are there other ways we can come together both as community led by design in order to acknowledge and honor the life lost? And of course help the healing process for the families left behind. That was a very place specific design assignment. The difference was we were doing it on the North side, and a lot of the activity, gun violent activity was happening on the South side. Not all of it because in the building that we were located, in the alley right next door one of the students had been shot. Rick Valicenti: Down the street the young photographer had been shot and killed on that street. So as they call it, the franchising of gun violence had migrated North to the Rogers Park and Edgewater area, which is where Loyola is located. It made it more real and more tangible, but the prototyping of these empathetic gestures was, I think, healing for all of us. And I've been rewarded by that project ever since. And I really want to see now if something like that can migrate to other cities. And I've been talking to a few people like, wouldn't El Paso benefit from this kind of intervention? Dayton, Ohio, would they not benefit from it? Jolie Sheffer: And could you talk through what that project actually ended up looking like? Rick Valicenti: I'll give you an example. There were 20 students in the class, half of them were from the fine arts area, half of them were from design related fields. And so they all had different approaches to it. And every class began with somebody from the outside. Rick Valicenti: Okay? And I thought this was important. And Iker knows this model of practice that I use, I call it moving design is what I have named the umbrella. But I'll give you an example of three kinds of people who came to the class. One person we arranged for a car to pick up the head of the emergency room at Stroger, which is the hospital, Cook County hospital. And this guy was picked up in a car, came to our class in his [Ohar 00:14:07] blacks with his red tennis shoes. And it was the day after a very violent weekend. This guy showed up shell shocked. You could just see the trauma in his face. He never made eye contact with the students. He was a young guy, maybe 38 or something, had his head down as he spoke. And that was a moving moment. More for me, I think, than anybody else. Rick Valicenti: But it was like, oh my God, here's a first responder who's there and he told us of some of the things that he had seen that have kept him from sleeping. We also had Emory Douglas, who was the communication director, minister of the Black Panthers. So Emory talked about the use of graphic design to move an agenda. And how an unskilled, unfunded initiative of communication design could migrate into the public through the printed ephemera. And he was there to really rally these students. That was fantastic. And then another woman, her name was Cecelia Williams. Cecelia Williams was 28 years old. She is an activist. She's a mother. And in her 28 years she has lost 29 family and friends to gun violence. The first one was her second grade teacher. She came to the class, again, with her version of PTSD. Moved the students and begged the students to do something. Rick Valicenti: Just something. It was in the form of just write the mothers of one of these victims a sympathy card after you hear the headline. Right? That's a simple thing. Or, gather all your cards and one person just take it to the funeral home and leave it in the basket. Simple moment. If you'd like I could share you an example of one of the projects, how we manifested our work at the end. We had lots of installations and interventions around the area, but one in particular was a community based exercise. I showed them an image of logging in Wisconsin. Tree logging. And those images that we're all familiar with are the felled trees in the shallow water, and the guys are standing on the tree trunks. And I said, it wasn't too much earlier before that picture was taken that those were living organisms, but now they're felled to the ground. And let's just imagine that we use the tree trunk as a symbol of those who are fallen. Rick Valicenti: And we've returned them to their vertical position. So that was the form of it. And then we started to talk about, well what could we put on those and what is the form? Are we going to be having tree trunks, that seems wrong. So we ordered lots of very long and very huge custom mailing tubes from a firm in Chicago called Chicago Mailing Tubes. And they made 24 inch, 18 inch and 12 inch mailing tubes of varying lengths. We had them wrapped in white paper and then the students took the grid of Chicago and wrapped each of those trees with black tape to suggest, not replicate, the grid of the city. And then we invited the community to come. And we had the list of the 760 some victims from the previous year to write their first names in whatever black calligraphy we could, whether it was with a Sharpie or whether it was with a brush pen. Rick Valicenti: And to see the community members come together with the students, honoring everybody with the names. And so, okay, that's one facet of it. And we have all these tubes now, and we put end caps on the tubes and the students started to talk about things that they would like to say. If you had to say something to a mother, to a community, to just reduce the pain of gun violence, what might it sound like? Everyone is a hero. I miss you, I miss you, I miss you. Whatever those messages were. And they typeset them in a black and white type, in all caps in a Gothic typeface on an orange disk. That orange disk had a hole cut in the middle and there was an orange piece of a cord, nylon cord, that we knotted. And that provided now these tree trunk-like forms to be carried. Rick Valicenti: And so there was a procession around town into the quad of the campus until they... Oh, I'm sorry. When the morning started all of the trunks were there in the center of the quad. That's right. Like the felled tree trunks. And then the procession started. And there were prayers read, and some music played, and some dancers from the music school came and they did a performative dance. A kind of celebration and resurrection, if you will. And then we were all invited to grab the chords and walk the trunks back to the alley where this student had been shot in the back, and return them to their vertical position. And there, I don't know, there we just reflected on it. But it was all quite moving. And we had it filmed and photographed and there was the record of it that could carry on. Rick Valicenti: We thought that could live in other places. The alderman, I'm sorry if I'm going on so long, I'm taking up this whole hour. But the alderman, his name is Harry Osterman, he was also invited to come. And he said, you know what, I would like that to be re-installed in my local park. And sure enough we installed it in his park and complete with all of the rides that a kid would have, the seesaw on the slide. A couple weeks later we get a call from alderman Osterman's office saying, it seems that there has been some violence in the park and your display has been vandalized. In fact, it has been destroyed. It has been cut up. It has been sawed. It has been smashed. Rick Valicenti: And I thought immediately, oh my God, the last thing we need is for Loyola to be a headline. And this good intention to be diminished. So we quickly scrambled and we went and we cleaned up the site and we got a chainsaw, we rented a chainsaw and we cut the things up so that we could transport it. And here what had happened was the other gang from the other side of the street was upset that, right, there had been some franchise in some retaliation of a recent shooting and this was the way that they could mark their territory. So there's lots healing that needs to be done, but design was certainly there to put a mirror to it. To make a good intention. And to certainly reveal the scab or the wound. Jolie Sheffer: Iker, can you give us an example of some of your place specific work? Maybe one particular project. You talked last night about the Marina Towers. I don't know if you want to talk about that or feel free to take that in a different direction. Iker: Yeah. Maybe one thing that I think is more important is structurally I think being in Chicago is what has saved my practice. I think a lot of the opportunities of doing self-initiated projects or projects that I was particularly interested are allowed to happen in Chicago because maybe there is not the pressure that there is in New York or any other places. And I think the idea of having space as a designer and an architect to think about things was something that I found very important and very unique to Chicago. Iker: So I think in a way, the way I was trained and the way I practice right now is different because of being in Chicago. And particularly that project of Marina City, I think it's one that it's very specific to the idea of Chicago about how it reflects how I work and how the projects evolve. And taking one icon of the city and really using that for me as a personal interest in understanding not only the building but understanding the architect, the ambitions of the architect. Why that building was so forward thinking when it opened in the early 60s. And then beginning to understand, how do you capture that value? Iker: How do you tell that story to people who are not architects? What are the tools that you have? And in that case I worked with Andreas Larsson, a photographer, to really begin to capture the diversity of the community. And it was a way of saying, you don't have to read plans in sections and elevations or use models to communicate the value of a building. There are other ways that maybe you can engage. And then through that you can learn some of the other things. Iker: And then that was exhibited, and then it has continued in doing then renovations in the building with Ellipsis Architecture. So always in collaboration with someone else. And the idea there is that, how do you celebrate the spacial qualities of the marina architect, but at the same time making it modern so new people can be living there. So it's an interesting project that has been ongoing for 10 years. And it just summarizes my interest in Bertrand Goldberg. And then as you work with other people, as you evolve or you have other skills, you can really begin to communicate that in different ways. And I can see that he's probably not going to be the last renovation or not the last project in some shape or form that I'm going to do about that building and that architect, which I think it's fantastic. Jolie Sheffer: Well there's something really interesting. You said something about this at your talk about how a project never really ends, it just sort of evolves into some new shape. Right? And clearly that work is an example of that notion that you never really have an end point. And your example too, Rick, went that way. That it takes on a new form and it may be not what you intended or what you imagined, but you have to let that life go on. Iker: I think in the end they are like your own personal obsessions. They are your interest, but it's sometimes it's an interest and sometimes it's an obsession. And they are in the back of your mind and then there is something that happens that it comes forward again, you have the opportunity to do it and then he goes back. But there are things that obviously you have a certain attachment. And then you realize that there are a lot of buildings, in this case, that share some of the ambitions because they were built in the same period. And then you can make a comparison or connect it to other experiences in other cities. So something that is very local and particular you can engage in a conversation with something that is happening in other cities. So I find it very particular, I never let go of those interests. It's just they transform and the outcome is very different. Jolie Sheffer: And Jenn, you mentioned the dots project. Could you talk about what that was and how that was very much play specific to Toledo? Jenn Stucker: Absolutely. So the genesis of that project came from the Arts Commission. I'd previously had done a banner project for them collaboratively with my colleague Amy Fiddler. And at the time I was president of AIG Toledo. And they came to us to say, oh we're having the GAS conference, the Glass Art Society is going to be coming. It's an international conference and maybe you could do some banners again. And I thought about that and really wanted to do something different. And one of the things about banners is the passivity that it has. And you have to be looking up, kind of encountering those. And so I've always been fascinated with maps and the "you are here" dot specifically. When I go to museums, when I go to zoos, wherever I'm going, I look for that and it gives me a sense of place. And the idea of sense of place seemed very important here at this time. Jenn Stucker: They were going to have people coming from all over the world. What is our sense of place? What is Toledo? And knowing that I wanted people to discover the city, and hopefully through walking. And how could I branch out into various places? So thinking about this dot of "you are here" and wanting people to discover the city, came up with this idea of three foot circular dots that had artwork on them created by a hundred different artists in Toledo that were site specific to that place. So working with the Arts Commission, what are the signature places in Toledo? The Toledo public library, the San Marcos Taqueria. It could be anywhere within the Toledo area, Point Place. So they helped curate that list. We talked about signature points, reached out to all of those establishments to say, more or less, congratulations, you're going to be part of this project. So that they would know that there was going to be a dot in front of their place. Jenn Stucker: And then having artists participate in creating those dots. And then on the dots was a QR code, and this was 2012, so it was still kind of cool then. And the idea was that you would scan the dot and you could then get the background information about the place in which you were standing. So you would learn about St. Patrick's Cathedral and get more information. And then to also give honor to the artist that they too would have their artist statement and what inspired the artwork that they created. And so one of the things about public art is that oftentimes if it's a sculpture, it's a very place specific, and only if you go to that place. And it's typically usually one artist. And so what I really liked about this project was that it was a hundred different artists that were participating in this. Jenn Stucker: And it was originally developed for outsiders to discover Toledo. The things that happened secondarily to that were amazing, where I was getting emails from people that had read about it in the newspaper. And one couple in particular said, we've read about this, we went out to start looking for these dots. They collected 25 of them and ended up at San Marcos Taqueria, said they had the best tacos they've ever had, had no idea it was even there. And they said they were looking forward to discovering more of their city. And I was like, that's a mic drop kind of moment. It couldn't have been any better than having people really realize the great things that we have in the community. So the byproduct of that was just, like I said, people seeing the great things that were here. Jenn Stucker: I wish I'd partnered with a cell phone company at the time because we had people that are actually buying cell phones. Because really, the iPhone had only come out, what, 2007 or something. So we're not too far to not everybody having a smartphone. There were people that were going out to buy a smart phone so that they could participate in this project. And there was a scavenger hunt component too, so we had an app for it. And the first hundred people to digitally collect 25 dots got a custom silkscreened edition poster. And so people are posting on Facebook and finding this dot and taking their children out. And I don't know, couldn't ask for a better project. Jolie Sheffer: We're going to take a short break. Thank you for listening to the BG Ideas podcast. Speaker 1: If you are passionate about big ideas, consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu. Jolie Sheffer: Welcome back. Today I'm talking with Rick Valicenti, Iker Gil, and Jenn Stucker about the importance of interdisciplinary collaboration in creative fields. One of the things that you both talked about during your visit was the idea that the form of a given project will change, right? And I think Iker, you put it as something like, what's the story I want to tell and what's going to be the best form to tell that story? So how do you go about, what is part of your process and figuring out that answer to that question of the relationship between form and story? Iker: Yeah, I think that came out about the work and the way we structure MAS Context. And then really the first thing is just framing what the topic that we want to do, and then who should be the voices that need to be part of that issue. And sometimes you realize that you need something that sets the ground and it might be more academic. It might be an essay that really gives the shape to that. And then there are many other elements that can compliment, that can contra, that could take another direction that comes in the form of a short essay. And you need to be very aware. I think that a lot of the work that I do is actually paying attention to what other people are doing in their work. So whenever there is an issue that is coming together, I know I already have in my head what's the work that everybody's doing so I can make those connections. Iker: So it's really understanding how they work, what they are trying to say, what's the shape that it can be. And we've had, in the issues, we have long essays, short essays, photo essays, diagrams, poems. But also the people who write, they don't come from all the academic world. And some of the most interesting articles have come from people who are just residents in a building. And they can tell a story much better than an academic that has talk about housing. And one of the examples is we've done this for 10 years, and then the most read article is about Cabrini–Green, about our resident who grew up there and live there. And we walk with him, with Andreas Larsson actually. And we told him just let's walk around the neighborhood and tell us the stories of what are the meaningful places for you here that you grew up here and your families. Iker: And we just took photographs of that and we made captions of that. And it really was a way for us to understand what it means to leave there. Yes, there are some negative things, but there are many other positive things about Cabrini–Green that they all mask under headlines and other things from other people who have no relationship. So yes, there are many people who write about public housing, about Cabrini–Green, but his point of view and the way to talk about it in a very clear, succinct, and just experiential way of there. It was remarkable and it obviously resonated with the rest of the people because it's still the most read article. And it was in issue three, 10 years ago. Rick Valicenti: We should also keep in mind that Cabrini–Green, if we're talking about form, no longer exists. That building complex has been raised and it's gone. Now it's a Target. Is it not? Iker: Yep. It is. So it's like, when you demolish buildings you just don't demolish the actual building, you demolish the structures, the society, the relationship, everything that is built around that. So the void that it's in the city with the destruction of public housing is not just the building, it's all the fabric, the social fabric that got destroyed. And it's very complicated to regain. And unfortunately nothing really... It's happening at the level that it should be done. Rick Valicenti: And at the time you had an idea that it was going to be demolished or did you not know it was going to be demolished at that time? Iker: I did know that it was going to get demolished. Rick Valicenti: Oh, you did. Okay. But in either case you have left behind through the medium of design and this documentation a real important record of what it was like there at that moment. Iker: Yeah. Because in a way, these stories are not just headlines that once the headline leaves the story leaves. These are people who this is the place where they grew up. Where they live. Where they have their family. And then once the buildings are remove, they have to keep going with their life. They have to do other things. So it is really unfair to just live through headline after headline. The city is a much more complex thing. And I think one of the goals that we tried to do with the journal is really, yes, talk about issues that are important. But that there is a legacy that those things are looked in depth, that someone can go back 40 years later and finding that it's still relevant because there's another situation that contextualizes in a new way. Iker: So this is just a series of thinking that evolves and it grows and builds from each other. But I think there needs to be some, like paying attention to all these issues and build from those rather than be surprised by the latest thing that happens. And then once it goes, it just, oh, it's all sold. Jolie Sheffer: Could you talk, Rick, about your own forays into book work, as you describe it, and why that form made sense for some of those projects? Rick Valicenti: The book format I particularly love, I love its linearity but I also love its ability to be opened at any page. I also love its form, its tactile nature, its ability to change voices and change perceptions as you change the tactile experience when your hand touches a page. Change the paper, change the size of it. All of those things are available tools to find engagement in that which is being communicated and that which is being received. So you know, perhaps as a writer, you're able to capture your thinking in your typing. Jolie Sheffer: Absolutely. I don't know what I'm thinking until I'm typing it. Rick Valicenti: That's right. Until after maybe you've read it and say, oh my God, that's really special. But the designer takes that source material, if you will, and either amplifies it or adds harmony to it in a harmonic sound, or adds depth to it, or adds another perspective. And so I'm keenly aware when I'm making a book that it's not a typesetting assignment, that it really is a duet at the most basic level with the content. Whether it's with the author, whether it's with a photographer, whether it's with both. And how can you bring something to life in a way that under different hands or different perspectives or different budgets or whatever, it would sound different. Rick Valicenti: And just like you can do that when you're reading a poem, or a kid reading a kid's book, you know it sounds different than the parent. It happens when people perform songs, other than the person who wrote the song. So I like the book form, but I really like its linearity. And I must admit, when non-linearity was all the rage with interactive media, I was like, what's that about here? What's happening? I'm getting used to it, but that doesn't mean I need to like it. Jolie Sheffer: What about you Jenn? You've published work in book form. What for you is your particular process in thinking about that as a medium? Jenn Stucker: Well most of the publications, I guess probably been a little bit similar, it's been mostly for documentation that this happening happened has been a big part of that. The other part is most of the work has been with recent alums or with students, and so there's something about creating the object that adds that secondary level of, I guess, accomplishment, right? Or achievement, or that this thing... I guess the same thing is it happened. And so if we have evidence of that. I taught at SACI in Florence, Italy, through our program here at BGSU, last summer and we self published a book out of that called the FLRX times 14. Or 14 of us and putting material together to sort of, what was our experience here in Florence? All being American citizens coming into this place and space. And I don't see those students again. Right? They were from University of Michigan, Penn State, Parsons, couple from BGSU, Marshall. And it was a nice moment to capture and make a capsule, I guess, of that experience. Jolie Sheffer: Well, I want to thank you so much for taking the time to talk with me. It has been a real delight. Our producers for this podcast are Chris Covera and Marco Mendoza with help from Aaron Dufala, Hannah Santiago and Kaleah Ivory. Research assistants for this podcast was provided by ICS undergraduate intern Tay Sauer. This conversation was recorded in the Stanton audio recording studio in the Michael and Sara Kuhlin Center at Bowling Green State University.  

Steve McQueen rode a car out of the Marina City parking garage in the movie 'Hunter'. Chicago Tribune reporter Michael Philips remembers the amazing stunt with John Howell

It's almost music fest season (aka the BEST season)! We're talking the ever “controversial” Lollapooza 2019 line-up & how we're waiting to see how the pit is going to look when Bring Me The Horizon plays. A tour is replacing Warped! Arguably Sad Summer Fest has a killer line-up, however, where's the diversity? Lizzie proposes an argument about how there are possibilities to diversify the scene & the lingering problems it faces with inclusivity. Stay tuned! Lizzie & her friend Alex Talayansky @talya261 produced a rad interview with Weekend Run Club & you can check out our article & photos here: Like their vibe? Snag tix to their upcoming show at Chop Shop with Marina City & Emily Blue on Apr. 5! Let us know your thoughts on these music fests so far on the social media site of your choosing! Weekend Run Club w/ Marina City @ Chop Shop Join the club! Youtube Twitch Facebook Twitter Instagram Follow us! Brian: @spookypants1 Lizzie: @bordenbathory

First show live in a couple weeks and gosh darn did a gosh darn good job! Wesam came to co-host, Tyler from State Champs, Marina City, and onlychild called in and you're gunna love it all! 

First show live in a couple weeks and gosh darn did a gosh darn good job! Wesam came to co-host, Tyler from State Champs, Marina City, and onlychild called in and you're gunna love it all! 

Chicago band-on-the-rise, 101 WKQX Piqniq artist and regional Next2Rock finalist, Marina City jumps in the car for a wild, delicious romp through the menu of recently-opened restaurant City Barbeque in Berwyn (7108 W. Cermak Road Ste B2, Berwyn, IL 60402). Let the record show: The food at City Barbeque is amazing. I'm already planning my next visit. I loved it all, but especially the ribs and collard greens. This episode is presented by BOOST MOBILE. City Barbeque's magnificent "Motherload," which includes every imaginable smoked protein. I needed to have the chicken removed from my plate out of necessity. Piqniq on June 30: Marina City is on the bill with AWOLNATION, Dashboard Confessional, Greta Van Fleet and more. The feeling of being part of this year's Piqniq line-up. The Next2Rock competition and Marina City's "mic-drop" moment. "The things that backseat has seen... " Marina City has seen the previous dearth of napkins in the Mazda 3, and planned accordingly. The crisp, clean smell of moist towelettes.  Why our dinner interview could seem like a murder-suicide. The sweet scent of Marina City. Josh Caterer gets more praise for the "Car Con Carne" theme song. More praise for the vinyl format. I'm hooked. Why is the cassette resurgence a thing? The Marina City sound: Pop-smarts and dark edges. "There's no light; it's very very dark and depressing." "It's a payoff when you arrive at the light." "I was like, dang, get it." The collard greens ("we can say we had a vegetable with dinner!") Why Marina City is like a fluffer. The joy that banana pudding brings. "I'm literally just eating to eat right now." A dude sprinted past the car like a criminal. Wait... was he a criminal? The interview lasted forever, only because it took so long to eat all the City Barbeque food. New segment: TRASH RUN! "I look distinguished as I'm eating a mountain of banana pudding in the front seat of my car." The moment when Marina City vocalist Ryan saw my reaction after the band's Next2Rock performance.    

In Episode 31 Angelo talks to Ryan from Marina City! Topics Covered: Ryan reflects on memories he's had with the band so far, Angelo is shocked to find out there really is a winner of the Ernie Ball's Warped Tour Battle of the Bands, we get inside info on how the live in-studio acoustic EP "Lost Doesn't Mean Alone" was executed, Ryan teases of the new album Marina City is working on, Angelo reads a fan question for Ryan, and much more! Find out more about Marina City: www.marinacityband.com Opening Track: Marina City — Four Letter Lie Full Track: Marina City — The Haunting Outro Track: Marina City — I Can't Love You Subscribe to the Spinning Thoughts Podcast on iTunes, Google Play, Stitcher, and TuneIn. Follow the podcast on Facebook and Twitter (@SpinThoughtsPod)to keep up-to-date with Angelo (@avgargaro) and everything music! Please visit our website for more! www.spinningthoughtspodcast.wordpress.com

My buddy Matt is the man. His band Marina City is KILLING it right now. From recording with the legendary John Feldman to being on Warped Tour and landing a Riot Fest gig. Matt is a super hard working dude along with the rest of his band. IF YOU WANT RESULTS TAKE NOTES ON MARINA CITY. We talk about their upcoming summer plans, The Rock and the songwriting process of being in a band with 5 other dudes. Check it out! SONG OF THE WEEK - Turnspit "Worthless" www.facebook.com/turnspitband

On Episode 23 of, Jacques LaMore, 2015 Ernie Ball Battle of the Bands Winner, Marina City, come onto the show to talk about how successful 2015 was for the group and what’s in store for 2016! Featured Artist: 7 Minutes In Heaven – “Fireworks” (Alternative/Pop-Punk from Chicago). Subscribe on iTunes: CLICK HERE Subscribe on Stitcher: […] The post Jacques LaMore Ep. 23: Marina City appeared first on Bangarang Radio.

Bangarang Ep. #5 with Special Guests, pop-punkers and pizza enthusiasts, Sudden Suspension, Featured Artist of The Week, Marina City, and more! Subscribe on iTunes: CLICK HERE Subscribe on Stitcher: CLICK HERE The post Bangarang Ep. 5: Sudden Suspension appeared first on Bangarang Radio.

Anyone who has visited downtown Chicago will remember seeing the dazzling round towers of Bertrand Goldberg's Marina City on the north bank of the river. Often photographed, always a curiosity, these iconic buildings have been featured in numerous magazines, postcards, album covers, and films, but until now have received surprisingly little scholarly attention. In their delightful book, Marina City: Bertrand Goldberg's Urban Vision (Princeton Architectural Press, 2010) authors Igor Marjanovicand Katerina Ruedi Ray meticulously reconstruct the history of this building complex from all conceivable angles. Their chapters include discussions of Goldberg's career, the project's financing, the formal and structural successes of its modernist design, and Marina City's life in images after the project was complete. As you will learn from my interview with co-author Igor Marjanovic,what most people don't know are that these towers are only the most visible part of a block-sized complex that also includes a public plaza (that once had a skating rink), an underground shopping center, a theater, and a marina on the river. The project was conceived inside and out by Chicago-based architect Bertrand Goldberg and financed by the Chicago Janitors' Union, which was looking to invest pension dollars in a prominent real estate project. The financial end of the deal didn't turn out quite as expected, but Goldberg, who trained at Harvard and the German Bauhaus, managed to construct one of the twentieth century's greatest urban apartment buildings. This address still attracts design-minded residents looking for compact residential living in the heart of Chicago, and you don't even have to give up your car (or your boat) to live there. Learn more about your ad choices. Visit megaphone.fm/adchoices

Anyone who has visited downtown Chicago will remember seeing the dazzling round towers of Bertrand Goldberg’s Marina City on the north bank of the river. Often photographed, always a curiosity, these iconic buildings have been featured in numerous magazines, postcards, album covers, and films, but until now have received surprisingly...

Anyone who has visited downtown Chicago will remember seeing the dazzling round towers of Bertrand Goldberg’s Marina City on the north bank of the river. Often photographed, always a curiosity, these iconic buildings have been featured in numerous magazines, postcards, album covers, and films, but until now have received surprisingly little scholarly attention. In their delightful book, Marina City: Bertrand Goldberg’s Urban Vision (Princeton Architectural Press, 2010) authors Igor Marjanovicand Katerina Ruedi Ray meticulously reconstruct the history of this building complex from all conceivable angles. Their chapters include discussions of Goldberg’s career, the project’s financing, the formal and structural successes of its modernist design, and Marina City’s life in images after the project was complete. As you will learn from my interview with co-author Igor Marjanovic,what most people don’t know are that these towers are only the most visible part of a block-sized complex that also includes a public plaza (that once had a skating rink), an underground shopping center, a theater, and a marina on the river. The project was conceived inside and out by Chicago-based architect Bertrand Goldberg and financed by the Chicago Janitors’ Union, which was looking to invest pension dollars in a prominent real estate project. The financial end of the deal didn’t turn out quite as expected, but Goldberg, who trained at Harvard and the German Bauhaus, managed to construct one of the twentieth century’s greatest urban apartment buildings. This address still attracts design-minded residents looking for compact residential living in the heart of Chicago, and you don’t even have to give up your car (or your boat) to live there. Learn more about your ad choices. Visit megaphone.fm/adchoices

Anyone who has visited downtown Chicago will remember seeing the dazzling round towers of Bertrand Goldberg’s Marina City on the north bank of the river. Often photographed, always a curiosity, these iconic buildings have been featured in numerous magazines, postcards, album covers, and films, but until now have received surprisingly little scholarly attention. In their delightful book, Marina City: Bertrand Goldberg’s Urban Vision (Princeton Architectural Press, 2010) authors Igor Marjanovicand Katerina Ruedi Ray meticulously reconstruct the history of this building complex from all conceivable angles. Their chapters include discussions of Goldberg’s career, the project’s financing, the formal and structural successes of its modernist design, and Marina City’s life in images after the project was complete. As you will learn from my interview with co-author Igor Marjanovic,what most people don’t know are that these towers are only the most visible part of a block-sized complex that also includes a public plaza (that once had a skating rink), an underground shopping center, a theater, and a marina on the river. The project was conceived inside and out by Chicago-based architect Bertrand Goldberg and financed by the Chicago Janitors’ Union, which was looking to invest pension dollars in a prominent real estate project. The financial end of the deal didn’t turn out quite as expected, but Goldberg, who trained at Harvard and the German Bauhaus, managed to construct one of the twentieth century’s greatest urban apartment buildings. This address still attracts design-minded residents looking for compact residential living in the heart of Chicago, and you don’t even have to give up your car (or your boat) to live there. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this 1965 rare recording, Bertrand Goldberg leads psychologists Timothy Leary and Ralph Metzner on a tour of the recently completed Marina City and the Raymond Hilliard Center construction site. Famous for their research into various forms of psychedelic experience, Leary and Metzner discuss the layers of symbolism and social program in Goldberg's buildings. Clip 1: Marina City: “Adjusting your consciousness and your furniture to this kind of space” Clip 2: Tour of Marina City Apartments Clip 3: Raymond Hilliard Center: Integration through Design Clip 4: Psychedelic Art The Art Institute of Chicago, Archive of Bertrand Goldberg, Ryerson and Burnham Libraries, 2002.3 File Length: 13m 42s

Blair Kamin and the Chicago Children's Museum--the Stranded in the Loop brigade--and an oversexed summer in one easy lesson.