"FOTO BURLESCA ORIGINAL FIRMADA 1926 BABE MORRIS ""Reina del Jazz"" en Chicago VI

EUR 2.232,73 ¡Cómpralo ya!, Haga clic para ver el costo de envío, 30-Día Devoluciones, Garantía al cliente de eBay
Vendedor: memorabilia111 ✉️ (807) 100%, Ubicación del artículo: Ann Arbor, Michigan, US, Realiza envíos a: US y muchos otros países, Número de artículo: 176278959946 "FOTO BURLESCA ORIGINAL FIRMADA 1926 BABE MORRIS ""Reina del Jazz"" en Chicago VI. \bar "|.". . 8 . \relative c, {. 8 . A VERY RARE 8X10 INCH PHOTO C1926 OF BABE MORRIS BURLESQUE DANCER AND PROCLAIMED "Queen of Jazz" in Chicago  WHEN SHE WAS 16 Miss "Babe" Morris was recently crowned "Queen of Jazz" in Chicago and her admirers anticipate a great future for her as the famous Gilda Gray, who is one of America's high paid stage favorites, and who "shimmied her way to fame." Jazz Music is an expression of freedom, of joy, and of gratitude. It is also a protest against the music of opera, whose theme is so often murder and unhappiness. It is the perfect expression of the present age. Although ragtime, the popular music which was the immediate predecessor in the public fancy, probably paved the way for jazz, and Miss Morris, only 16 years old at present, has undoubtedly demonstrated that she is entitled to be crowned "Queen of Jazz". 
A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects.[1] The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla – a joke, ridicule or mockery.[2][3] Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era.[4] "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century. It has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.[5] Contrasting examples of literary burlesque are Alexander Pope's The Rape of the Lock and Samuel Butler's Hudibras. An example of musical burlesque is Richard Strauss's 1890 Burleske for piano and orchestra. Examples of theatrical burlesques include W. S. Gilbert's Robert the Devil and the A. C. Torr – Meyer Lutz shows, including Ruy Blas and the Blasé Roué. A later use of the term, particularly in the United States, refers to performances in a variety show format. These were popular from the 1860s to the 1940s, often in cabarets and clubs, as well as theatres, and featured bawdy comedy and female striptease. Some Hollywood films attempted to recreate the spirit of these performances from the 1930s to the 1960s, or included burlesque-style scenes within dramatic films, such as 1972's Cabaret and 1979's All That Jazz, among others. There has been a resurgence of interest in this format since the 1990s.[6][7] Contents 1 Literary origins and development 2 In music 2.1 Classical music 2.2 Jazz 3 Victorian theatrical burlesque 4 American burlesque 5 See also 6 Notes 7 References 8 External links Literary origins and development Arabella Fermor, target of The Rape of the Lock The word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to a grotesque imitation of the dignified or pathetic.[8] Shakespeare's Pyramus and Thisbe scene in Midsummer Night's Dream and the general mocking of romance in Beaumont and Fletcher's The Knight of the Burning Pestle were early examples of such imitation.[9] In 17th century Spain, playwright and poet Miguel de Cervantes ridiculed medieval romance in his many satirical works. Among Cervantes' works are Exemplary Novels and the Eight Comedies and Eight New Interludes published in 1615.[10] The term burlesque has been applied retrospectively to works of Chaucer and Shakespeare and to the Graeco-Roman classics.[5] Burlesque was intentionally ridiculous in that it imitated several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term was often used interchangeably with "pastiche", "parody", and the 17th and 18th century genre of the "mock-heroic".[11] Burlesque depended on the reader's (or listener's) knowledge of the subject to make its intended effect, and a high degree of literacy was taken for granted.[12] 17th and 18th century burlesque was divided into two types: High burlesque refers to a burlesque imitation where a literary, elevated manner was applied to a commonplace or comically inappropriate subject matter as, for example, in the literary parody and the mock-heroic. One of the most commonly cited examples of high burlesque is Alexander Pope's "sly, knowing and courtly" The Rape of the Lock.[13] Low burlesque applied an irreverent, mocking style to a serious subject; an example is Samuel Butler's poem Hudibras, which described the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Butler's addition to his comic poem of an ethical subtext made his caricatures into satire.[14] In more recent times, burlesque true to its literary origins is still performed in revues and sketches.[9] Tom Stoppard's 1974 play Travesties is an example of a full-length play drawing on the burlesque tradition.[15] In music See also: Parody music Classical music Beginning in the early 18th century, the term burlesque was used throughout Europe to describe musical works in which serious and comic elements were juxtaposed or combined to achieve a grotesque effect.[16] As derived from literature and theatre, "burlesque" was used, and is still used, in music to indicate a bright or high-spirited mood, sometimes in contrast to seriousness.[16] In this sense of farce and exaggeration rather than parody, it appears frequently on the German-language stage between the middle of the 19th century and the 1920s. Burlesque operettas were written by Johann Strauss II (Die lustigen Weiber von Wien, 1868),[17] Ziehrer (Mahomed's Paradies, 1866; Das Orakel zu Delfi, 1872; Cleopatra, oder Durch drei Jahrtausende, 1875; In fünfzig Jahren, 1911)[18] and Bruno Granichstaedten (Casimirs Himmelfahrt, 1911). French references to burlesque are less common than German, though Grétry composed for a "drame burlesque" (Matroco, 1777).[19] Stravinsky called his 1916 one-act chamber opera-ballet Renard (The Fox) a "Histoire burlesque chantée et jouée" (burlesque tale sung and played) and his 1911 ballet Petrushka a "burlesque in four scenes". A later example is the 1927 burlesque operetta by Ernst Krenek entitled Schwergewicht (Heavyweight) (1927). Burleske MENU0:00 Burleske (1885–86), by Richard Strauss. Performed by Neal O'Doan with the Seattle Philharmonic Orchestra Problems playing this file? See media help. Some orchestral and chamber works have also been designated as burlesques, of which two early examples are the Ouverture-Suite Burlesque de Quixotte, TWV 55, by Telemann and the Sinfonia Burlesca by Leopold Mozart (1760). Another often-performed piece is Richard Strauss's 1890 Burleske for piano and orchestra.[16] Other examples include the following: 1901: Six Burlesques, Op. 58 for piano four hands by Max Reger 1904: Scherzo Burlesque, Op. 2 for piano and orchestra by Béla Bartók 1911: Three Burlesques, Op. 8c for piano by Bartók 1920: Burlesque for Piano, by Arnold Bax 1931: Ronde burlesque, Op. 78 for orchestra by Florent Schmitt 1932: Fantaisie burlesque, for piano by Olivier Messiaen 1956: Burlesque for Piano and Chamber Orchestra, Op. 13g by Bertold Hummel 1982: Burlesque for Wind Quintet, Op. 76b by Hummel Burlesque can be used to describe particular movements of instrumental musical compositions, often involving dance rhythms. Examples are the Burlesca, in Partita No. 3 for keyboard (BWV 827) by Bach, the "Rondo-Burleske" third movement of Symphony No. 9 by Mahler, and the "Burlesque" fourth movement of Shostakovich's Violin Concerto No. 1.[20] Jazz The use of burlesque has not been confined to classical music. Well-known ragtime travesties include Russian Rag, by George L. Cobb, which is based on Rachmaninoff's Prelude in C-sharp minor, and Harry Alford's Lucy's Sextette based on the sextet, 'Chi mi frena in tal momento?', from Lucia di Lammermoor by Donizetti.[21] Victorian theatrical burlesque Florence St. John in Carmen up to Data Main article: Victorian burlesque Victorian burlesque, sometimes known as "travesty" or "extravaganza",[22] was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risqué in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planché.[23] Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie.[24] Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'."[25] In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music;[26] later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s.[27] Sheet music from Faust up to Date Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera.[28][29] The dialogue was generally written in rhyming couplets, liberally peppered with bad puns.[25] A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'".[29] A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risqué.[25] Programme: Ruy Blas and the Blasé Roué Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie.[24][30] From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill.[24] In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.[31] American burlesque Advertisement for a burlesque troupe, 1898 Main article: American burlesque American burlesque shows were originally an offshoot of Victorian burlesque. The English genre had been successfully staged in New York from the 1840s, and it was popularised by a visiting British burlesque troupe, Lydia Thompson and the "British Blondes", beginning in 1868.[32] New York burlesque shows soon incorporated elements and the structure of the popular minstrel shows. They consisted of three parts: first, songs and ribald comic sketches by low comedians; second, assorted olios and male acts, such as acrobats, magicians and solo singers; and third, chorus numbers and sometimes a burlesque in the English style on politics or a current play. The entertainment was usually concluded by an exotic dancer or a wrestling or boxing match.[33] While burlesque went out of fashion in England towards the end of the 19th century, to be replaced by Edwardian musical comedy, the American style of burlesque flourished, but with increasing focus on female nudity. Exotic "cooch" dances were brought in, ostensibly Syrian in origin. The entertainments were given in clubs and cabarets, as well as music halls and theatres. By the early 20th century, there were two national circuits of burlesque shows competing with the vaudeville circuit, as well as resident companies in New York, such as Minsky's at the Winter Garden.[33] Gypsy Rose Lee The transition from burlesque on the old lines to striptease was gradual. At first, soubrettes showed off their figures while singing and dancing; some were less active but compensated by appearing in elaborate stage costumes.[34] The strippers gradually supplanted the singing and dancing soubrettes; by 1932 there were at least 150 strip principals in the US.[34] Star strippers included Sally Rand, Gypsy Rose Lee, Tempest Storm, Lili St. Cyr, Blaze Starr, Ann Corio and Margie Hart, who was celebrated enough to be mentioned in song lyrics by Lorenz Hart and Cole Porter.[34] By the late 1930s, burlesque shows would have up to six strippers supported by one or two comics and a master of ceremonies. Comics who appeared in burlesque early in their careers included Fanny Brice, Mae West, Eddie Cantor, Abbott and Costello, W. C. Fields, Jackie Gleason, Danny Thomas, Al Jolson, Bert Lahr, Phil Silvers, Sid Caesar, Danny Kaye, Red Skelton and Sophie Tucker.[34] Michelle L'amour, 2005 Miss Exotic World The uninhibited atmosphere of burlesque establishments owed much to the free flow of alcoholic liquor, and the enforcement of Prohibition was a serious blow.[35] In New York, Mayor Fiorello H. La Guardia clamped down on burlesque, effectively putting it out of business by the early 1940s.[36] It lingered on elsewhere in the U.S., increasingly neglected, and by the 1970s, with nudity commonplace in theatres, reached "its final shabby demise."[37] Both during its declining years and afterwards there have been films that sought to capture American burlesque, including Lady of Burlesque (1943),[38] Striporama (1953),[39] and The Night They Raided Minsky's (1968).[40] The "Stage Door Johnnies" performing at the Burlesque Hall of Fame in Las Vegas, 2011 In recent decades, there has been a revival of burlesque, sometimes called Neo-Burlesque,[36] on both sides of the Atlantic.[41] A new generation, nostalgic for the spectacle and perceived glamour of the classic American burlesque, developed a cult following for the art in the early 1990s at Billie Madley's "Cinema" and later at the "Dutch Weismann's Follies" revues in New York City, "The Velvet Hammer" troupe in Los Angeles and The Shim-Shamettes in New Orleans. Ivan Kane's Royal Jelly Burlesque Nightclub at Revel Atlantic City opened in 2012.[42] Notable Neo-burlesque performers include Dita Von Teese, and Julie Atlas Muz and Agitprop groups like Cabaret Red Light incorporated political satire and performance art into their burlesque shows. Annual conventions such as the Vancouver International Burlesque Festival and the Miss Exotic World Pageant are held.[43][44] See also Cabaret Nightclub act Striptease Notes  "Burlesque", Oxford English Dictionary, Oxford University Press, accessed 16 February 2011 (subscription required)  In theatrical use, a burla was "a comic interlude or practical joke introduced, usually extempore, into a performance by the servant masks of the commedia dell'arte … developed at will into a small independent 'turn', the characters returning at its conclusion to the main theme of the plot". See Hartnoll, Phyllis and Peter Found. "Burla", The Concise Oxford Companion to the Theatre, Oxford University Press, 1996. Oxford Reference Online, accessed 16 February 2011 (subscription required)  "Burlesque News – The Growth of Burlesque", New York Clipper, Vol. 62, No. 31, September 12, 1914, p. 18 (accessed February 28, 2017, via MyHeritage)  Fowler, H. W., rev. Sir Ernest Gowers (1965). Modern English Usage. Oxford: Oxford University Press, pp. 68 and 96  Baldick, Chris. "Burlesque", The Oxford Dictionary of Literary Terms, Oxford University Press, 2008. Oxford Reference Online. Oxford University Press, accessed 16 February 2011 (subscription required)  Sankar-Gorton, Eliza (30 April 2015). "Burlesque Is Back and Here Is What You Need to Know About It". www.huffingtonpost.com. The Huffington Post. Retrieved 7 May 2015.  Petkovic, John (28 November 2010). "Burlesque: Then and now, a timeline of performers from Lili St. Cyr to Dita VonTeese". www.cleveland.com. The Plain Dealer. Retrieved 7 May 2015.  Fredric Woodbridge Wilson: "Burlesque", Grove Music Online ed. L. Macy (Accessed December 04, 2008), (subscription access)  Stanton, p. 50  Burlesque, MSN Encarta, accessed 18 June 2012  Sanders, p. 291  Speaight, George. "All froth and bubble", The Times Literary Supplement, 1 October 1976, p. 1233  Sanders, pp. 290–91  Hudibras was so popular that it became the subject of parody itself. See Sanders, p. 255.  Stanton, p. 50; and Hunter, Jim (1982) Tom Stoppard's Plays. London: Faber and Faber, ISBN 0-571-11903-4, pp. 23–33, 141–146 and 237–242  Kennedy, Michael (2006), The Oxford Dictionary of Music, p. 134  Lamb, Andrew (1992), "Strauss, Johann" in The New Grove Dictionary of Opera, ed. Stanley Sadie (London) ISBN 0-333-73432-7  Lamb, Andrew (1992), "Ziehrer, C. M." in The New Grove Dictionary of Opera, ed. Stanley Sadie (London) ISBN 0-333-73432-7  Charlton, David and M. Elizabeth C. Bartlet, "Grétry, André-Ernest-Modeste: Works," Grove Music Online. Oxford Music Online, accessed 24 February 2011 (subscription required)  McGregor, Andrew, "Dmitri Shostakovich Violin Concertos 1 & 2 Review", BBC Music, accessed 24 February 2011  Harrison, Max (2006): Rachmaninoff: Life, Works, Recordings p 229  According to the Grove Dictionary of Music and Musicians, "the various genre terms were always applied freely", and by the 1860s their use had become "arbitrary and capricious": see "Burlesque," Grove Music Online. Oxford Music Online, accessed 3 February 2011 (subscription required). In an 1896 article on Burlesque in The Theatre, the three terms are used interchangeably: see Adams, W. Davenport. "Burlesque: Old v. New", The Theatre, 1 March 1896, pp. 144–45  Adams, W. Davenport. A Book of Burlesque (London: Henry and Co., 1891), p. 44  "Theatrical Humour in the Seventies", The Times, 20 February 1914, p. 9  Schwandt, Erich et al. "Burlesque", Grove Music Online. Oxford Music Online, accessed 3 February 2011 (subscription required)  Moss, Harold Gene. "Popular Music and the Ballad Opera", Journal of the American Musicological Society, Vol. 26, No. 3 (Autumn, 1973), pp. 365–82, University of California Press, accessed 2 February 2011 (subscription required)  Rogers, Delmer D. "Public Music Performances in New York City from 1800 to 1850", Anuario Interamericano de Investigacion Musical, Vol. 6 (1970), pp. 5–50, accessed 2 February 2011 (subscription required)  Marvin, Roberta Montemorra. "Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture", Cambridge Opera Journal, Vol. 15, No. 1 (March 2003), pp. 33–66, Cambridge University Press, accessed 2 February 2011 (subscription required)  Wells, Stanley. "Shakespearian Burlesques", Shakespeare Quarterly, Vol. 16, No. 1 (Winter, 1965), pp. 49–61, Folger Shakespeare Library in association with George Washington University, accessed 2 February 2011 (subscription required)  "Mr. D'Auban's 'Startrap' Jumps". The Times, 17 April 1922, p. 17  Gänzl, Kurt. "Edwardes, George Joseph (1855–1915)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 3 February 2011 (subscription required)  Hoffos, Signe and Moulder, Bob. "Desperately Seeking Lydia" and "Appreciating Lydia", Archived 2011-05-13 at the Wayback Machine The Friends of Kensal Green Cemetery Magazine, Vol. 43, Autumn 2006, pp. 1–7  "Burlesque show", Encyclopædia Britannica, Online Library Edition, accessed 16 February 2011 (subscription required)  Humez, Nick. "Burlesque". St. James Encyclopedia of Popular Culture, ed. Sara Pendergast and Tom Pendergast, Gale Virtual Reference Library, accessed 16 February 2011 (subscription required)  Hartnoll, Phyllis and Peter Found. "Burlesque, American", The Concise Oxford Companion to the Theatre, Oxford University Press, 1996. Oxford Reference Online, accessed 16 February 2011 (subscription required)  Caldwell, Mark. "The Almost Naked City", The New York Times, 18 May 2008, accessed 19 September 2009  Allen, p. xi  "New Films In London", The Times, 2 August 1943, p. 8  Striporama Internet Movie Database, accessed 17 February 2011  Slonimsky, Nicholas, "Burlesque show", Baker's Dictionary of Music, Schirmer Reference, New York, 1997, accessed 16 February 2010 (subscription required)  Newman, Martin. "Burlesque ventures out of the West End and into... Camden Town", The Mirror, 18 February 2012  Oliverie, Kristin. "Burlesque Is the Word at Atlantic City’s Revel", The Daily Meal, accessed 18 June 2012  Sohn, Amy. Teasy Does It, New York Magazine Archived 2008-07-20 at the Wayback Machine, 21 May 2005, accessed 24 February 2011  Clodfelter, Tim. "This ain't your granddad's burlesque – but he sure wouldn't mind watching" Archived 2009-10-07 at Archive.today. Winston-Salem Journal, 31 January 2008, accessed 24 February 2011 References Abrams, M. H. (1999) A Glossary of Literary Terms. Seventh edition. Fort Worth, TX: Harcourt Brace College Publishers Adams, William Davenport (1904) A dictionary of the drama London: Chatto & Windus Allan, Kirsty L. 'A Guide to Classical Burlesque – Funny Ha Ha or Funny Peculiar?' Allan, Kirsty L. and Charms, G. 'Diamonds From the Rough – The Darker Side of American Burlesque striptease' Allen, Robert Clyde (1991). Horrible Prettiness: Burlesque and American Culture. Chapel Hill: University of North Carolina Press. ISBN 0-8078-1960-3 Baldwin, Michelle. Burlesque and the New Bump-n-Grind Briggeman, Jane (2009) Burlesque: A Living History. BearManor Media, 2009. ISBN 978-1-59393-469-9 DiNardo, Kelly. "Gilded Lili: Lili St. Cyr and the Striptease Mystique"; Archive of articles, video, pictures and interviews about neo-burlesque. Frye, Northrop. (1957) Anatomy of Criticism: Four Essays. Princeton: Princeton University Press Hedin, Thomas F. (2001) The Petite Commande of 1664: Burlesque in the gardens of Versailles, The Art Bulletin Hollingshead, John. (1903) Good Old Gaiety: An Historiette & Remembrance London: Gaity Theatre Co Kennedy, Michael (2006), The Oxford Dictionary of Music, Oxford: Oxford University Press. ISBN 0-19-861459-4 Kenrick, John. A History of The Musical Burlesque Sanders, Andrew (1994). The Short Oxford History of English Literature. Oxford: Oxford University Press. ISBN 0-19-811201-7 Stanton, Sarah and Banham, Martin (1996). Cambridge Paperback Guide to Theatre, Cambridge: Cambridge University Press. ISBN 978-0-521-44654-9 Warrack, John and West, Ewan (1992), The Oxford Dictionary of Opera, Oxford: Oxford University Press. ISBN 0-19-869164-5 Wilson, Frederic Woodbridge (1992), 'Burlesque' in The New Grove Dictionary of Opera, ed. Stanley Sadie (London) ISBN 0-333-73432-7 Zeidman, Irving: The American Burlesque Show. Hawthorn Books, Inc 1967, OCLC 192808, OCLC 493184629 Lydia Thompson, the audacious British showgirl who's troupe of blonde beauties made burlesque a sensation in America. Most people think that "burlesque" means female strippers walking a runway to a bump and grind beat. But that only fits the form in its declining years. At its best, burlesque was a rich source of music and comedy that kept America, audiences laughing from 1840 through the 1960s. Some sources try to wrap burlesque in a mantle of pseudo-intellectual respectability. Yes, it involved transgressive comedy and songs, but the primary attraction of burlesque was sex . . in the form of ribald humor and immodestly dressed women. Although many dismissed burlesque as the tail-end of show business, its influence reaches through the development of popular entertainment into the present. Without question, however, burlesque's principal legacy as a cultural form was its establishment of patterns of gender representation that forever changed the role of the woman on the American stage and later influenced her role on the screen. . . The very sight of a female body not covered by the accepted costume of bourgeois respectability forcefully if playfully called attention to the entire question of the "place" of woman in American society. - Robert G. Allen, Horrible Prettiness: Burlesque and American Culture (Univ. of North Carolina Press, Chapel Hill, 1991), pp. 258-259. In the 19th Century, the term "burlesque" was applied to a wide range of comic plays, including non-musicals. Beginning in the 1840s, these works entertained the lower and middle classes in Great Britain and the United States by making fun of (or "burlesquing") the operas, plays and social habits of the upper classes. These shows used comedy and music to challenge the established way of looking at things. Everything from Shakespearean drama to the craze for Swedish opera singer Jenny Lind could inspire a full-length burlesque spoof. On Broadway, the burlesque productions of actor managers William Mitchell, John Brougham and Laura Keene were among Broadway's most popular hits of the mid-19th Century. By the 1860s, British burlesque relied on the display of shapely, underdressed women to keep audiences interested. In the Victorian age, when proper women went to great lengths to hide their physical form beneath bustles, hoops and frills, the idea of young ladies appearing onstage in tights was a powerful challenge. Suggestive rather than bawdy, these shows relied less on strong scripts or songs than on sheer star power. When Broadway's The Black Crook became a massive hit in 1866, its troop of ballerinas in flesh-colored tights served notice that respectable American audiences were ready to fork over big bucks for sexually stimulating entertainment. All it took was a daring producer to take things to the next level. Lydia Thompson Program for IxionThe original program to Ixion, Broadway's first burlesque hit. In the late 1860s, Lydia Thompson's British burlesque troupe became New York's biggest theatrical sensation. Their first hit was Ixion (1868), a mythological spoof that had women in revealing tights playing men's roles. In the Victorian age, when proper women went to great lengths to hide their physical form beneath bustles, hoops and frills, the idea of young ladies appearing onstage in tights was a powerful challenge. Underdressed women playing sexual aggressors, combining good looks with impertinent comedy – in a production written and managed by a woman? Unthinkable! No wonder men and adventurous wives turned out in droves, making Thompson and her "British blondes" the hottest thing in American show business. Demand for tickets was such that Ixion soon moved to Broadway's most prestigious musical house, Niblo's Garden – the same theatre where The Black Crook had triumphed two years earlier. All told, Thompson's first New York season grossed over $370,000. Thompson and her imitators did not bother with such mundane matters as hiring composers. Instead, they used melodies from operatic arias and popular songs of the day, incorporating them into the action for comic or sentimental effect. To prevent unauthorized productions, the scripts from these early burlesques were not published. In fact, the material changed so often (sometimes from week to week) that a written script would serve little purpose. We can only guess at the exact content and staging of these shows, but it is clear that audiences were delighted. At first, the American press praised burlesques, but turned vicious under pressure from influential do-gooders. But the cries of the self-righteous had an unintended effect. Editorials and sermons condemning burlesque as "indecent" only made the form more popular! Demand was such that copycat burlesque companies soon cropped up, many with female managers. Mabel Saintley became America's first native-born burlesque star, leading "Mme. Rintz's Female Minstrels" from the 1880s onwards in a stylish burlesque of all-male troupes. Burlesque left little to the imagination. The popular stage spectacle Ben Hur inspired "The High Rollers" troupe to produce Bend Her, with scantily clad chorines as Roman charioteers. Any stage hit could become a target for humor. The popular melodrama Trilby was spoofed in 'Twill Be. Americans began creating their own burlesques, and some proved extremely popular. Composer Edward E.Rice teamed with actor Henry Dixey to create Adonis (1874), the story of a statue that comes to life and is so disgusted by human folly that he finally chooses to turn back into stone. The show ran over 500 performances in New York and toured for years, making the handsome Dixey the top matinee idol of his time. Burlesque Format As male managers took over the form in the 1880s, transgressive feminine wit was gradually replaced by a masculine determination to reveal as much of the feminine form as local laws allowed. But obscenity and vulgarity were avoided – the point was to spoof and (to a limited extent) titillate, not to offend. Burlesque underwent a crucial change when Michael Leavitt produced burlesque variety shows using something similar to the three act minstrel show format – ACT ONE: The ensemble entertains with songs and gags, dressed in formal evening clothes. ACT TWO: An "olio" of variety acts (singers, comics, skits, etc.). ACT THREE: A complete one-act musical burlesque. These ranged from Shakespearean take offs like Much Ado About a Merchant of Venice to a Gilbert and Sullivan spoof called The Mick Hair-Do. By 1905, burlesque theatre owners formed vaudeville-style circuits of small, medium and big time theatres. Because big time burlesque companies played these theatres in regular rotations, the circuits came to be known as wheels -- the largest being the Columbia (Eastern U.S.), Mutual, and Empire (Western U.S.) wheels. Unlike vaudeville performers who sought weekly bookings as individual acts, burlesquers spent an entire forty week season touring as part of one complete troupe. For three decades, this system made burlesque a dependable source of steady work. The biggest burlesque star of the early 20th Century was dancer Millie DeLeon, an attractive brunette who tossed her garters into the audience and occasionally neglected to wear tights. Such shenanigans got her arrested on occasion, and helped to give burlesque a raunchy reputation. Although vaudevillians looked down on burlesque performers, many a vaude trouper avoided bankruptcy by appearing in burlesque – usually under an assumed name, to avoid embarrassment. Training Ground Bert Lahr in his burlesque daysLong before his "Cowardly Lion" days, Bert Lahr polished his comic skills in burlesque. Note the outlandish costume and exaggerated make-up, required attire for burlesque comics. In time, burlesque bills began and ended with "burlettas," extended skits that made fun of hit shows and popular topics. In between came a variety olio where singers, comics, jugglers, magicians and specialty acts were all part of the mix. Herb Goldman points out in Fanny Brice: The Original Funny Girl (Oxford: NYC, 1992, p. 28-29) that burlesque – not vaudeville – was the real "break-in ground" where amateurs could prove if they had the talent and determination to survive in show business. By the time most performers reached vaudeville, they were already experienced pros. While it was common for burlesque stars to graduate into vaudeville, vaudevillians considered it a fatal disgrace to appear in burlesque, insisting that only those who were "washed up" would stoop so low. However, many a vaudeville veteran hit the burlesque wheels during dry spells, appearing under an assumed name. Burlesque's richest legacy was its comedy. The lead comic in a burlesque show was referred to as the "top banana," and his sidekicks were known as the second, third, etc. – supposedly because they would resort to slipping on banana peels in order to get a laugh. The lower you were in the "bunch," the more likely you were to suffer the worst of the physical humor (pies in the face, seltzer in the pants, etc.). Some wondrous comedians learned their craft working the burlesque wheels, including future musical comedy stars Jackie Gleason, Fanny Brice, Leon Errol, Bert Lahr, W.C. Fields, Bobby Clark, Red Skelton, Phil Silvers, Joey Faye and Bob Hope. All used the same basic routines, but no two played them the same way. So what was burlesque comedy like? Classic Comedy Skits From the 1880s onwards, burlesque comedy was built around settings and situations familiar to lower and working class audiences. Courtrooms, street corners and inner city schoolrooms were favorites, as were examining rooms ruled over by quack physicians. Sexual innuendo was always present, but the focus was on making fun of sex and what people were willing to do in the pursuit of it. Some examples – (Injured Man crosses stage in assorted bandages and casts.) Comic: What happened to you? Injured Man: I was living the life of Riley. Comic: And? Injured Man: Riley came home! (A buxom Girl drops her purse, and a Comic tries to return it.) Comic: I beg your pardon. Girl: What are you begging for? You're old enough to ask for it. (Minister walks up to a beautiful young woman.) Minister: Do you believe in the hereafter? Woman: Certainly, I do! Minister: (Leering) Then you know what I'm here after. Many burlesque routines spoofed social conventions and linguistic idiosyncrasies. The most famous was Bud Abbott and Lou Costello's glorious "Who's On First," which had fun with the sometimes confusing nicknames given to popular baseball players. It was the descendant of several earlier routines that involved two men exchanging an intricate series of misunderstood words. Another popular bit was aimed at the convoluted names of nepotistic businesses and law firms – Man at Desk: (picks up phone) Hello, Cohen, Cohen, Cohen and Cohen. Caller: Let me speak to Mr. Cohen. Man at Desk: He's dead these six years. We keep his name on the door out of respect. Caller: Then let me speak to Mr. Cohen. Man: He's on vacation. Caller: (Exasperated) Well then, let me speak to Mr. Cohen. Man: He's out to lunch. Caller: (Yells) Then let me speak to Mr. Cohen. Man: Speaking. Many routines showed the underdog getting the best of a confrontation. One skit involved a man pushing a baby carriage. The baby screams until the man takes a beer bottle and beats the unseen tyke into silence. Papa then proclaims, "That ought to show the little sucker," whereupon a stream of yellow liquid flies out of the carriage and hits him square in the face. Talk about justice! Burlesque performers developed a unique backstage language of their own. Some examples found in H. M. Alexander's Strip Tease (Knight Publishers, NY, 1938, pp. 120-123) – Jerk – audience member Yock – a belly laugh Skull – make a funny face Talking woman – delivers lines in comedy skits Cover – perform someone's scenes for them The asbestos is down – the audience is ignoring the jokes From hunger – a lousy performer Mountaineer – a new comic, fresh from the Catskill resort circuit Boston version – a cleaned-up routine Blisters – a stripper's breasts Cheeks – a stripper's backside Gadget – a G-string Trailer – the strut taken before a strip Quiver – shake the bust Shimmy – Shake the posterior Bump – swing the hips forward Grind – full circle swing of the pelvis Milk it – get an audience to demand encores Brush your teeth! - comedian's response to a Bronx cheer "Somethin' Wrong With Strippin'?" In the 1920s, the old burlesque circuits closed down, leaving individual theater owners to get by as best they could on their own. The strip tease was introduced as a desperate bid to offer something that vaudeville, film and radio could not. There are a dozen or more popular legends as to how the strip was born – telling how a dancer's shoulder strap broke, or some similar nonsense. In fact, it had been around since Little Egypt introduced the "hootchie-kooch" at the 1893 Chicago World's Fair, and had always remained a mainstay of stag parties. Burlesque promoters like the Minsky brothers took the strip tease out of the back rooms and put it onstage. While stripping drew in hoards of randy men, it also gave burlesque a sleazy reputation. As moralists once again expressed outrage, male audiences kept burlesque profitable through most of the Great Depression. Strippers had to walk a fine line between titillation and propriety – going too far (let alone "all the way") could land them in jail for corrupting public morals. Some gave stripping an artistic twist and graduated to general stardom, including fan dancer Sally Rand and former vaudevillian Rose Lousie Hovick – better known as the comically intellectual Gypsy Rose Lee. The strippers soon dominated burlesque, and their routines became increasingly graphic. To avoid total nudity but still give the audience what it wanted, the ladies covered their groins with flimsy G-strings and used "pasties" to cover their nipples. This was usually enough to keep the cops at bay, even though pasties were far more vulgar that a plain naked breast. Death Knells Legal crackdowns began in the mid-1920s, including a now legendary raid on Minsky's in Manhattan. Burlesque managers relied on their lawyers, who kept coming up with legal loopholes for more than a decade. Reform-minded Mayor Fiorello LaGuardia closed New York's remaining burlesque houses in 1937, dismissing them as purveyors of "filth." He was not altogether wrong – by this time, most burlesque shows had degenerated into a series of bump and grind strip routines interrupted by lifeless comic bits. Burlesque managers were so resilient that LaGuardia outlawed the use of the words "burlesque" or "Minsky" in public advertising! Some sources praise the burlesque comics of the 1920s and 30s, but by this point, men went to burlesque shows to watch women strip -- period. The more the gals took off, the more the audiences liked it. At a time when fear of personal scandal and sexual disease were rampant, burlesque was a relatively safe source of titillation for married men and youngsters alike. The comedy was no longer a key attraction. Without New York City, which had been the hub of burlesque's universe, the remaining promoters around the US presented increasingly tacky strip shows. The best burlesque comics segued into radio, film and television, taking many classic routines with them. By the 1960s, hard core pornography was in theatres all across the United States. Men no longer needed strippers to feed their sexual fantasies. The few remaining burlesque shows devolved into campy soft-porn, with even the strippers aiming for "yocks." An article in Esquire (July 1964) describes how Blaze Starr played her strip for laughs. After one of her breasts "accidentally" bounced out of her costume – Blaze tripped to the microphone. Looking down at her exposed breast, she said, "What are you doing out there, you gorgeous thing?" Then she covered herself. "You got to tell them they're pretty," she said; "it makes them grow" . . . Then she flung herself on the couch and quickly stripped down to a transparent bra and black garter pants. She produced a power puff and asked rhetorically, "Who's going to powder my butt?" Revivals: "Sugar Babies" Playbill for Sugar BabiesMickey Rooney and Ann Miller in the Broadway revue Sugar Babies (1979). Over the decades, several revues tried to revive the burlesque format – usually with a well-known stripper like Ann Corio heading the cast. Corio and others penned books about the genre, always giving inordinate attention to the strip tease. Many graduates of burlesque became familiar faces on television – and the likes of Red Skelton, Milton Berle and Jackie Gleason recycled many an old "burly" gag on their comedy telecasts. It took a tribute to the pre-stripper era to restore burlesque's fading reputation. The Broadway hit Sugar Babies (1979 - 1,208 performances) starred MGM veterans Mickey Rooney and Ann Miller. With mildly raunchy sketches, period songs and lovely chorus girls, this lavish show caught the comic spirit of 1930s burlesque's comic spirit while making it look classier than it had ever really been. The only striptease routine in the show ended when a chorus girl removed her brassiere – unleashing a floor-length evening gown! The key to the show's success was the comedy. During more than a decade of research, Professor Ralph G. Allen identified more than 1,800 basic burlesque comedy sketches that performers had "borrowed" and recycled for decades. These skits formed the basis for a college revue that eventually grew into Sugar Babies. A burlesque comedian always plays the child of nature. He represents man stripped of moral pretense, lazy, selfish, frequently a victim, but never a pathetic one, because in nine bits out of ten, he blunders into some kind of dubious success . . . The jokes are classy or corny, depending on your point of view. But most of us love jokes we know. They reassure us, and therefore the earth does not yawn at our feet . . . If only we too could make the law an ass, or win five aces in a poker game, or receive an invitation from a lovely lady to meet her 'round the corner for unspecified delights. - Dr. Ralph G. Allen, from the Sugar Babies souvenir program, 1980 Legacy: Burlesque Today? While the "golden age of burlesque" is long gone, its legacy is very much alive. Every time a comedian does a "spit take" or tells a joke with a double-meaning, or whenever Saturday Night Live skewers politicians and movie stars, you are watching the spirit of burlesque in action. Big screen spoofs such as Young Frankenstein, Spaceballs, and the Austin Powers films are clearly carrying on the tradition of early burlesque -- making fun of well-known entertainments, social mores, etc. Shrek 2 (2004) is a superb example of the kind of comedy that Lydia Thompson and her British Blondes offered in the 1860s, getting in good natured jabs at a wide variety of contemporary social targets in a supposed fantasy story -- all while challenging audiences to look beyond appearances. The tawdrier burlesque tradition lives on too. Every time The Jerry Springer Show gives a woman "Jerry beads" for flashing her digitally obscured breasts, it is a classic burlesque tease -- and raucous Springer audiences are eerily reminiscent of those who sought tacky thrills at bump and grind houses a few decades ago. All of these entertainments have their righteous critics, and all appeal to a nation-wide audience. In the early 2000s, a spate of "new burlesque" shows are cropping up on both sides of the Atlantic, featuring comics, strippers and specialty acts that offer a new spin on the old "burly-q" mix. Is it too early to fully assess this trend, but the fact that such shows have spontaneously sprung up in places as diverse as Manhattan, Montreal and Oslo suggests there is a widespread interest crossing all sorts of physical and generational barriers. Why? I would suggest that there is a natural human need for the bold comic challenge that burlesque poses to the social, cultural and sexual status quo. The word "burlesque" was seriously tarnished by the mid-20th Century, when it was linked to witless soft porn strip revues in seedy venues. Now, a new generation is open to re-evaluating both the word and the format, recognizing the spirit of spoofery that made burlesque a potent form of entertainment back in the 1860s. At the dawn of a new millennium, burlesque is still alive and giggling. By the time vaudeville and burlesque were in full swing, Broadway was already home to several thriving forms of musical theatre. For the details . . . 1860s: Exported to America victorian burlesque Lydia Thompson – Burlesque’s first star. Brit Lydia Thompson was burlesque’s first sta. Known the “Queen of Burlesque” Thomspon was instrumental in exporting burlesque to America. In the late 1860s her burlesque troupe – the “British Blondes” – became New York’s biggest theatrical sensation. Their first hit was Ixion, a mythological spoof that had women in revealing tights playing men\’s roles. Underdressed women playing sexual aggressors, combining good looks with impertinent comedy – in a production written and managed by a woman, unthinkable! No wonder men and adventurous wives turned out in droves, making Thompson’s troupe the hottest ticket in American show business. Her first New York season grossed over $370,000. Burlesque Explosion Lydia Thompson’s success launched a US burlesque explosion. Mabel Saintley became America’s first native-born burlesque star, when she feminised the popular minstrel show as “Mme. Rintz’s Female Minstrels.” vintage burlesque Mabel Saintly By now, burlesque was a mix of male performer comedy and a chorus girl leg show with song and dance. It was all very tame compared to today – but a bit of leg back then drove audiences wild. In France they had their own take on burlesque with the cancan and the spectacular music halls of the Folies Bergère and the Moulin Rouge. Early 20th century For the first part of the 20th century, burlesque shows flourished on both sides of the Atlantic. In America, editorials and sermons condemning burlesque as “indecent” had only made the form more popular and burlesque theatres sprung up across the States. millie deleon burlesque The biggest burlesque star of the early 20th Century was dancer Millie DeLeon, an attractive brunette who tossed her garters into the audience and occasionally neglected to wear tights. Such shenanigans got her arrested on occasion, and helped to give burlesque a raunchy reputation. By now, burlesque dancers were like a Victorian version of footballers’ wives. Offstage, they had an ornamental presence, cavorting with well-known socialites and even royalty, it was long way from burlesque’s working class origins. Lavishly adorned, they were perfect arm candy for writers like Jean Cocteau and Oscar Wilde. 1920s : Birth of the Striptease By the 1920s, film and radio was eating into burlesque’s popularity. So the strip tease was introduced as a desperate bid to offer something that vaudeville, film and radio could not. In fact, the striptease had been around since the end of the last century when Little Egypt introduced the “hootchie-kooch” at the 1893 Chicago World’s Fair, but it had always remained a mainstay of stag parties. Now burlesque promoters like the Minsky Brothers in the US, took the striptease out of the back rooms and put it onstage. Strippers had to walk a fine line between titillation and propriety – going too far (let alone “all the way”) could land them in jail for corrupting public morals. The strippers soon dominated burlesque, and their routines became increasingly graphic. To avoid total nudity but still give the audience what it wanted, the ladies covered their groins with flimsy G-strings and used “pasties” to cover their nipples. This was usually enough to keep the cops at bay, even though pasties were far more vulgar that a plain naked breast. burlesque vintage Gypsy Rose Lee By now men went to burlesque shows to watch women strip – period. The comedy was no longer a key attraction. The more clothes the girls removed, the more the audiences liked it. At a time when fear of personal scandal and sexual disease were rampant, burlesque was a relatively safe source of titillation for married men and youngsters alike. Stars of this era were fan dancer Sally Rand and Gypsy Rose Lee. Mid 20s: The Crackdown As burlesques popularity in America increased, so did its critics. In the mid-1920s. egged on by moral crusaders, legal crackdowns in America began, including a now legendary raid on Minskys in Manhattan. Burlesque managers relied on their lawyers, who kept coming up with legal loopholes for more than a decade. Despite, or perhaps because of, the controversy that burlesque dancers attracted Burlesque continued its popularity. In New York which was the epicenter of American burlesque, Minskys burlesque chain moved onto Broadway taking over premises in Times Square and putting many legitimate theaters out of business. By 1935 there were an estimated 3,500 strippers in the US playing to over 50,000 people a night. burlesque doves Burlesque star Rosita Royce and her doves. With each year the acts became racier and more risqué. And with the competition fierce, the acts had to have a gimmick. Yvette Dare used parrots to disrobe her. Rosita Royce had a complex strip show involving white doves. But then in 1937 in New York Mayor Fiorello LaGuardia closed the city’s burlesque houses dismissing them as purveyors of “filth.” Burlesque’ had become so synonymous with sleaze that the word itself was outlawed – with promoters banded from using “burleseque” to market their acts. Naked Girls in 30’s London. In the early 1930s Laura Henderson opened a small theatre in London’s Soho and called it The Windmill. Here she launched a non-stop musical revue with singers, dancers, showgirls and speciality numbers. It soon became a success. But when Mrs. Henderson and manager Mr. Van Damm decided to copy the hugely successful Moulin Rouge in Paris and put naked girls on stage, business exploded. burlesque club history Backstage at The Windmill in the 1930s Skirting London’s draconian censors by having the girls pose completely motionless on stage, like artwork they concocted a series sumptuous nude tableaux vivants based around such themes as Mermaids, Red Indians, Annie Oakley and Britannia. Naked Girls had arrived in Britain and the theatre was now world famous. The Windmill was the only theatre in London which stayed open throughout the War (except for 12 compulsory days from September 4-16, 1939), hence earning its legendary slogan, “We Never Closed.” During some of the worst air attacks of the Blitz, from September 1940 to May 1941, the showgirls and some of its acts moved into the safety of the theatres two underground floors. Many of the Windmill’s customers were families and troops as well as celebrities, who came as Mrs Henderson’s guests and included Princesses Helena Victoria and Marie Louise (the daughter and granddaughter of Queen Victoria). There would be the occasional problem with male customers, but security were always on the lookout for improper behaviour. The history of this famous club has since been immortalised in the film Mrs. Henderson Presents starring Judi Dench and Bob Hoskins. The 1940s The forties was the decade of the pin up. Hollywood was emerging with a glamorous, sexy image that owed much to burlesque with scantily clad women in top hats, leotards and fishnet tights, fan dancers, CanCan girls and a multitude of high leg kicks. With it came sexy screen sirens such as Betty Grable. On the big screen nudity was no no, but off screen on the stage things were raunchier. Despite the New York crackdown, Mens magazines with titles such as Peep Show, Eyeful and Cavalcade of Burlesque had continued to keep burlesque alive. Nightclubs hired the stars to perform at their clubs and a new form of burlesque club emerged. burlesque magazinesThe biggest American burlesque stars such as Gypsy Rose Lee, Sally Rand and Georgie Sothern formed their own companies and toured the country with their “girl shows” bringing titillation and Hollywood style dance to the masses.  New dancers emerged with more elaborate costumes and routines. Such as Lili St Cxyr, who mesmerized audiences with her onstage bubble bath, and Kitty West AKA Evangeline the Oyster Girl. evangeline the oyster girl  Kitty West AKA Evangeline the Oyster Girl The 1950s This decade was the highpoint of Hollywood movie glamour. The female form was celebrated on the big screen like never before. Voluptuous breasts and big sexy hips were the thing. Hour glass figures were in vogue and to the delight of men and the grimaces of women the corset made a dramatic return. Marilyn Monroe’s screen act, with her mix of comedy and tease, owed much to old style burlesque. And in the world of stage burlesque Monroe even had her own imitator – Dixie Evans – who would show a lot more than Marilyn, while dancing with a Joe di Maggio dummy. The fifties was also the decade of Bettie Page. Primarily a pin up girl she also starred in a number of burlesque films – Striporama (1953), Varietease (1954), and Teaserama (1955). These movies, as their titles imply, were only teasing the viewer: the girls wore revealing costumes but there was never any nudity. burlesque history Burlesque pin up girl Bettie Page. The 1960s By the 1960s, hard core pornography had become readily available and men no longer needed strippers to feed their fantasies. The few remaining burlesque shows were campy soft-porn. The era of free love and nudity left the art of the striptease redundant and outdated. Burlesque began its long slow decline. However, it is worth mentioning Go Go dancers. Go Go Dancers Go Go clubs, where scantily clad girls danced on stages or in cages were popular during the 60s. Although they didn’t strip, their brief costumes and provocative dancing were the forerunner of modern lapdancing clubs. Many of today’s burlesque acts pay homage to the Go Go style. go go girls !960’s Go Go Dancers The 70s – 90s In a world where sex was everywhere, Burlesque became all but extinct. In America only Las Vegas kept the glamour alive with their ‘exotic’ style showgirls who typically appeared topless lavishly adorned with sequins, fishnets and feathers. In Europe the Moulin Rouge became a major tourist destination, although its routines were often set to tacky disco music. The Renaissance In the mid 90s, a new generation nostalgic for the spectacle and glamour of the old times, and as a backlash against the see-it-all nature of porn, started to revive the art of the tease. Now with burlesque clubs and performers popping up all across the globe and Dita Von Teese becoming the new genre’s first superstar, burlesque is back.Long live burlesque. We love burlesque
Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, with its roots in blues and ragtime.[1][2][3][4] Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation. Jazz has roots in European harmony and African rhythmic rituals.[5][6] As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. But jazz did not begin as a single musical tradition in New Orleans or elsewhere.[7] In the 1930s, arranged dance-oriented swing big bands, Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.[8] The mid-1950s saw the emergence of hard bop, which introduced influences from rhythm and blues, gospel, and blues to small groups and particularly to saxophone and piano. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation, as did free jazz, which explored playing without regular meter, beat and formal structures. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in the 21st century, such as Latin and Afro-Cuban jazz. Etymology and definition Main article: Jazz (word) American jazz composer, lyricist, and pianist Eubie Blake made an early contribution to the genre's etymology. The origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a slang term dating back to 1860 meaning "pep, energy".[9] The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you simply can't do anything with it".[9] The use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune.[10] Its first documented use in a musical context in New Orleans was in a November 14, 1916, Times-Picayune article about "jas bands".[11] In an interview with National Public Radio, musician Eubie Blake offered his recollections of the slang connotations of the term, saying: "When Broadway picked it up, they called it 'J-A-Z-Z'. It wasn't called that. It was spelled 'J-A-S-S'. That was dirty, and if you knew what it was, you wouldn't say it in front of ladies."[12] The American Dialect Society named it the Word of the 20th Century.[13] Albert Gleizes, 1915, Composition for "Jazz" from the Solomon R. Guggenheim Museum, New York Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader,[14] defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music"[15] and arguing that it differs from European music in that jazz has a "special relationship to time defined as 'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician".[14] A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities".[16] Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition".[17] Duke Ellington, one of jazz's most famous figures, said, "It's all music."[18] Elements Improvisation Main article: Jazz improvisation Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations. These work songs were commonly structured around a repetitive call-and-response pattern, but early blues was also improvisational. Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation, ornamentation, and accompaniment. The classical performer's goal is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on the contribution of the composer, if there is one, and more on the performer.[19] The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer's mood, experience, and interaction with band members or audience members, the performer may change melodies, harmonies, and time signatures.[20] In early Dixieland, a.k.a. New Orleans jazz, performers took turns playing melodies and improvising countermelodies. In the swing era of the 1920s–'40s, big bands relied more on arrangements which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the bebop era of the 1940s, big bands gave way to small groups and minimal arrangements in which the melody was stated briefly at the beginning and most of the piece was improvised. Modal jazz abandoned chord progressions to allow musicians to improvise even more. In many forms of jazz, a soloist is supported by a rhythm section of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the composition structure and complement the soloist.[21] In avant-garde and free jazz, the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters. Traditionalism Since the emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form".[16] Regarding the Dixieland jazz revival of the 1940s, Black musicians rejected it as being shallow nostalgia entertainment for white audiences.[22][23] On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and jazz fusion as forms of debasement and betrayal. An alternative view is that jazz can absorb and transform diverse musical styles.[24] By avoiding the creation of norms, jazz allows avant-garde styles to emerge.[16] Diversity in jazz Jazz and race For some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz is a reminder of "an oppressive and racist society and restrictions on their artistic visions".[25] Amiri Baraka argues that there is a "white jazz" genre that expresses whiteness.[26] White jazz musicians appeared in the Midwest and in other areas throughout the U.S. Papa Jack Laine, who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz".[27] The Original Dixieland Jazz Band, whose members were white, were the first jazz group to record, and Bix Beiderbecke was one of the most prominent jazz soloists of the 1920s.[28] The Chicago Style was developed by white musicians such as Eddie Condon, Bud Freeman, Jimmy McPartland, and Dave Tough. Others from Chicago such as Benny Goodman and Gene Krupa became leading members of swing during the 1930s.[29] Many bands included both Black and white musicians. These musicians helped change attitudes toward race in the U.S.[30] Roles of women Main article: Women in jazz Ethel Waters sang "Stormy Weather" at the Cotton Club. Female jazz performers and composers have contributed to jazz throughout its history. Although Betty Carter, Ella Fitzgerald, Adelaide Hall, Billie Holiday, Peggy Lee, Abbey Lincoln, Anita O'Day, Dinah Washington, and Ethel Waters were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist Lil Hardin Armstrong, trumpeter Valaida Snow, and songwriters Irene Higginbotham and Dorothy Fields. Women began playing instruments in jazz in the early 1920s, drawing particular recognition on piano.[31] When male jazz musicians were drafted during World War II, many all-female bands replaced them.[31] The International Sweethearts of Rhythm, which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the USO, touring Europe in 1945. Women were members of the big bands of Woody Herman and Gerald Wilson. Beginning in the 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women.[32] Trombonist Melba Liston is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with Randy Weston from the late 1950s into the 1990s.[33][34] Jews in jazz Main article: Jews in jazz Al Jolson in 1929 Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in Tin Pan Alley helped shape the many different sounds that jazz came to incorporate.[35] Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time.[36] George Bornstein wrote that African Americans were sympathetic to the plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of popular music saw themselves as natural allies with African Americans.[37] The Jazz Singer with Al Jolson is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture.[38] Benny Goodman was a vital Jewish American to the progression of Jazz. Goodman was the leader of a racially integrated band named King of Swing. His jazz concert in the Carnegie Hall in 1938 was the first ever to be played there. The concert was described by Bruce Eder as "the single most important jazz or popular music concert in history".[39] Origins and early history Jazz originated in the late-19th to early-20th century. It developed out of many forms of music, including blues, spirituals, hymns, marches, vaudeville song, ragtime, and dance music.[40] It also incorporated interpretations of American and European classical music, entwined with African and slave folk songs and the influences of West African culture.[41] Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre.[42] Blended African and European music sensibilities Dance in Congo Square in the late 1700s, artist's conception by E. W. Kemble from a century later The late 18th-century painting The Old Plantation, depicting African-Americans on a Virginia plantation dancing to percussion and a banjo By the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as Congo Square, famous for its African dances.[43] By 1866, the Atlantic slave trade had brought nearly 400,000 Africans to North America.[44] The slaves came largely from West Africa and the greater Congo River basin and brought strong musical traditions with them.[45] The African traditions primarily use a single-line melody and call-and-response pattern, and the rhythms have a counter-metric structure and reflect African speech patterns.[46] An 1885 account says that they were making strange music (Creole) on an equally strange variety of 'instruments'—washboards, washtubs, jugs, boxes beaten with sticks or bones and a drum made by stretching skin over a flour-barrel.[4][47] Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843.[48] There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Robert Palmer said of percussive slave music: Usually such music was associated with annual festivals, when the year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheepskin-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few [accounts] from the southeastern states and Louisiana dating from the period 1820–1850. Some of the earliest [Mississippi] Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War.[49] Another influence came from the harmonic style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals.[50] The origins of the blues are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as Gerhard Kubik points out, whereas the spirituals are homophonic, rural blues and early jazz "was largely based on concepts of heterophony".[51] The blackface Virginia Minstrels in 1843, featuring tambourine, fiddle, banjo, and bones During the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own cakewalk dances. In turn, European American minstrel show performers in blackface popularized the music internationally, combining syncopation with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African American cultures. African rhythmic retention See also: Traditional sub-Saharan African harmony The Black Codes outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in the Caribbean. African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and patting juba dancing.[52] In the opinion of jazz historian Ernest Borneman, what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time.[53] A three-stroke pattern known in Cuban music as tresillo is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the Afro-Caribbean folk dances performed in New Orleans Congo Square and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the African Diaspora.[54][55] \new RhythmicStaff {    \clef percussion    \time 2/4    \repeat volta 2 { c8. c16 r8[ c] } } 0:03 Tresillo is heard prominently in New Orleans second line music and in other forms of popular music from that city from the turn of the 20th century to present.[56] "By and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions," jazz historian Gunther Schuller observed. "Some survived, others were discarded as the Europeanization progressed."[57] In the post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures.[58] This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated cross-rhythms," observed the writer Robert Palmer, speculating that "this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured."[52] Afro-Cuban influence Further information: Music of African heritage in Cuba African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza) gained international popularity.[59] Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera "reached the U.S. twenty years before the first rag was published."[60] For the more than quarter-century in which the cakewalk, ragtime, and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music.[60] Habaneras were widely available as sheet music and were the first written music which was rhythmically based on an African motif (1803).[61] From the perspective of African-American music, the "habanera rhythm" (also known as "congo"),[61] "tango-congo",[62] or tango.[63] can be thought of as a combination of tresillo and the backbeat.[64] The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired the use of tresillo-based rhythms in African-American music.     \new Staff <<        \relative c' {            \clef percussion            \time 2/4              \repeat volta 2 { g8. g16 d'8 g, }        }    >> 0:00 New Orleans native Louis Moreau Gottschalk's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand.[54]: 125  In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant cinquillo appears extensively.[65] The figure was later used by Scott Joplin and other ragtime composers. \new RhythmicStaff {    \clef percussion    \time 2/4    \repeat volta 2 { c8 c16 c r[ c c r] } } 0:00 Comparing the music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery.[66] Although the pattern is only half a clave, Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz.[67] Ragtime Main article: Ragtime Scott Joplin in 1903 The abolition of slavery in 1865 led to new opportunities for the education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, minstrel shows, and in vaudeville, during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as ragtime developed.[68][69] Ragtime appeared as sheet music, popularized by African-American musicians such as the entertainer Ernest Hogan, whose hit songs appeared in 1895. Two years later, Vess Ossman recorded a medley of these songs as a banjo solo known as "Rag Time Medley".[70][71] Also in 1897, the white composer William Krell published his "Mississippi Rag" as the first written piano instrumental ragtime piece, and Tom Turpin published his "Harlem Rag", the first rag published by an African-American. Classically trained pianist Scott Joplin produced his "Original Rags" in 1898 and, in 1899, had an international hit with "Maple Leaf Rag", a multi-strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords. Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time.[72] The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below.  {    \new PianoStaff <<       \new Staff <<          \new Voice \relative c' {              \clef treble \key aes \major \time 2/4              <f aes>16 bes <f aes>8 <fes aes> <fes bes>16 <es aes>~              <es aes> bes' <es, c'> aes bes <es, c'>8 <d aes'>16~              <d aes'> bes' <d, c'> aes' r <des, bes'>8 es16              <c aes'>8 <g' des' es> <aes c es aes>              }             >>      \new Staff <<          \relative c, {              \clef bass \key aes \major \time 2/4              <des des'>8 <des des'> <bes bes'> <d d'>              <es es'> <es' aes c> <es, es'> <e e'>              <f f'> <f f'> <g g'> <g g'> <aes aes'> <es es'> <aes, aes'> \bar "|."              }          >>     >> } 0:06 African-based rhythmic patterns such as tresillo and its variants, the habanera rhythm and cinquillo, are heard in the ragtime compositions of Joplin and Turpin. Joplin's "Solace" (1909) is generally considered to be in the habanera genre:[73][74] both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk,"[75] whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass".[76] Blues Main article: Blues African genesis  { \override Score.TimeSignature #'stencil = ##f \relative c' {   \clef treble \time 6/4   c4^\markup { "C blues scale" } es f fis g bes c2 } }   { \override Score.TimeSignature #'stencil = ##f \relative c' {   \clef treble \time 5/4   c4^\markup { "C minor pentatonic scale" } es f g bes c2 } } A hexatonic blues scale on C, ascending Blues is the name given to both a musical form and a music genre,[77] which originated in African-American communities of primarily the Deep South of the United States at the end of the 19th century from their spirituals, work songs, field hollers, shouts and chants and rhymed simple narrative ballads.[78] The African use of pentatonic scales contributed to the development of blue notes in blues and jazz.[79] As Kubik explains: Many of the rural blues of the Deep South are stylistically an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt: A strongly Arabic/Islamic song style, as found for example among the Hausa. It is characterized by melisma, wavy intonation, pitch instabilities within a pentatonic framework, and a declamatory voice. An ancient west central Sudanic stratum of pentatonic song composition, often associated with simple work rhythms in a regular meter, but with notable off-beat accents.[80] W. C. Handy: early published blues W. C. Handy at 19, 1892 W. C. Handy became interested in folk blues of the Deep South while traveling through the Mississippi Delta. In this folk blues form, the singer would improvise freely within a limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum which responded in syncopated accents, functioning as another "voice".[81] Handy and his band members were formally trained African-American musicians who had not grown up with the blues, yet he was able to adapt the blues to a larger band instrument format and arrange them in a popular music form. Handy wrote about his adopting of the blues: The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect ... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key was major ... , and I carried this device into my melody as well.[82] The publication of his "Memphis Blues" sheet music in 1912 introduced the 12-bar blues to the world (although Gunther Schuller argues that it is not really a blues, but "more like a cakewalk").[83] This composition, as well as his later "St. Louis Blues" and others, included the habanera rhythm,[84] and would become jazz standards. Handy's music career began in the pre-jazz era and contributed to the codification of jazz through the publication of some of the first jazz sheet music. New Orleans Main article: Dixieland The Bolden Band around 1905 The music of New Orleans had a profound effect on the creation of early jazz. In New Orleans, slaves could practice elements of their culture such as voodoo and playing drums.[85] Many early jazz musicians played in the bars and brothels of the red-light district around Basin Street called Storyville.[86] In addition to dance bands, there were marching bands which played at lavish funerals (later called jazz funerals). The instruments used by marching bands and dance bands became the instruments of jazz: brass, drums, and reeds tuned in the European 12-tone scale. Small bands contained a combination of self-taught and formally educated musicians, many from the funeral procession tradition. These bands traveled in black communities in the deep south. Beginning in 1914, Creole and African-American musicians played in vaudeville shows which carried jazz to cities in the northern and western parts of the U.S.[87] Jazz became international in 1914, when the Creole Band with cornettist Freddie Keppard performed the first ever jazz concert outside the United States, at the Pantages Playhouse Theatre in Winnipeg, Canada.[88] In New Orleans, a white bandleader named Papa Jack Laine integrated blacks and whites in his marching band. He was known as "the father of white jazz" because of the many top players he employed, such as George Brunies, Sharkey Bonano, and future members of the Original Dixieland Jass Band. During the early 1900s, jazz was mostly performed in African-American and mulatto communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans.[89] Many jazz musicians from African-American communities were hired to perform in bars and brothels. These included Buddy Bolden and Jelly Roll Morton in addition to those from other communities, such as Lorenzo Tio and Alcide Nunez. Louis Armstrong started his career in Storyville[90] and found success in Chicago. Storyville was shut down by the U.S. government in 1917.[91] Syncopation Jelly Roll Morton, in Los Angeles, California, c. 1917 or 1918 Cornetist Buddy Bolden played in New Orleans from 1895 to 1906. No recordings by him exist. His band is credited with creating the big four: the first syncopated bass drum pattern to deviate from the standard on-the-beat march.[92] As the example below shows, the second half of the big four pattern is the habanera rhythm.     \new Staff <<        \relative c' {            \clef percussion            \time 4/4              \repeat volta 2 { g8 \xNote a' g, \xNote a' g, \xNote a'16. g,32 g8 <g \xNote a'> }            \repeat volta 2 { r8 \xNote a'\noBeam g, \xNote a' g, \xNote a'16. g,32 g8 <g \xNote a'> }        }    >> 0:00 Afro-Creole pianist Jelly Roll Morton began his career in Storyville. Beginning in 1904, he toured with vaudeville shows to southern cities, Chicago, and New York City. In 1905, he composed "Jelly Roll Blues", which became the first jazz arrangement in print when it was published in 1915. It introduced more musicians to the New Orleans style.[93] Morton considered the tresillo/habanera, which he called the Spanish tinge, an essential ingredient of jazz.[94] "Now in one of my earliest tunes, "New Orleans Blues," you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz."[67] An excerpt of "New Orleans Blues" is shown below. In the excerpt, the left hand plays the tresillo rhythm, while the right hand plays variations on cinquillo.     {       \new PianoStaff <<         \new Staff <<             \relative c'' {                 \clef treble \key bes \major \time 2/2                 f8 <f, f'> <g g'> <f~ cis'> <f d'> <f f'> <g d' g>4                 r8 <f f'> <g g'> <f~ cis'> <f d'> <f f'> <g d' g>4                 r8 <f d' f> <g d' g> <f~ cis'> <f d'> <f d' f> <g d' g> <f d' f>                 }             >>         \new Staff <<             \relative c {                 \clef bass \key bes \major \time 2/2                 <bes bes'>4. <f' d'>8~ <f d'>4 <f, f'>4                 <bes f' bes>4. <f' d'>8~ <f d'>4 <f, f'>4                 <bes f' bes>4. <f' d'>8~ <f d'>4 <f, f'>4                 }             >>     >> } 0:07 Morton was a crucial innovator in the evolution from the early jazz form known as ragtime to jazz piano, and could perform pieces in either style; in 1938, Morton made a series of recordings for the Library of Congress in which he demonstrated the difference between the two styles. Morton's solos, however, were still close to ragtime, and were not merely improvisations over chord changes as in later jazz, but his use of the blues was of equal importance. Swing in the early 20th century \new RhythmicStaff {    \clef percussion    \time 4/4    \repeat volta 2 { c8^\markup { "Even subdivisions" } c16 c c8 c16 c c8 c16 c c8 c16 c } } 0:00   \new RhythmicStaff {    \clef percussion    \time 4/4    \repeat volta 2 { c8[^\markup { "Swung correlative" } \tuplet 3/2 { c16 r c] }  c8[ \tuplet 3/2 { c16 r c] }  c8[ \tuplet 3/2 { c16 r c] }  c8[ \tuplet 3/2 { c16 r c] } } } 0:00 Morton loosened ragtime's rigid rhythmic feeling, decreasing its embellishments and employing a swing feeling.[95] Swing is the most important and enduring African-based rhythmic technique used in jazz. An oft quoted definition of swing by Louis Armstrong is: "if you don't feel it, you'll never know it."[96] The New Harvard Dictionary of Music states that swing is: "An intangible rhythmic momentum in jazz...Swing defies analysis; claims to its presence may inspire arguments." The dictionary does nonetheless provide the useful description of triple subdivisions of the beat contrasted with duple subdivisions:[97] swing superimposes six subdivisions of the beat over a basic pulse structure or four subdivisions. This aspect of swing is far more prevalent in African-American music than in Afro-Caribbean music. One aspect of swing, which is heard in more rhythmically complex Diaspora musics, places strokes in-between the triple and duple-pulse "grids".[98] New Orleans brass bands are a lasting influence, contributing horn players to the world of professional jazz with the distinct sound of the city whilst helping black children escape poverty. The leader of New Orleans' Camelia Brass Band, D'Jalma Ganier, taught Louis Armstrong to play trumpet; Armstrong would then popularize the New Orleans style of trumpet playing, and then expand it. Like Jelly Roll Morton, Armstrong is also credited with the abandonment of ragtime's stiffness in favor of swung notes. Armstrong, perhaps more than any other musician, codified the rhythmic technique of swing in jazz and broadened the jazz solo vocabulary.[99] The Original Dixieland Jass Band made the music's first recordings early in 1917, and their "Livery Stable Blues" became the earliest released jazz record.[100][101][102][103][104][105][106] That year, numerous other bands made recordings featuring "jazz" in the title or band name, but most were ragtime or novelty records rather than jazz. In February 1918 during World War I, James Reese Europe's "Hellfighters" infantry band took ragtime to Europe,[107][108] then on their return recorded Dixieland standards including "Darktown Strutters' Ball".[109] Other regions In the northeastern United States, a "hot" style of playing ragtime had developed, notably James Reese Europe's symphonic Clef Club orchestra in New York City, which played a benefit concert at Carnegie Hall in 1912.[109][110] The Baltimore rag style of Eubie Blake influenced James P. Johnson's development of stride piano playing, in which the right hand plays the melody, while the left hand provides the rhythm and bassline.[111] In Ohio and elsewhere in the mid-west the major influence was ragtime, until about 1919. Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by the Black middle-class.[112] The Jazz Age Main article: Jazz Age The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921 From 1920 to 1933, Prohibition in the United States banned the sale of alcoholic drinks, resulting in illicit speakeasies which became lively venues of the "Jazz Age", hosting popular music, dance songs, novelty songs, and show tunes. Jazz began to get a reputation as immoral, and many members of the older generations saw it as a threat to the old cultural values by promoting the decadent values of the Roaring 20s. Henry van Dyke of Princeton University wrote, "... it is not music at all. It's merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion."[113] The New York Times reported that Siberian villagers used jazz to scare away bears, but the villagers had used pots and pans; another story claimed that the fatal heart attack of a celebrated conductor was caused by jazz.[113] Jazz Me Blues 2:59 The Original Dixieland Jass Band performing "Jazz Me Blues", an example of a jazz piece from 1921 Problems playing this file? See media help. In 1919, Kid Ory's Original Creole Jazz Band of musicians from New Orleans began playing in San Francisco and Los Angeles, where in 1922 they became the first black jazz band of New Orleans origin to make recordings.[114][115] During the same year, Bessie Smith made her first recordings.[116] Chicago was developing "Hot Jazz", and King Oliver joined Bill Johnson. Bix Beiderbecke formed The Wolverines in 1924. Despite its Southern black origins, there was a larger market for jazzy dance music played by white orchestras. In 1918, Paul Whiteman and his orchestra became a hit in San Francisco. He signed a contract with Victor and became the top bandleader of the 1920s, giving hot jazz a white component, hiring white musicians such as Bix Beiderbecke, Jimmy Dorsey, Tommy Dorsey, Frankie Trumbauer, and Joe Venuti. In 1924, Whiteman commissioned George Gershwin's Rhapsody in Blue, which was premiered by his orchestra. Jazz began to be recognized as a notable musical form. Olin Downes, reviewing the concert in The New York Times, wrote, "This composition shows extraordinary talent, as it shows a young composer with aims that go far beyond those of his ilk, struggling with a form of which he is far from being master. ... In spite of all this, he has expressed himself in a significant and, on the whole, highly original form. ... His first theme ... is no mere dance-tune ... it is an idea, or several ideas, correlated and combined in varying and contrasting rhythms that immediately intrigue the listener."[117] After Whiteman's band successfully toured Europe, huge hot jazz orchestras in theater pits caught on with other whites, including Fred Waring, Jean Goldkette, and Nathaniel Shilkret. According to Mario Dunkel, Whiteman's success was based on a "rhetoric of domestication" according to which he had elevated and rendered valuable (read "white") a previously inchoate (read "black") kind of music.[118] Louis Armstrong began his career in New Orleans and became one of jazz's most recognizable performers. Whiteman's success caused black artists to follow suit, including Earl Hines (who opened in The Grand Terrace Cafe in Chicago in 1928), Duke Ellington (who opened at the Cotton Club in Harlem in 1927), Lionel Hampton, Fletcher Henderson, Claude Hopkins, and Don Redman, with Henderson and Redman developing the "talking to one another" formula for "hot" swing music.[119] In 1924, Louis Armstrong joined the Fletcher Henderson dance band for a year, as featured soloist. The original New Orleans style was polyphonic, with theme variation and simultaneous collective improvisation. Armstrong was a master of his hometown style, but by the time he joined Henderson's band, he was already a trailblazer in a new phase of jazz, with its emphasis on arrangements and soloists. Armstrong's solos went well beyond the theme-improvisation concept and extemporized on chords, rather than melodies. According to Schuller, by comparison, the solos by Armstrong's bandmates (including a young Coleman Hawkins), sounded "stiff, stodgy", with "jerky rhythms and a grey undistinguished tone quality".[120] The following example shows a short excerpt of the straight melody of "Mandy, Make Up Your Mind" by George W. Meyer and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924).[121] Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his Hot Five band, where he popularized scat singing.[122] Swing in the 1920s and 1930s Main articles: Swing music and 1930s in jazz Benny Goodman (1943) The 1930s belonged to popular swing big bands, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers Count Basie, Cab Calloway, Jimmy and Tommy Dorsey, Duke Ellington, Benny Goodman, Fletcher Henderson, Earl Hines, Harry James, Jimmie Lunceford, Glenn Miller and Artie Shaw. Although it was a collective sound, swing also offered individual musicians a chance to "solo" and improvise melodic, thematic solos which could at times be complex "important" music. Over time, social strictures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders white ones. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraphonist Lionel Hampton and guitarist Charlie Christian to join small groups. In the 1930s, Kansas City Jazz as exemplified by tenor saxophonist Lester Young marked the transition from big bands to the bebop influence of the 1940s. An early 1940s style known as "jumping the blues" or jump blues used small combos, uptempo music and blues chord progressions, drawing on boogie-woogie from the 1930s. The influence of Duke Ellington Duke Ellington at the Hurricane Club (1943) While swing was reaching the height of its popularity, Duke Ellington spent the late 1920s and 1930s developing an innovative musical idiom for his orchestra. Abandoning the conventions of swing, he experimented with orchestral sounds, harmony, and musical form with complex compositions that still translated well for popular audiences; some of his tunes became hits, and his own popularity spanned from the United States to Europe.[123] Ellington called his music American Music, rather than jazz, and liked to describe those who impressed him as "beyond category".[124] These included many musicians from his orchestra, some of whom are considered among the best in jazz in their own right, but it was Ellington who melded them into one of the most popular jazz orchestras in the history of jazz. He often composed for the style and skills of these individuals, such as "Jeep's Blues" for Johnny Hodges, "Concerto for Cootie" for Cootie Williams (which later became "Do Nothing Till You Hear from Me" with Bob Russell's lyrics), and "The Mooche" for Tricky Sam Nanton and Bubber Miley. He also recorded compositions written by his bandsmen, such as Juan Tizol's "Caravan" and "Perdido", which brought the "Spanish Tinge" to big-band jazz. Several members of the orchestra remained with him for several decades. The band reached a creative peak in the early 1940s, when Ellington and a small hand-picked group of his composers and arrangers wrote for an orchestra of distinctive voices who displayed tremendous creativity.[125] Beginnings of European jazz As only a limited number of American jazz records were released in Europe, European jazz traces many of its roots to American artists such as James Reese Europe, Paul Whiteman, and Lonnie Johnson, who visited Europe during and after World War I. It was their live performances which inspired European audiences' interest in jazz, as well as the interest in all things American (and therefore exotic) which accompanied the economic and political woes of Europe during this time.[126] The beginnings of a distinct European style of jazz began to emerge in this interwar period. British jazz began with a tour by the Original Dixieland Jazz Band in 1919. In 1926, Fred Elizalde and His Cambridge Undergraduates began broadcasting on the BBC. Thereafter jazz became an important element in many leading dance orchestras, and jazz instrumentalists became numerous.[127] This style entered full swing in France with the Quintette du Hot Club de France, which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two.[128] Belgian guitarist Django Reinhardt popularized gypsy jazz, a mix of 1930s American swing, French dance hall "musette", and Eastern European folk with a languid, seductive feel; the main instruments were steel stringed guitar, violin, and double bass. Solos pass from one player to another as guitar and bass form the rhythm section. Some researchers believe Eddie Lang and Joe Venuti pioneered the guitar-violin partnership characteristic of the genre,[129] which was brought to France after they had been heard live or on Okeh Records in the late 1920s.[130] Post-war jazz See also: 1940s in jazz, 1950s in jazz, 1960s in jazz, 1970s in jazz, and album era The "classic quintet": Charlie Parker, Tommy Potter, Miles Davis, Dizzy Gillespie, and Max Roach performing at Three Deuces in New York City. Photograph by William P. Gottlieb (August 1947), Library of Congress. The outbreak of World War II marked a turning point for jazz. The swing-era jazz of the previous decade had challenged other popular music as being representative of the nation's culture, with big bands reaching the height of the style's success by the early 1940s; swing acts and big bands traveled with U.S. military overseas to Europe, where it also became popular.[131] Stateside, however, the war presented difficulties for the big-band format: conscription shortened the number of musicians available; the military's need for shellac (commonly used for pressing gramophone records) limited record production; a shortage of rubber (also due to the war effort) discouraged bands from touring via road travel; and a demand by the musicians' union for a commercial recording ban limited music distribution between 1942 and 1944.[132] Many of the big bands who were deprived of experienced musicians because of the war effort began to enlist young players who were below the age for conscription, as was the case with saxophonist Stan Getz's entry in a band as a teenager.[133] This coincided with a nationwide resurgence in the Dixieland style of pre-swing jazz; performers such as clarinetist George Lewis, cornetist Bill Davison, and trombonist Turk Murphy were hailed by conservative jazz critics as more authentic than the big bands.[132] Elsewhere, with the limitations on recording, small groups of young musicians developed a more uptempo, improvisational style of jazz,[131] collaborating and experimenting with new ideas for melodic development, rhythmic language, and harmonic substitution, during informal, late-night jam sessions hosted in small clubs and apartments. Key figures in this development were largely based in New York and included pianists Thelonious Monk and Bud Powell, drummers Max Roach and Kenny Clarke, saxophonist Charlie Parker, and trumpeter Dizzy Gillespie.[132] This musical development became known as bebop.[131] Bebop and subsequent post-war jazz developments featured a wider set of notes, played in more complex patterns and at faster tempos than previous jazz.[133] According to Clive James, bebop was "the post-war musical development which tried to ensure that jazz would no longer be the spontaneous sound of joy ... Students of race relations in America are generally agreed that the exponents of post-war jazz were determined, with good reason, to present themselves as challenging artists rather than tame entertainers."[134] The end of the war marked "a revival of the spirit of experimentation and musical pluralism under which it had been conceived", along with "the beginning of a decline in the popularity of jazz music in America", according to American academic Michael H. Burchett.[131] With the rise of bebop and the end of the swing era after the war, jazz lost its cachet as pop music. Vocalists of the famous big bands moved on to being marketed and performing as solo pop singers; these included Frank Sinatra, Peggy Lee, Dick Haymes, and Doris Day.[133] Older musicians who still performed their pre-war jazz, such as Armstrong and Ellington, were gradually viewed in the mainstream as passé. Other younger performers, such as singer Big Joe Turner and saxophonist Louis Jordan, who were discouraged by bebop's increasing complexity, pursued more lucrative endeavors in rhythm and blues, jump blues, and eventually rock and roll.[131] Some, including Gillespie, composed intricate yet danceable pieces for bebop musicians in an effort to make them more accessible, but bebop largely remained on the fringes of American audiences' purview. "The new direction of postwar jazz drew a wealth of critical acclaim, but it steadily declined in popularity as it developed a reputation as an academic genre that was largely inaccessible to mainstream audiences", Burchett said. "The quest to make jazz more relevant to popular audiences, while retaining its artistic integrity, is a constant and prevalent theme in the history of postwar jazz."[131] During its swing period, jazz had been an uncomplicated musical scene; according to Paul Trynka, this changed in the post-war years: Suddenly jazz was no longer straightforward. There was bebop and its variants, there was the last gasp of swing, there were strange new brews like the progressive jazz of Stan Kenton, and there was a completely new phenomenon called revivalism – the rediscovery of jazz from the past, either on old records or performed live by aging players brought out of retirement. From now on it was no good saying that you liked jazz, you had to specify what kind of jazz. And that is the way it has been ever since, only more so. Today, the word 'jazz' is virtually meaningless without further definition.[133] Bebop Main article: Bebop In the early 1940s, bebop-style performers began to shift jazz from danceable popular music toward a more challenging "musician's music". The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach. Divorcing itself from dance music, bebop established itself more as an art form, thus lessening its potential popular and commercial appeal. Composer Gunther Schuller wrote: "In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Dizzy Gillespie runs in the trumpet section work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings."[135] Dizzy Gillespie wrote: "People talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here...naturally each age has got its own shit."[136] Since bebop was meant to be listened to, not danced to, it could use faster tempos. Drumming shifted to a more elusive and explosive style, in which the ride cymbal was used to keep time while the snare and bass drum were used for accents. This led to a highly syncopated music with a linear rhythmic complexity.[137] Bebop musicians employed several harmonic devices which were not previously typical in jazz, engaging in a more abstracted form of chord-based improvisation. Bebop scales are traditional scales with an added chromatic passing note;[138] bebop also uses "passing" chords, substitute chords, and altered chords. New forms of chromaticism and dissonance were introduced into jazz, and the dissonant tritone (or "flatted fifth") interval became the "most important interval of bebop"[139] Chord progressions for bebop tunes were often taken directly from popular swing-era tunes and reused with a new and more complex melody and/or reharmonized with more complex chord progressions to form new compositions, a practice which was already well-established in earlier jazz, but came to be central to the bebop style. Bebop made use of several relatively common chord progressions, such as blues (at base, I–IV–V, but often infused with ii–V motion) and "rhythm changes" (I–VI–ii–V) – the chords to the 1930s pop standard "I Got Rhythm". Late bop also moved towards extended forms that represented a departure from pop and show tunes. The harmonic development in bebop is often traced back to a moment experienced by Charlie Parker while performing "Cherokee" at Clark Monroe's Uptown House, New York, in early 1942. "I'd been getting bored with the stereotyped changes that were being used...and I kept thinking there's bound to be something else. I could hear it sometimes. I couldn't play it...I was working over 'Cherokee,' and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. It came alive."[140] Gerhard Kubik postulates that harmonic development in bebop sprang from blues and African-related tonal sensibilities rather than 20th-century Western classical music. "Auditory inclinations were the African legacy in [Parker's] life, reconfirmed by the experience of the blues tonal system, a sound world at odds with the Western diatonic chord categories. Bebop musicians eliminated Western-style functional harmony in their music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices."[140] Samuel Floyd states that blues was both the bedrock and propelling force of bebop, bringing about a new harmonic conception using extended chord structures that led to unprecedented harmonic and melodic variety, a developed and even more highly syncopated, linear rhythmic complexity and a melodic angularity in which the blue note of the fifth degree was established as an important melodic-harmonic device; and reestablishment of the blues as the primary organizing and functional principle.[137] Kubik wrote: While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from Claude Debussy to Arnold Schoenberg, such a scheme cannot be sustained by the evidence from a cognitive approach. Claude Debussy did have some influence on jazz, for example, on Bix Beiderbecke's piano playing. And it is also true that Duke Ellington adopted and reinterpreted some harmonic devices in European contemporary music. West Coast jazz would run into such debts as would several forms of cool jazz, but bebop has hardly any such debts in the sense of direct borrowings. On the contrary, ideologically, bebop was a strong statement of rejection of any kind of eclecticism, propelled by a desire to activate something deeply buried in self. Bebop then revived tonal-harmonic ideas transmitted through the blues and reconstructed and expanded others in a basically non-Western harmonic approach. The ultimate significance of all this is that the experiments in jazz during the 1940s brought back to African-American music several structural principles and techniques rooted in African traditions.[141] These divergences from the jazz mainstream of the time met a divided, sometimes hostile response among fans and musicians, especially swing players who bristled at the new harmonic sounds. To hostile critics, bebop seemed filled with "racing, nervous phrases".[142] But despite the friction, by the 1950s bebop had become an accepted part of the jazz vocabulary. Afro-Cuban jazz (cu-bop) Main article: Afro-Cuban jazz Machito (maracas) and his sister Graciella Grillo (claves) Machito and Mario Bauza The general consensus among musicians and musicologists is that the first original jazz piece to be overtly based in clave was "Tanga" (1943), composed by Cuban-born Mario Bauza and recorded by Machito and his Afro-Cubans in New York City. "Tanga" began as a spontaneous descarga (Cuban jam session), with jazz solos superimposed on top.[143] This was the birth of Afro-Cuban jazz. The use of clave brought the African timeline, or key pattern, into jazz. Music organized around key patterns convey a two-celled (binary) structure, which is a complex level of African cross-rhythm.[144] Within the context of jazz, however, harmony is the primary referent, not rhythm. The harmonic progression can begin on either side of clave, and the harmonic "one" is always understood to be "one". If the progression begins on the "three-side" of clave, it is said to be in 3–2 clave (shown below). If the progression begins on the "two-side", it is in 2–3 clave.[145] \new RhythmicStaff {    \clef percussion    \time 4/4    \repeat volta 2 { c8. c16 r8[ c] r[ c] c4 } } 0:08 Dizzy Gillespie and Chano Pozo Dizzy Gillespie, 1955 Mario Bauzá introduced bebop innovator Dizzy Gillespie to Cuban conga drummer and composer Chano Pozo. Gillespie and Pozo's brief collaboration produced some of the most enduring Afro-Cuban jazz standards. "Manteca" (1947) is the first jazz standard to be rhythmically based on clave. According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban ostinatos) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: "If I'd let it go like [Chano] wanted it, it would have been strictly Afro-Cuban all the way. There wouldn't have been a bridge. I thought I was writing an eight-bar bridge, but ... I had to keep going and ended up writing a sixteen-bar bridge."[146] The bridge gave "Manteca" a typical jazz harmonic structure, setting the piece apart from Bauza's modal "Tanga" of a few years earlier. Gillespie's collaboration with Pozo brought specific African-based rhythms into bebop. While pushing the boundaries of harmonic improvisation, cu-bop also drew from African rhythm. Jazz arrangements with a Latin A section and a swung B section, with all choruses swung during solos, became common practice with many Latin tunes of the jazz standard repertoire. This approach can be heard on pre-1980 recordings of "Manteca", "A Night in Tunisia", "Tin Tin Deo", and "On Green Dolphin Street". African cross-rhythm Mongo Santamaria (1969) Cuban percussionist Mongo Santamaria first recorded his composition "Afro Blue" in 1959.[147] "Afro Blue" was the first jazz standard built upon a typical African three-against-two (3:2) cross-rhythm, or hemiola.[148] The piece begins with the bass repeatedly playing 6 cross-beats per each measure of 12 8, or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). The following example shows the original ostinato "Afro Blue" bass line. The cross noteheads indicate the main beats (not bass notes).     \new Staff <<        \new voice \relative c {            \set Staff.midiInstrument = #"acoustic bass"            \set Score.tempoHideNote = ##t \tempo 4 = 105            \time 12/8            \clef bass                   \stemUp \repeat volta 2 { d4 a'8~ a d4 d,4 a'8~ a d4 }        }        \new voice \relative c {            \override NoteHead.style = #'cross            \stemDown \repeat volta 2 { g4. g g g }        }    >> When John Coltrane covered "Afro Blue" in 1963, he inverted the metric hierarchy, interpreting the tune as a 3 4 jazz waltz with duple cross-beats superimposed (2:3). Originally a B♭ pentatonic blues, Coltrane expanded the harmonic structure of "Afro Blue". Perhaps the most respected Afro-cuban jazz combo of the late 1950s was vibraphonist Cal Tjader's band. Tjader had Mongo Santamaria, Armando Peraza, and Willie Bobo on his early recording dates. Dixieland revival In the late 1940s, there was a revival of Dixieland, harking back to the contrapuntal New Orleans style. This was driven in large part by record company reissues of jazz classics by the Oliver, Morton, and Armstrong bands of the 1930s. There were two types of musicians involved in the revival: the first group was made up of those who had begun their careers playing in the traditional style and were returning to it (or continuing what they had been playing all along), such as Bob Crosby's Bobcats, Max Kaminsky, Eddie Condon, and Wild Bill Davison.[149] Most of these players were originally Midwesterners, although there were a small number of New Orleans musicians involved. The second group of revivalists consisted of younger musicians, such as those in the Lu Watters band, Conrad Janis, and Ward Kimball and his Firehouse Five Plus Two Jazz Band. By the late 1940s, Louis Armstrong's Allstars band became a leading ensemble. Through the 1950s and 1960s, Dixieland was one of the most commercially popular jazz styles in the US, Europe, and Japan, although critics paid little attention to it.[149] Hard bop Main article: Hard bop Art Blakey (1973) Hard bop is an extension of bebop (or "bop") music that incorporates influences from blues, rhythm and blues, and gospel, especially in saxophone and piano playing. Hard bop was developed in the mid-1950s, coalescing in 1953 and 1954; it developed partly in response to the vogue for cool jazz in the early 1950s and paralleled the rise of rhythm and blues. It has been described as "funky" and can be considered a relative of soul jazz.[150] Some elements of the genre were simplified from their bebop roots.[151] Miles Davis' 1954 performance of "Walkin'" at the first Newport Jazz Festival introduced the style to the jazz world.[152] Further leaders of hard bop's development included the Clifford Brown/Max Roach Quintet, Art Blakey's Jazz Messengers, the Horace Silver Quintet, and trumpeters Lee Morgan and Freddie Hubbard. The late 1950s to early 1960s saw hard boppers form their own bands as a new generation of blues- and bebop-influenced musicians entered the jazz world, from pianists Wynton Kelly and Tommy Flanagan[153] to saxophonists Joe Henderson and Hank Mobley. Coltrane, Johnny Griffin, Mobley, and Morgan all participated on the album A Blowin' Session (1957), considered by Al Campbell to have been one of the high points of the hard bop era.[154] Hard bop was prevalent within jazz for about a decade spanning from 1955 to 1965,[153] but has remained highly influential on mainstream[151] or "straight-ahead" jazz. It went into decline in the late 1960s through the 1970s due to the emergence of other styles such as jazz fusion, but again became influential following the Young Lions Movement and the emergence of neo-bop.[151] Modal jazz Main article: Modal jazz Modal jazz is a development which began in the later 1950s which takes the mode, or musical scale, as the basis of musical structure and improvisation. Previously, a solo was meant to fit into a given chord progression, but with modal jazz, the soloist creates a melody using one (or a small number of) modes. The emphasis is thus shifted from harmony to melody:[155] "Historically, this caused a seismic shift among jazz musicians, away from thinking vertically (the chord), and towards a more horizontal approach (the scale)",[156] explained pianist Mark Levine. The modal theory stems from a work by George Russell. Miles Davis introduced the concept to the greater jazz world with Kind of Blue (1959), an exploration of the possibilities of modal jazz which would become the best selling jazz album of all time. In contrast to Davis' earlier work with hard bop and its complex chord progression and improvisation, Kind of Blue was composed as a series of modal sketches in which the musicians were given scales that defined the parameters of their improvisation and style.[157] "I didn't write out the music for Kind of Blue, but brought in sketches for what everybody was supposed to play because I wanted a lot of spontaneity,"[158] recalled Davis. The track "So What" has only two chords: D-7 and E♭-7.[159] Other innovators in this style include Jackie McLean,[160] and two of the musicians who had also played on Kind of Blue: John Coltrane and Bill Evans. Free jazz Main article: Free jazz John Coltrane, 1963 Free jazz, and the related form of avant-garde jazz, broke through into an open space of "free tonality" in which meter, beat, and formal symmetry all disappeared, and a range of world music from India, Africa, and Arabia were melded into an intense, even religiously ecstatic or orgiastic style of playing.[161] While loosely inspired by bebop, free jazz tunes gave players much more latitude; the loose harmony and tempo was deemed controversial when this approach was first developed. The bassist Charles Mingus is also frequently associated with the avant-garde in jazz, although his compositions draw from myriad styles and genres. The first major stirrings came in the 1950s with the early work of Ornette Coleman (whose 1960 album Free Jazz: A Collective Improvisation coined the term) and Cecil Taylor. In the 1960s, exponents included Albert Ayler, Gato Barbieri, Carla Bley, Don Cherry, Larry Coryell, John Coltrane, Bill Dixon, Jimmy Giuffre, Steve Lacy, Michael Mantler, Sun Ra, Roswell Rudd, Pharoah Sanders, and John Tchicai. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock and drummer Sunny Murray, a rhythm section honed with Cecil Taylor as leader. In November 1961, Coltrane played a gig at the Village Vanguard, which resulted in the classic Chasin' the 'Trane, which DownBeat magazine panned as "anti-jazz". On his 1961 tour of France, he was booed, but persevered, signing with the new Impulse! Records in 1960 and turning it into "the house that Trane built", while championing many younger free jazz musicians, notably Archie Shepp, who often played with trumpeter Bill Dixon, who organized the 4-day "October Revolution in Jazz" in Manhattan in 1964, the first free jazz festival. A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings The John Coltrane Quartet Plays, Living Space and Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations (September 1965). In June 1965, Coltrane and 10 other musicians recorded Ascension, a 40-minute-long piece without breaks that included adventurous solos by young avant-garde musicians as well as Coltrane, and was controversial primarily for the collective improvisation sections that separated the solos. Dave Liebman later called it "the torch that lit the free jazz thing". After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September 1965. While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. Free jazz in Europe Peter Brötzmann is a key figure in European free jazz. Free jazz was played in Europe in part because musicians such as Ayler, Taylor, Steve Lacy, and Eric Dolphy spent extended periods of time there, and European musicians such as Michael Mantler and John Tchicai traveled to the U.S. to experience American music firsthand. European contemporary jazz was shaped by Peter Brötzmann, John Surman, Krzysztof Komeda, Zbigniew Namysłowski, Tomasz Stanko, Lars Gullin, Joe Harriott, Albert Mangelsdorff, Kenny Wheeler, Graham Collier, Michael Garrick and Mike Westbrook. They were eager to develop approaches to music that reflected their heritage. Since the 1960s, creative centers of jazz in Europe have developed, such as the creative jazz scene in Amsterdam. Following the work of drummer Han Bennink and pianist Misha Mengelberg, musicians started to explore by improvising collectively until a form (melody, rhythm, a famous song) is found Jazz critic Kevin Whitehead documented the free jazz scene in Amsterdam and some of its main exponents such as the ICP (Instant Composers Pool) orchestra in his book New Dutch Swing. Since the 1990s Keith Jarrett has defended free jazz from criticism. British writer Stuart Nicholson has argued European contemporary jazz has an identity different from American jazz and follows a different trajectory.[162] Latin jazz Main article: Latin jazz Latin jazz is jazz that employs Latin American rhythms and is generally understood to have a more specific meaning than simply jazz from Latin America. A more precise term might be Afro-Latin jazz, as the jazz subgenre typically employs rhythms that either have a direct analog in Africa or exhibit an African rhythmic influence beyond what is ordinarily heard in other jazz. The two main categories of Latin jazz are Afro-Cuban jazz and Brazilian jazz. In the 1960s and 1970s, many jazz musicians had only a basic understanding of Cuban and Brazilian music, and jazz compositions which used Cuban or Brazilian elements were often referred to as "Latin tunes", with no distinction between a Cuban son montuno and a Brazilian bossa nova. Even as late as 2000, in Mark Gridley's Jazz Styles: History and Analysis, a bossa nova bass line is referred to as a "Latin bass figure".[163] It was not uncommon during the 1960s and 1970s to hear a conga playing a Cuban tumbao while the drumset and bass played a Brazilian bossa nova pattern. Many jazz standards such as "Manteca", "On Green Dolphin Street" and "Song for My Father" have a "Latin" A section and a swung B section. Typically, the band would only play an even-eighth "Latin" feel in the A section of the head and swing throughout all of the solos. Latin jazz specialists like Cal Tjader tended to be the exception. For example, on a 1959 live Tjader recording of "A Night in Tunisia", pianist Vince Guaraldi soloed through the entire form over an authentic mambo.[164] Afro-Cuban jazz renaissance For most of its history, Afro-Cuban jazz had been a matter of superimposing jazz phrasing over Cuban rhythms. But by the end of the 1970s, a new generation of New York City musicians had emerged who were fluent in both salsa dance music and jazz, leading to a new level of integration of jazz and Cuban rhythms. This era of creativity and vitality is best represented by the Gonzalez brothers Jerry (congas and trumpet) and Andy (bass).[165] During 1974–1976, they were members of one of Eddie Palmieri's most experimental salsa groups: salsa was the medium, but Palmieri was stretching the form in new ways. He incorporated parallel fourths, with McCoy Tyner-type vamps. The innovations of Palmieri, the Gonzalez brothers and others led to an Afro-Cuban jazz renaissance in New York City. This occurred in parallel with developments in Cuba[166] The first Cuban band of this new wave was Irakere. Their "Chékere-son" (1976) introduced a style of "Cubanized" bebop-flavored horn lines that departed from the more angular guajeo-based lines which were typical of Cuban popular music and Latin jazz up until that time. It was based on Charlie Parker's composition "Billie's Bounce", jumbled together in a way that fused clave and bebop horn lines.[167] In spite of the ambivalence of some band members towards Irakere's Afro-Cuban folkloric / jazz fusion, their experiments forever changed Cuban jazz: their innovations are still heard in the high level of harmonic and rhythmic complexity in Cuban jazz and in the jazzy and complex contemporary form of popular dance music known as timba. Afro-Brazilian jazz Naná Vasconcelos playing the Afro-Brazilian Berimbau Brazilian jazz, such as bossa nova, is derived from samba, with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English, whilst the related jazz-samba is an adaptation of street samba into jazz. The bossa nova style was pioneered by Brazilians João Gilberto and Antônio Carlos Jobim and was made popular by Elizete Cardoso's recording of "Chega de Saudade" on the Canção do Amor Demais LP. Gilberto's initial releases, and the 1959 film Black Orpheus, achieved significant popularity in Latin America; this spread to North America via visiting American jazz musicians. The resulting recordings by Charlie Byrd and Stan Getz cemented bossa nova's popularity and led to a worldwide boom, with 1963's Getz/Gilberto, numerous recordings by famous jazz performers such as Ella Fitzgerald and Frank Sinatra, and the eventual entrenchment of the bossa nova style as a lasting influence in world music. Brazilian percussionists such as Airto Moreira and Naná Vasconcelos also influenced jazz internationally by introducing Afro-Brazilian folkloric instruments and rhythms into a wide variety of jazz styles, thus attracting a greater audience to them.[168][169][170] While bossa nova has been labeled as jazz by music critics, namely those from outside of Brazil, it has been rejected by many prominent bossa nova musicians such as Jobim, who once said "Bossa nova is not Brazilian jazz."[171][172] African-inspired Randy Weston Rhythm The first jazz standard composed by a non-Latino to use an overt African 12 8 cross-rhythm was Wayne Shorter's "Footprints" (1967).[173] On the version recorded on Miles Smiles by Miles Davis, the bass switches to a 4 4 tresillo figure at 2:20. "Footprints" is not, however, a Latin jazz tune: African rhythmic structures are accessed directly by Ron Carter (bass) and Tony Williams (drums) via the rhythmic sensibilities of swing. Throughout the piece, the four beats, whether sounded or not, are maintained as the temporal referent. The following example shows the 12 8 and 4 4 forms of the bass line. The slashed noteheads indicate the main beats (not bass notes), where one ordinarily taps their foot to "keep time". {        \relative c, <<         \new Staff <<            \new voice {               \clef bass \time 12/8 \key c \minor               \set Score.tempoHideNote = ##t \tempo 4 = 100                     \stemDown \override NoteHead.style = #'cross \repeat volta 2 { es4. es es es }        }           \new voice {               \set Score.tempoHideNote = ##t \tempo 4 = 100                    \time 12/8               \stemUp \repeat volta 2 { c'4 g'8~ g c4 es4.~ es4 g,8 } \bar ":|."        } >>        \new Staff <<           \new voice {               \clef bass \time 12/8 \key c \minor               \set Staff.timeSignatureFraction = 4/4               \scaleDurations 3/2 {                   \set Score.tempoHideNote = ##t \tempo 8 = 100                         \stemDown \override NoteHead.style = #'cross \repeat volta 2 { es,4 es es es }               }        }           \new voice \relative c' {               \time 12/8               \set Staff.timeSignatureFraction = 4/4               \scaleDurations 3/2 {                   \set Score.tempoHideNote = ##t \tempo 4 = 100                        \stemUp \repeat volta 2 { c,8. g'16~ g8 c es4~ es8. g,16 } \bar ":|."               }        } >>   >> } Pentatonic scales The use of pentatonic scales was another trend associated with Africa. The use of pentatonic scales in Africa probably goes back thousands of years.[174] McCoy Tyner perfected the use of the pentatonic scale in his solos,[175] and also used parallel fifths and fourths, which are common harmonies in West Africa.[176] The minor pentatonic scale is often used in blues improvisation, and like a blues scale, a minor pentatonic scale can be played over all of the chords in a blues. The following pentatonic lick was played over blues changes by Joe Henderson on Horace Silver's "African Queen" (1965).[177] Jazz pianist, theorist, and educator Mark Levine refers to the scale generated by beginning on the fifth step of a pentatonic scale as the V pentatonic scale.[178] C pentatonic scale beginning on the I (C pentatonic), IV (F pentatonic), and V (G pentatonic) steps of the scale.[clarification needed] Levine points out that the V pentatonic scale works for all three chords of the standard II–V–I jazz progression.[179] This is a very common progression, used in pieces such as Miles Davis' "Tune Up". The following example shows the V pentatonic scale over a II–V–I progression.[180] V pentatonic scale over II–V–I chord progression Accordingly, John Coltrane's "Giant Steps" (1960), with its 26 chords per 16 bars, can be played using only three pentatonic scales. Coltrane studied Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns, which contains material that is virtually identical to portions of "Giant Steps".[181] The harmonic complexity of "Giant Steps" is on the level of the most advanced 20th-century art music. Superimposing the pentatonic scale over "Giant Steps" is not merely a matter of harmonic simplification, but also a sort of "Africanizing" of the piece, which provides an alternate approach for soloing. Mark Levine observes that when mixed in with more conventional "playing the changes", pentatonic scales provide "structure and a feeling of increased space".[182] Sacred and liturgical jazz Main article: Sacred jazz As noted above, jazz has incorporated from its inception aspects of African-American sacred music including spirituals and hymns. Secular jazz musicians often performed renditions of spirituals and hymns as part of their repertoire or isolated compositions such as "Come Sunday", part of "Black and Beige Suite" by Duke Ellington. Later many other jazz artists borrowed from black gospel music. However, it was only after World War II that a few jazz musicians began to compose and perform extended works intended for religious settings and/or as religious expression. Since the 1950s, sacred and liturgical music has been performed and recorded by many prominent jazz composers and musicians.[183] The "Abyssinian Mass" by Wynton Marsalis (Blueengine Records, 2016) is a recent example. Relatively little has been written about sacred and liturgical jazz. In a 2013 doctoral dissertation, Angelo Versace examined the development of sacred jazz in the 1950s using disciplines of musicology and history. He noted that the traditions of black gospel music and jazz were combined in the 1950s to produce a new genre, "sacred jazz".[184] Versace maintained that the religious intent separates sacred from secular jazz. Most prominent in initiating the sacred jazz movement were pianist and composer Mary Lou Williams, known for her jazz masses in the 1950s and Duke Ellington. Prior to his death in 1974 in response to contacts from Grace Cathedral in San Francisco, Duke Ellington wrote three Sacred Concerts: 1965 – A Concert of Sacred Music; 1968 – Second Sacred Concert; 1973 – Third Sacred Concert. The most prominent form of sacred and liturgical jazz is the jazz mass. Although most often performed in a concert setting rather than church worship setting, this form has many examples. An eminent example of composers of the jazz mass was Mary Lou Williams. Williams converted to Catholicism in 1957, and proceeded to compose three masses in the jazz idiom.[185] One was composed in 1968 to honor the recently assassinated Martin Luther King Jr. and the third was commissioned by a pontifical commission. It was performed once in 1975 in St Patrick's Cathedral in New York City. However the Catholic Church has not embraced jazz as appropriate for worship. In 1966 Joe Masters recorded "Jazz Mass" for Columbia Records. A jazz ensemble was joined by soloists and choir using the English text of the Roman Catholic Mass.[186] Other examples include "Jazz Mass in Concert" by Lalo Schiffrin (Aleph Records, 1998, UPC 0651702632725) and "Jazz Mass" by Vince Guaraldi (Fantasy Records, 1965). In England, classical composer Will Todd recorded his "Jazz Missa Brevis" with a jazz ensemble, soloists and the St Martin's Voices on a 2018 Signum Records release, "Passion Music/Jazz Missa Brevis" also released as "Mass in Blue", and jazz organist James Taylor composed "The Rochester Mass" (Cherry Red Records, 2015).[187] In 2013, Versace put forth bassist Ike Sturm and New York composer Deanna Witkowski as contemporary exemplars of sacred and liturgical jazz.[184] Jazz fusion Main article: Jazz fusion Fusion trumpeter Miles Davis in 1989 In the late 1960s and early 1970s, the hybrid form of jazz-rock fusion was developed by combining jazz improvisation with rock rhythms, electric instruments and the highly amplified stage sound of rock musicians such as Jimi Hendrix and Frank Zappa. Jazz fusion often uses mixed meters, odd time signatures, syncopation, complex chords, and harmonies. According to AllMusic: ... until around 1967, the worlds of jazz and rock were nearly completely separate. [However, ...] as rock became more creative and its musicianship improved, and as some in the jazz world became bored with hard bop and did not want to play strictly avant-garde music, the two different idioms began to trade ideas and occasionally combine forces.[188] Miles Davis' new directions In 1969, Davis fully embraced the electric instrument approach to jazz with In a Silent Way, which can be considered his first fusion album. Composed of two side-long suites edited heavily by producer Teo Macero, this quiet, static album would be equally influential to the development of ambient music. As Davis recalls: The music I was really listening to in 1968 was James Brown, the great guitar player Jimi Hendrix, and a new group who had just come out with a hit record, "Dance to the Music", Sly and the Family Stone ... I wanted to make it more like rock. When we recorded In a Silent Way I just threw out all the chord sheets and told everyone to play off of that.[189] Two contributors to In a Silent Way also joined organist Larry Young to create one of the early acclaimed fusion albums: Emergency! (1969) by The Tony Williams Lifetime. Psychedelic-jazz Weather Report Weather Report's self-titled electronic and psychedelic Weather Report debut album caused a sensation in the jazz world on its arrival in 1971, thanks to the pedigree of the group's members (including percussionist Airto Moreira), and their unorthodox approach to music. The album featured a softer sound than would be the case in later years (predominantly using acoustic bass with Shorter exclusively playing soprano saxophone, and with no synthesizers involved), but is still considered a classic of early fusion. It built on the avant-garde experiments which Joe Zawinul and Shorter had pioneered with Miles Davis on Bitches Brew, including an avoidance of head-and-chorus composition in favor of continuous rhythm and movement – but took the music further. To emphasize the group's rejection of standard methodology, the album opened with the inscrutable avant-garde atmospheric piece "Milky Way", which featured by Shorter's extremely muted saxophone inducing vibrations in Zawinul's piano strings while the latter pedaled the instrument. DownBeat described the album as "music beyond category", and awarded it Album of the Year in the magazine's polls that year. Weather Report's subsequent releases were creative funk-jazz works.[190] Jazz-rock Although some jazz purists protested against the blend of jazz and rock, many jazz innovators crossed over from the contemporary hard bop scene into fusion. As well as the electric instruments of rock (such as electric guitar, electric bass, electric piano and synthesizer keyboards), fusion also used the powerful amplification, "fuzz" pedals, wah-wah pedals and other effects that were used by 1970s-era rock bands. Notable performers of jazz fusion included Miles Davis, Eddie Harris, keyboardists Joe Zawinul, Chick Corea, and Herbie Hancock, vibraphonist Gary Burton, drummer Tony Williams (drummer), violinist Jean-Luc Ponty, guitarists Larry Coryell, Al Di Meola, John McLaughlin, Ryo Kawasaki, and Frank Zappa, saxophonist Wayne Shorter and bassists Jaco Pastorius and Stanley Clarke. Jazz fusion was also popular in Japan, where the band Casiopea released more than thirty fusion albums. According to jazz writer Stuart Nicholson, "just as free jazz appeared on the verge of creating a whole new musical language in the 1960s ... jazz-rock briefly suggested the promise of doing the same" with albums such as Williams' Emergency! (1970) and Davis' Agharta (1975), which Nicholson said "suggested the potential of evolving into something that might eventually define itself as a wholly independent genre quite apart from the sound and conventions of anything that had gone before." This development was stifled by commercialism, Nicholson said, as the genre "mutated into a peculiar species of jazz-inflected pop music that eventually took up residence on FM radio" at the end of the 1970s.[191] Electronic music Although jazz-rock fusion reached the height of its popularity in the 1970s, the use of electronic instruments and rock-derived musical elements in jazz continued in the 1990s and 2000s. Musicians using this approach include Pat Metheny, John Abercrombie, John Scofield and the Swedish group e.s.t. Since the beginning of the 1990s, electronic music had significant technical improvements that popularized and created new possibilities for the genre. Jazz elements such as improvisation, rhythmic complexities and harmonic textures were introduced to the genre and consequently had a big impact in new listeners and in some ways kept the versatility of jazz relatable to a newer generation that did not necessarily relate to what the traditionalists call real jazz (bebop, cool and modal jazz).[192] Artists such as Squarepusher, Aphex Twin, Flying Lotus and sub genres like IDM, drum 'n' bass, jungle and techno ended up incorporating a lot of these elements.[193] Squarepusher being cited as one big influence for jazz performers drummer Mark Guiliana and pianist Brad Mehldau, showing the correlations between jazz and electronic music are a two-way street.[194] Jazz-funk Main article: Jazz-funk By the mid-1970s, the sound known as jazz-funk had developed, characterized by a strong back beat (groove), electrified sounds[195] and, often, the presence of electronic analog synthesizers. Jazz-funk also draws influences from traditional African music, Afro-Cuban rhythms and Jamaican reggae, notably Kingston bandleader Sonny Bradshaw. Another feature is the shift of emphasis from improvisation to composition: arrangements, melody and overall writing became important. The integration of funk, soul, and R&B music into jazz resulted in the creation of a genre whose spectrum is wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs and jazz solos, and sometimes soul vocals.[196] Early examples are Herbie Hancock's Headhunters band and Miles Davis' On the Corner album, which, in 1972, began Davis' foray into jazz-funk and was, he claimed, an attempt at reconnecting with the young black audience which had largely forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments employed, other tonal and rhythmic textures, such as the Indian tambora and tablas and Cuban congas and bongos, create a multi-layered soundscape. The album was a culmination of sorts of the musique concrète approach that Davis and producer Teo Macero had begun to explore in the late 1960s. Straight-ahead jazz Main articles: Straight-ahead jazz and 1980s in jazz Wynton Marsalis The 1980s saw something of a reaction against the fusion and free jazz that had dominated the 1970s. Trumpeter Wynton Marsalis emerged early in the decade, and strove to create music within what he believed was the tradition, rejecting both fusion and free jazz and creating extensions of the small and large forms initially pioneered by artists such as Louis Armstrong and Duke Ellington, as well as the hard bop of the 1950s. It is debatable whether Marsalis' critical and commercial success was a cause or a symptom of the reaction against Fusion and Free Jazz and the resurgence of interest in the kind of jazz pioneered in the 1960s (particularly modal jazz and post-bop); nonetheless there were many other manifestations of a resurgence of traditionalism, even if fusion and free jazz were by no means abandoned and continued to develop and evolve. For example, several musicians who had been prominent in the fusion genre during the 1970s began to record acoustic jazz once more, including Chick Corea and Herbie Hancock. Other musicians who had experimented with electronic instruments in the previous decade had abandoned them by the 1980s; for example, Bill Evans, Joe Henderson, and Stan Getz. Even the 1980s music of Miles Davis, although certainly still fusion, adopted a far more accessible and recognizably jazz-oriented approach than his abstract work of the mid-1970s, such as a return to a theme-and-solos approach. A similar reaction[vague] took place against free jazz. According to Ted Gioia: the very leaders of the avant garde started to signal a retreat from the core principles of free jazz. Anthony Braxton began recording standards over familiar chord changes. Cecil Taylor played duets in concert with Mary Lou Williams, and let her set out structured harmonies and familiar jazz vocabulary under his blistering keyboard attack. And the next generation of progressive players would be even more accommodating, moving inside and outside the changes without thinking twice. Musicians such as David Murray or Don Pullen may have felt the call of free-form jazz, but they never forgot all the other ways one could play African-American music for fun and profit.[197] Pianist Keith Jarrett—whose bands of the 1970s had played only original compositions with prominent free jazz elements—established his so-called 'Standards Trio' in 1983, which, although also occasionally exploring collective improvisation, has primarily performed and recorded jazz standards. Chick Corea similarly began exploring jazz standards in the 1980s, having neglected them for the 1970s. In 1987, the United States House of Representatives and Senate passed a bill proposed by Democratic Representative John Conyers Jr. to define jazz as a unique form of American music, stating "jazz is hereby designated as a rare and valuable national American treasure to which we should devote our attention, support and resources to make certain it is preserved, understood and promulgated." It passed in the House on September 23, 1987, and in the Senate on November 4, 1987.[198] In 2001, Ken Burns's documentary Jazz premiered on PBS, featuring Wynton Marsalis and other experts reviewing the entire history of American jazz to that time. It received some criticism, however, for its failure to reflect the many distinctive non-American traditions and styles in jazz that had developed, and its limited representation of US developments in the last quarter of the 20th century. Neo-bop Main article: Neo-bop The emergence of young jazz talent beginning to perform in older, established musicians' groups further impacted the resurgence of traditionalism in the jazz community. In the 1970s, the groups of Betty Carter and Art Blakey and the Jazz Messengers retained their conservative jazz approaches in the midst of fusion and jazz-rock, and in addition to difficulty booking their acts, struggled to find younger generations of personnel to authentically play traditional styles such as hard bop and bebop. In the late 1970s, however, a resurgence of younger jazz players in Blakey's band began to occur. This movement included musicians such as Valery Ponomarev and Bobby Watson, Dennis Irwin and James Williams. In the 1980s, in addition to Wynton and Branford Marsalis, the emergence of pianists in the Jazz Messengers such as Donald Brown, Mulgrew Miller, and later, Benny Green, bassists such as Charles Fambrough, Lonnie Plaxico (and later, Peter Washington and Essiet Essiet) horn players such as Bill Pierce, Donald Harrison and later Javon Jackson and Terence Blanchard emerged as talented jazz musicians, all of whom made significant contributions in the 1990s and 2000s. The young Jazz Messengers' contemporaries, including Roy Hargrove, Marcus Roberts, Wallace Roney and Mark Whitfield were also influenced by Wynton Marsalis's emphasis toward jazz tradition. These younger rising stars rejected avant-garde approaches and instead championed the acoustic jazz sound of Charlie Parker, Thelonious Monk and early recordings of the first Miles Davis quintet. This group of "Young Lions" sought to reaffirm jazz as a high art tradition comparable to the discipline of classical music.[199] In addition, Betty Carter's rotation of young musicians in her group foreshadowed many of New York's preeminent traditional jazz players later in their careers. Among these musicians were Jazz Messenger alumni Benny Green, Branford Marsalis and Ralph Peterson Jr., as well as Kenny Washington, Lewis Nash, Curtis Lundy, Cyrus Chestnut, Mark Shim, Craig Handy, Greg Hutchinson and Marc Cary, Taurus Mateen and Geri Allen. O.T.B. ensemble included a rotation of young jazz musicians such as Kenny Garrett, Steve Wilson, Kenny Davis, Renee Rosnes, Ralph Peterson Jr., Billy Drummond, and Robert Hurst.[200] Starting in the 1990s, a number of players from largely straight-ahead or post-bop backgrounds emerged as a result of the rise of neo-traditionalist jazz, including pianists Jason Moran and Vijay Iyer, guitarist Kurt Rosenwinkel, vibraphonist Stefon Harris, trumpeters Roy Hargrove and Terence Blanchard, saxophonists Chris Potter and Joshua Redman, clarinetist Ken Peplowski and bassist Christian McBride. Smooth jazz Main article: Smooth jazz David Sanborn, 2008 In the early 1980s, a commercial form of jazz fusion called "pop fusion" or "smooth jazz" became successful, garnering significant radio airplay in "quiet storm" time slots at radio stations in urban markets across the U.S. This helped to establish or bolster the careers of vocalists including Al Jarreau, Anita Baker, Chaka Khan, and Sade, as well as saxophonists including Grover Washington Jr., Kenny G, Kirk Whalum, Boney James, and David Sanborn. In general, smooth jazz is downtempo (the most widely played tracks are of 90–105 beats per minute), and has a lead melody-playing instrument (saxophone, especially soprano and tenor, and legato electric guitar are popular). In his Newsweek article "The Problem With Jazz Criticism",[201] Stanley Crouch considers Miles Davis' playing of fusion to be a turning point that led to smooth jazz. Critic Aaron J. West has countered the often negative perceptions of smooth jazz, stating: I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception.[202] Acid jazz, nu jazz, and jazz rap Main articles: Acid jazz, Nu jazz, and Jazz rap Acid jazz developed in the UK in the 1980s and 1990s, influenced by jazz-funk and electronic dance music. Acid jazz often contains various types of electronic composition (sometimes including sampling or live DJ cutting and scratching), but it is just as likely to be played live by musicians, who often showcase jazz interpretation as part of their performance. Richard S. Ginell of AllMusic considers Roy Ayers "one of the prophets of acid jazz".[203] Nu jazz is influenced by jazz harmony and melodies, and there are usually no improvisational aspects. It can be very experimental in nature and can vary widely in sound and concept. It ranges from the combination of live instrumentation with the beats of jazz house (as exemplified by St Germain, Jazzanova, and Fila Brazillia) to more band-based improvised jazz with electronic elements (for example, The Cinematic Orchestra, Kobol and the Norwegian "future jazz" style pioneered by Bugge Wesseltoft, Jaga Jazzist, and Nils Petter Molvær). Jazz rap developed in the late 1980s and early 1990s and incorporates jazz influences into hip hop. In 1988, Gang Starr released the debut single "Words I Manifest", which sampled Dizzy Gillespie's 1962 "Night in Tunisia", and Stetsasonic released "Talkin' All That Jazz", which sampled Lonnie Liston Smith. Gang Starr's debut LP No More Mr. Nice Guy (1989) and their 1990 track "Jazz Thing" sampled Charlie Parker and Ramsey Lewis. The groups which made up the Native Tongues Posse tended toward jazzy releases: these include the Jungle Brothers' debut Straight Out the Jungle (1988), and A Tribe Called Quest's People's Instinctive Travels and the Paths of Rhythm (1990) and The Low End Theory (1991). Rap duo Pete Rock & CL Smooth incorporated jazz influences on their 1992 debut Mecca and the Soul Brother. Rapper Guru's Jazzmatazz series began in 1993 using jazz musicians during the studio recordings. Although jazz rap had achieved little mainstream success, Miles Davis' final album Doo-Bop (released posthumously in 1992) was based on hip hop beats and collaborations with producer Easy Mo Bee. Davis' ex-bandmate Herbie Hancock also absorbed hip-hop influences in the mid-1990s, releasing the album Dis Is Da Drum in 1994. The mid-2010s saw an increased influence of R&B, hip-hop, and pop music on jazz. In 2015, Kendrick Lamar released his third studio album, To Pimp a Butterfly. The album heavily featured prominent contemporary jazz artists such as Thundercat[204] and redefined jazz rap with a larger focus on improvisation and live soloing rather than simply sampling. In that same year, saxophonist Kamasi Washington released his nearly three-hour long debut, The Epic. Its hip-hop inspired beats and R&B vocal interludes was not only acclaimed by critics for being innovative in keeping jazz relevant,[205] but also sparked a small resurgence in jazz on the internet. Punk jazz and jazzcore John Zorn performing in 2006 The relaxation of orthodoxy which was concurrent with post-punk in London and New York City led to a new appreciation of jazz. In London, the Pop Group began to mix free jazz and dub reggae into their brand of punk rock.[206] In New York, No Wave took direct inspiration from both free jazz and punk. Examples of this style include Lydia Lunch's Queen of Siam,[207] Gray, the work of James Chance and the Contortions (who mixed Soul with free jazz and punk)[207] and the Lounge Lizards[207] (the first group to call themselves "punk jazz"). John Zorn took note of the emphasis on speed and dissonance that was becoming prevalent in punk rock, and incorporated this into free jazz with the release of the Spy vs. Spy album in 1986, a collection of Ornette Coleman tunes done in the contemporary thrashcore style.[208] In the same year, Sonny Sharrock, Peter Brötzmann, Bill Laswell, and Ronald Shannon Jackson recorded the first album under the name Last Exit, a similarly aggressive blend of thrash and free jazz.[209] These developments are the origins of jazzcore, the fusion of free jazz with hardcore punk. M-Base Main article: M-Base Steve Coleman in Paris, July 2004 The M-Base movement started in the 1980s, when a loose collective of young African-American musicians in New York which included Steve Coleman, Greg Osby, and Gary Thomas developed a complex but grooving[210] sound. In the 1990s, most M-Base participants turned to more conventional music, but Coleman, the most active participant, continued developing his music in accordance with the M-Base concept.[211] Coleman's audience decreased, but his music and concepts influenced many musicians, according to pianist Vijay Iver and critic Ben Ratlifff of The New York Times.[212][213] M-Base changed from a movement of a loose collective of young musicians to a kind of informal Coleman "school",[214] with a much advanced but already originally implied concept.[215] Steve Coleman's music and M-Base concept gained recognition as "next logical step" after Charlie Parker, John Coltrane, and Ornette Coleman.[216] Jazz pluralism Since the 1990s, jazz has been characterized by a pluralism in which no one style dominates, but rather a wide range of styles and genres are popular. Individual performers often play in a variety of styles, sometimes in the same performance. Pianist Brad Mehldau and The Bad Plus have explored contemporary rock music within the context of the traditional jazz acoustic piano trio, recording instrumental jazz versions of songs by rock musicians. The Bad Plus have also incorporated elements of free jazz into their music. A firm avant-garde or free jazz stance has been maintained by some players, such as saxophonists Greg Osby and Charles Gayle, while others, such as James Carter, have incorporated free jazz elements into a more traditional framework. Joan Chamorro (bass), Andrea Motis (trumpet), and Ignasi Terraza (piano) in 2018 Harry Connick Jr. began his career playing stride piano and the Dixieland jazz of his home, New Orleans, beginning with his first recording when he was 10 years old.[217] Some of his earliest lessons were at the home of pianist Ellis Marsalis.[218] Connick had success on the pop charts after recording the soundtrack to the movie When Harry Met Sally, which sold over two million copies.[217] Crossover success has also been achieved by Diana Krall, Norah Jones, Cassandra Wilson, Kurt Elling, and Jamie Cullum. Additionally, the era saw the release of recordings and videos from the previous century, such as a Just Jazz tape broadcast by a band led by Gene Ammons[219] and studio archives such as Just Coolin' by Art Blakey and the Jazz Messengers.[220] Social media An internet-aided trend of 2010's jazz was that of extreme reharmonization, inspired by both virtuosic players known for their speed and rhythm such as Art Tatum, as well as players known for their ambitious voicings and chords such as Bill Evans. Supergroup Snarky Puppy adopted this trend, allowing players like Cory Henry[221] to shape the grooves and harmonies of modern jazz soloing. YouTube phenomenon Jacob Collier also gained recognition for his ability to play an incredibly large number of instruments and his ability to use microtones, advanced polyrhythms, and blend a spectrum of genres in his largely homemade production process.[222][223] Other jazz musicians gained popularity through social media during the 2010s and 2020s. These included Joan Chamorro, a bassist and bandleader based in Barcelona whose big band and jazz combo videos have received tens of millions of views on YouTube,[224] and Emmet Cohen, who broadcast a series of performances live from New York starting in March 2020.[225] See also icon Jazz portal Music portal flag United States portal Jazz (Henri Matisse) Jazz piano Jazz royalty Victorian Jazz Archive Hogan Jazz Archive International Jazz Day Bibliography of jazz Timeline of jazz education List of certified jazz recordings List of jazz festivals List of jazz genres List of jazz musicians List of jazz standards List of jazz venues List of jazz venues in the United States Chicago (/ʃɪˈkɑːɡoʊ/ (listen) shih-KAH-goh, locally also /ʃɪˈkɔːɡoʊ/ shih-KAW-goh;[6] Miami-Illinois: Shikaakwa; Ojibwe: Zhigaagong) is the most populous city in the U.S. state of Illinois and the third-most populous in the United States after New York City and Los Angeles. With a population of 2,746,388 in the 2020 census,[7] it is also the most populous city in the Midwest. As the seat of Cook County, the second-most populous county in the U.S., Chicago is the center of the Chicago metropolitan area, the 39th-largest city in the world as of 2018. On the shore of Lake Michigan, Chicago was incorporated as a city in 1837 near a portage between the Great Lakes and the Mississippi River watershed. It grew rapidly in the mid-19th century.[8][9] The Great Chicago Fire in 1871 destroyed several square miles and left more than 100,000 homeless,[10] but Chicago's population continued to grow.[9] Chicago made noted contributions to urban planning and architecture, such as the Chicago School, the development of the City Beautiful Movement, and the steel-framed skyscraper.[11][12] Chicago is an international hub for finance, culture, commerce, industry, education, technology, telecommunications, and transportation. It is the financial center of the U.S. Midwest. It has the largest and most diverse derivatives market in the world, generating 20% of all volume in commodities and financial futures alone.[13] O'Hare International Airport is routinely ranked among the world's top six busiest airports.[14] The region is the nation's railroad hub.[15] The Chicago area has one of the highest gross domestic products (GDP) in the world, generating $689 billion in 2018.[16] Chicago's economy is diverse, with no single industry employing more than 14% of the workforce.[13] Chicago is a major tourist destination. Chicago's culture has contributed much to the visual arts, literature, film, theater, comedy (especially improvisational comedy), food, dance, and music (particularly jazz, blues, soul, hip-hop, gospel,[17] and electronic dance music, including house music). Chicago is home to the Chicago Symphony Orchestra and the Lyric Opera of Chicago. The Chicago area also hosts the University of Chicago, Northwestern University, and the University of Illinois Chicago, among other institutions of learning. Chicago has professional sports teams in each of the major professional leagues, including two Major League Baseball teams. Etymology and nicknames Main article: Nicknames of Chicago See also: Windy City (nickname) The name Chicago is derived from a French rendering of the indigenous Miami-Illinois word shikaakwa for a wild relative of the onion; it is known to botanists as Allium tricoccum and known more commonly as "ramps". The first known reference to the site of the current city of Chicago as "Checagou" was by Robert de LaSalle around 1679 in a memoir.[18] Henri Joutel, in his journal of 1688, noted that the eponymous wild "garlic" grew profusely in the area.[19] According to his diary of late September 1687: ... when we arrived at the said place called "Chicagou" which, according to what we were able to learn of it, has taken this name because of the quantity of garlic which grows in the forests in this region.[19] The city has had several nicknames throughout its history, such as the Windy City, Chi-Town, Second City, and City of the Big Shoulders.[20] History Main article: History of Chicago For a chronological guide, see Timeline of Chicago history. Beginnings Traditional Potawatomi regalia on display at the Field Museum of Natural History In the mid-18th century, the area was inhabited by the Potawatomi, a Native American tribe who had succeeded the Miami and Sauk and Fox peoples in this region.[21] An artist's rendering of the Great Chicago Fire of 1871 Home Insurance Building (1885) Court of Honor at the World's Columbian Exposition in 1893 The first known non-indigenous permanent settler in Chicago was trader Jean Baptiste Point du Sable. Du Sable was of African descent, perhaps born in the French colony of Saint-Domingue (Haiti), and established the settlement in the 1780s. He is commonly known as the "Founder of Chicago".[22][23][24] In 1795, following the victory of the new United States in the Northwest Indian War, an area that was to be part of Chicago was turned over to the US for a military post by native tribes in accordance with the Treaty of Greenville. In 1803, the U.S. Army constructed Fort Dearborn, which was destroyed during the War of 1812 in the Battle of Fort Dearborn by the Potawatomi before being later rebuilt.[25] After the War of 1812, the Ottawa, Ojibwe, and Potawatomi tribes ceded additional land to the United States in the 1816 Treaty of St. Louis. The Potawatomi were forcibly removed from their land after the 1833 Treaty of Chicago and sent west of the Mississippi River as part of the federal policy of Indian removal.[26][27][28] 19th century The location and course of the Illinois and Michigan Canal (completed 1848) 0:50 State and Madison Streets, once known as the busiest intersection in the world (1897) On August 12, 1833, the Town of Chicago was organized with a population of about 200.[28] Within seven years it grew to more than 6,000 people. On June 15, 1835, the first public land sales began with Edmund Dick Taylor as Receiver of Public Monies. The City of Chicago was incorporated on Saturday, March 4, 1837,[29] and for several decades was the world's fastest-growing city.[30] As the site of the Chicago Portage,[31] the city became an important transportation hub between the eastern and western United States. Chicago's first railway, Galena and Chicago Union Railroad, and the Illinois and Michigan Canal opened in 1848. The canal allowed steamboats and sailing ships on the Great Lakes to connect to the Mississippi River.[32][33][34][35] A flourishing economy brought residents from rural communities and immigrants from abroad. Manufacturing and retail and finance sectors became dominant, influencing the American economy.[36] The Chicago Board of Trade (established 1848) listed the first-ever standardized "exchange-traded" forward contracts, which were called futures contracts.[37] In the 1850s, Chicago gained national political prominence as the home of Senator Stephen Douglas, the champion of the Kansas–Nebraska Act and the "popular sovereignty" approach to the issue of the spread of slavery.[38] These issues also helped propel another Illinoisan, Abraham Lincoln, to the national stage. Lincoln was nominated in Chicago for US president at the 1860 Republican National Convention, which was held in a purpose-built auditorium called the Wigwam. He defeated Douglas in the general election, and this set the stage for the American Civil War. To accommodate rapid population growth and demand for better sanitation, the city improved its infrastructure. In February 1856, Chicago's Common Council approved Chesbrough's plan to build the United States' first comprehensive sewerage system.[39] The project raised much of central Chicago to a new grade with the use of jackscrews for raising buildings.[40] While elevating Chicago, and at first improving the city's health, the untreated sewage and industrial waste now flowed into the Chicago River, and subsequently into Lake Michigan, polluting the city's primary freshwater source. The city responded by tunneling two miles (3.2 km) out into Lake Michigan to newly built water cribs. In 1900, the problem of sewage contamination was largely resolved when the city completed a major engineering feat. It reversed the flow of the Chicago River so that the water flowed away from Lake Michigan rather than into it. This project began with the construction and improvement of the Illinois and Michigan Canal, and was completed with the Chicago Sanitary and Ship Canal that connects to the Illinois River, which flows into the Mississippi River.[41][42][43] In 1871, the Great Chicago Fire destroyed an area about 4 miles (6.4 km) long and 1-mile (1.6 km) wide, a large section of the city at the time.[44][45][46] Much of the city, including railroads and stockyards, survived intact,[47] and from the ruins of the previous wooden structures arose more modern constructions of steel and stone. These set a precedent for worldwide construction.[48][49] During its rebuilding period, Chicago constructed the world's first skyscraper in 1885, using steel-skeleton construction.[50][51] The city grew significantly in size and population by incorporating many neighboring townships between 1851 and 1920, with the largest annexation happening in 1889, with five townships joining the city, including the Hyde Park Township, which now comprises most of the South Side of Chicago and the far southeast of Chicago, and the Jefferson Township, which now makes up most of Chicago's Northwest Side.[52] The desire to join the city was driven by municipal services that the city could provide its residents. Chicago's flourishing economy attracted huge numbers of new immigrants from Europe and migrants from the Eastern United States. Of the total population in 1900, more than 77% were either foreign-born or born in the United States of foreign parentage. Germans, Irish, Poles, Swedes, and Czechs made up nearly two-thirds of the foreign-born population (by 1900, whites were 98.1% of the city's population).[53][54] Labor conflicts followed the industrial boom and the rapid expansion of the labor pool, including the Haymarket affair on May 4, 1886, and in 1894 the Pullman Strike. Anarchist and socialist groups played prominent roles in creating very large and highly organized labor actions. Concern for social problems among Chicago's immigrant poor led Jane Addams and Ellen Gates Starr to found Hull House in 1889.[55] Programs that were developed there became a model for the new field of social work.[56] During the 1870s and 1880s, Chicago attained national stature as the leader in the movement to improve public health. City laws and later, state laws that upgraded standards for the medical profession and fought urban epidemics of cholera, smallpox, and yellow fever were both passed and enforced. These laws became templates for public health reform in other cities and states.[57] The city established many large, well-landscaped municipal parks, which also included public sanitation facilities. The chief advocate for improving public health in Chicago was John H. Rauch, M.D. Rauch established a plan for Chicago's park system in 1866. He created Lincoln Park by closing a cemetery filled with shallow graves, and in 1867, in response to an outbreak of cholera he helped establish a new Chicago Board of Health. Ten years later, he became the secretary and then the president of the first Illinois State Board of Health, which carried out most of its activities in Chicago.[58] In the 1800s, Chicago became the nation's railroad hub, and by 1910 over 20 railroads operated passenger service out of six different downtown terminals.[59][60] In 1883, Chicago's railway managers needed a general time convention, so they developed the standardized system of North American time zones.[61] This system for telling time spread throughout the continent. In 1893, Chicago hosted the World's Columbian Exposition on former marshland at the present location of Jackson Park. The Exposition drew 27.5 million visitors, and is considered the most influential world's fair in history.[62][63] The University of Chicago, formerly at another location, moved to the same South Side location in 1892. The term "midway" for a fair or carnival referred originally to the Midway Plaisance, a strip of park land that still runs through the University of Chicago campus and connects the Washington and Jackson Parks.[64][65] 20th and 21st centuries Men outside a soup kitchen during the Great Depression (1931) 1900 to 1939 Aerial motion film photography of Chicago in 1914 as filmed by A. Roy Knabenshue During World War I and the 1920s there was a major expansion in industry. The availability of jobs attracted African Americans from the Southern United States. Between 1910 and 1930, the African American population of Chicago increased dramatically, from 44,103 to 233,903.[66] This Great Migration had an immense cultural impact, called the Chicago Black Renaissance, part of the New Negro Movement, in art, literature, and music.[67] Continuing racial tensions and violence, such as the Chicago Race Riot of 1919, also occurred.[68] The ratification of the 18th amendment to the Constitution in 1919 made the production and sale (including exportation) of alcoholic beverages illegal in the United States. This ushered in the beginning of what is known as the Gangster Era, a time that roughly spans from 1919 until 1933 when Prohibition was repealed. The 1920s saw gangsters, including Al Capone, Dion O'Banion, Bugs Moran and Tony Accardo battle law enforcement and each other on the streets of Chicago during the Prohibition era.[69] Chicago was the location of the infamous St. Valentine's Day Massacre in 1929, when Al Capone sent men to gun down members of a rival gang, North Side, led by Bugs Moran.[70] Chicago was the first American city to have a homosexual-rights organization. The organization, formed in 1924, was called the Society for Human Rights. It produced the first American publication for homosexuals, Friendship and Freedom. Police and political pressure caused the organization to disband.[71] The Great Depression brought unprecedented suffering to Chicago, in no small part due to the city's heavy reliance on heavy industry. Notably, industrial areas on the south side and neighborhoods lining both branches of the Chicago River were devastated; by 1933 over 50% of industrial jobs in the city had been lost, and unemployment rates amongst blacks and Mexicans in the city were over 40%. The Republican political machine in Chicago was utterly destroyed by the economic crisis, and every mayor since 1931 has been a Democrat.[72] From 1928 to 1933, the city witnessed a tax revolt, and the city was unable to meet payroll or provide relief efforts. The fiscal crisis was resolved by 1933, and at the same time, federal relief funding began to flow into Chicago.[72] Chicago was also a hotbed of labor activism, with Unemployed Councils contributing heavily in the early depression to create solidarity for the poor and demand relief, these organizations were created by socialist and communist groups. By 1935 the Workers Alliance of America begun organizing the poor, workers, the unemployed. In the spring of 1937 Republic Steel Works witnessed the Memorial Day massacre of 1937 in the neighborhood of East Side. In 1933, Chicago Mayor Anton Cermak was fatally wounded in Miami, Florida, during a failed assassination attempt on President-elect Franklin D. Roosevelt. In 1933 and 1934, the city celebrated its centennial by hosting the Century of Progress International Exposition World's Fair.[73] The theme of the fair was technological innovation over the century since Chicago's founding.[74] 1940 to 1979 Boy from Chicago, 1941 The Chicago Picasso (1967) inspired a new era in urban public art. During World War II, the city of Chicago alone produced more steel than the United Kingdom every year from 1939 – 1945, and more than Nazi Germany from 1943 – 1945.[citation needed] Protesters in Grant Park outside the 1968 Democratic National Convention The Great Migration, which had been on pause due to the Depression, resumed at an even faster pace in the second wave, as hundreds of thousands of blacks from the South arrived in the city to work in the steel mills, railroads, and shipping yards.[75] On December 2, 1942, physicist Enrico Fermi conducted the world's first controlled nuclear reaction at the University of Chicago as part of the top-secret Manhattan Project. This led to the creation of the atomic bomb by the United States, which it used in World War II in 1945.[76] Mayor Richard J. Daley, a Democrat, was elected in 1955, in the era of machine politics. In 1956, the city conducted its last major expansion when it annexed the land under O'Hare airport, including a small portion of DuPage County.[77] By the 1960s, white residents in several neighborhoods left the city for the suburban areas – in many American cities, a process known as white flight – as Blacks continued to move beyond the Black Belt.[78] While home loan discriminatory redlining against blacks continued, the real estate industry practiced what became known as blockbusting, completely changing the racial composition of whole neighborhoods.[79] Structural changes in industry, such as globalization and job outsourcing, caused heavy job losses for lower-skilled workers. At its peak during the 1960s, some 250,000 workers were employed in the steel industry in Chicago, but the steel crisis of the 1970s and 1980s reduced this number to just 28,000 in 2015. In 1966, Martin Luther King Jr. and Albert Raby led the Chicago Freedom Movement, which culminated in agreements between Mayor Richard J. Daley and the movement leaders.[80] Two years later, the city hosted the tumultuous 1968 Democratic National Convention, which featured physical confrontations both inside and outside the convention hall, with anti-war protesters, journalists and bystanders being beaten by police.[81] Major construction projects, including the Sears Tower (now known as the Willis Tower, which in 1974 became the world's tallest building), University of Illinois at Chicago, McCormick Place, and O'Hare International Airport, were undertaken during Richard J. Daley's tenure.[82] In 1979, Jane Byrne, the city's first female mayor, was elected. She was notable for temporarily moving into the crime-ridden Cabrini-Green housing project and for leading Chicago's school system out of a financial crisis.[83] 1980 to present In 1983, Harold Washington became the first black mayor of Chicago. Washington's first term in office directed attention to poor and previously neglected minority neighborhoods. He was re‑elected in 1987 but died of a heart attack soon after.[84] Washington was succeeded by 6th ward Alderman Eugene Sawyer, who was elected by the Chicago City Council and served until a special election. Richard M. Daley, son of Richard J. Daley, was elected in 1989. His accomplishments included improvements to parks and creating incentives for sustainable development, as well as closing Meigs Field in the middle of the night and destroying the runways. After successfully running for re-election five times, and becoming Chicago's longest-serving mayor, Richard M. Daley declined to run for a seventh term.[85][86] In 1992, a construction accident near the Kinzie Street Bridge produced a breach connecting the Chicago River to a tunnel below, which was part of an abandoned freight tunnel system extending throughout the downtown Loop district. The tunnels filled with 250 million US gallons (1,000,000 m3) of water, affecting buildings throughout the district and forcing a shutdown of electrical power.[87] The area was shut down for three days and some buildings did not reopen for weeks; losses were estimated at $1.95 billion.[87] On February 23, 2011, former Illinois Congressman and White House Chief of Staff Rahm Emanuel won the mayoral election.[88] Emanuel was sworn in as mayor on May 16, 2011, and won re-election in 2015.[89] Lori Lightfoot, the city's first African American woman mayor and its first openly LGBTQ Mayor, was elected to succeed Emanuel as mayor in 2019.[90] All three city-wide elective offices were held by women (and women of color) for the first time in Chicago history: in addition to Lightfoot, the City Clerk was Anna Valencia and City Treasurer, Melissa Conyears-Ervin.[91] On May 15th, 2023, Brandon Johnson assumed office as the 57th Mayor of Chicago. Geography Main article: Geography of Chicago Chicago skyline at sunset in October 2020, from near Fullerton Avenue looking south Topography Downtown and the North Side with beaches lining the waterfront A satellite image of Chicago Chicago is located in northeastern Illinois on the southwestern shores of freshwater Lake Michigan. It is the principal city in the Chicago metropolitan area, situated in both the Midwestern United States and the Great Lakes region. The city rests on a continental divide at the site of the Chicago Portage, connecting the Mississippi River and the Great Lakes watersheds. In addition to it lying beside Lake Michigan, two rivers—the Chicago River in downtown and the Calumet River in the industrial far South Side—flow either entirely or partially through the city.[92][93] Chicago's history and economy are closely tied to its proximity to Lake Michigan. While the Chicago River historically handled much of the region's waterborne cargo, today's huge lake freighters use the city's Lake Calumet Harbor on the South Side. The lake also provides another positive effect: moderating Chicago's climate, making waterfront neighborhoods slightly warmer in winter and cooler in summer.[94] When Chicago was founded in 1837, most of the early building was around the mouth of the Chicago River, as can be seen on a map of the city's original 58 blocks.[95] The overall grade of the city's central, built-up areas is relatively consistent with the natural flatness of its overall natural geography, generally exhibiting only slight differentiation otherwise. The average land elevation is 579 ft (176.5 m) above sea level. While measurements vary somewhat,[96] the lowest points are along the lake shore at 578 ft (176.2 m), while the highest point, at 672 ft (205 m), is the morainal ridge of Blue Island in the city's far south side.[97] While the Chicago Loop is the central business district, Chicago is also a city of neighborhoods. Lake Shore Drive runs adjacent to a large portion of Chicago's waterfront. Some of the parks along the waterfront include Lincoln Park, Grant Park, Burnham Park, and Jackson Park. There are 24 public beaches across 26 miles (42 km) of the waterfront.[98] Landfill extends into portions of the lake providing space for Navy Pier, Northerly Island, the Museum Campus, and large portions of the McCormick Place Convention Center. Most of the city's high-rise commercial and residential buildings are close to the waterfront. An informal name for the entire Chicago metropolitan area is "Chicagoland", which generally means the city and all its suburbs, though different organizations have slightly different definitions.[99][100][101] Communities See also: Community areas in Chicago and Neighborhoods in Chicago Community areas of Chicago Major sections of the city include the central business district, called The Loop, and the North, South, and West Sides.[102] The three sides of the city are represented on the Flag of Chicago by three horizontal white stripes.[103] The North Side is the most-densely-populated residential section of the city, and many high-rises are located on this side of the city along the lakefront.[104] The South Side is the largest section of the city, encompassing roughly 60% of the city's land area. The South Side contains most of the facilities of the Port of Chicago.[105] In the late-1920s, sociologists at the University of Chicago subdivided the city into 77 distinct community areas, which can further be subdivided into over 200 informally defined neighborhoods.[106][107] Streetscape Main article: Roads and expressways in Chicago Chicago's streets were laid out in a street grid that grew from the city's original townsite plot, which was bounded by Lake Michigan on the east, North Avenue on the north, Wood Street on the west, and 22nd Street on the south.[108] Streets following the Public Land Survey System section lines later became arterial streets in outlying sections. As new additions to the city were platted, city ordinance required them to be laid out with eight streets to the mile in one direction and sixteen in the other direction, about one street per 200 meters in one direction and one street per 100 meters in the other direction. The grid's regularity provided an efficient means of developing new real estate property. A scattering of diagonal streets, many of them originally Native American trails, also cross the city (Elston, Milwaukee, Ogden, Lincoln, etc.). Many additional diagonal streets were recommended in the Plan of Chicago, but only the extension of Ogden Avenue was ever constructed.[109] In 2016, Chicago was ranked the sixth-most walkable large city in the United States.[110] Many of the city's residential streets have a wide patch of grass or trees between the street and the sidewalk itself. This helps to keep pedestrians on the sidewalk further away from the street traffic. Chicago's Western Avenue is the longest continuous urban street in the world.[111] Other notable streets include Michigan Avenue, State Street, Oak, Rush, Clark Street, and Belmont Avenue. The City Beautiful movement inspired Chicago's boulevards and parkways.[112] Architecture Further information: Architecture of Chicago, List of tallest buildings in Chicago, and List of Chicago Landmarks The Chicago Building (1904–05) is a prime example of the Chicago School, displaying both variations of the Chicago window. The destruction caused by the Great Chicago Fire led to the largest building boom in the history of the nation. In 1885, the first steel-framed high-rise building, the Home Insurance Building, rose in the city as Chicago ushered in the skyscraper era,[51] which would then be followed by many other cities around the world.[113] Today, Chicago's skyline is among the world's tallest and densest.[114] Some of the United States' tallest towers are located in Chicago; Willis Tower (formerly Sears Tower) is the second tallest building in the Western Hemisphere after One World Trade Center, and Trump International Hotel and Tower is the third tallest in the country.[115] The Loop's historic buildings include the Chicago Board of Trade Building, the Fine Arts Building, 35 East Wacker, and the Chicago Building, 860-880 Lake Shore Drive Apartments by Mies van der Rohe. Many other architects have left their impression on the Chicago skyline such as Daniel Burnham, Louis Sullivan, Charles B. Atwood, John Root, and Helmut Jahn.[116][117] The Merchandise Mart, once first on the list of largest buildings in the world, currently listed as 44th-largest (as of 9 September 2013), had its own zip code until 2008, and stands near the junction of the North and South branches of the Chicago River.[118] Presently, the four tallest buildings in the city are Willis Tower (formerly the Sears Tower, also a building with its own zip code), Trump International Hotel and Tower, the Aon Center (previously the Standard Oil Building), and the John Hancock Center. Industrial districts, such as some areas on the South Side, the areas along the Chicago Sanitary and Ship Canal, and the Northwest Indiana area are clustered.[119] Chicago gave its name to the Chicago School and was home to the Prairie School, two movements in architecture.[120] Multiple kinds and scales of houses, townhouses, condominiums, and apartment buildings can be found throughout Chicago. Large swaths of the city's residential areas away from the lake are characterized by brick bungalows built from the early 20th century through the end of World War II. Chicago is also a prominent center of the Polish Cathedral style of church architecture. The Chicago suburb of Oak Park was home to famous architect Frank Lloyd Wright, who had designed The Robie House located near the University of Chicago.[121][122] A popular tourist activity is to take an architecture boat tour along the Chicago River.[123] Monuments and public art Replica of Daniel Chester French's Statue of The Republic at the site of the World's Columbian Exposition Main article: List of public art in Chicago Chicago is famous for its outdoor public art with donors establishing funding for such art as far back as Benjamin Ferguson's 1905 trust.[124] A number of Chicago's public art works are by modern figurative artists. Among these are Chagall's Four Seasons; the Chicago Picasso; Miro's Chicago; Calder's Flamingo; Oldenburg's Batcolumn; Moore's Large Interior Form, 1953-54, Man Enters the Cosmos and Nuclear Energy; Dubuffet's Monument with Standing Beast, Abakanowicz's Agora; and, Anish Kapoor's Cloud Gate which has become an icon of the city. Some events which shaped the city's history have also been memorialized by art works, including the Great Northern Migration (Saar) and the centennial of statehood for Illinois. Finally, two fountains near the Loop also function as monumental works of art: Plensa's Crown Fountain as well as Burnham and Bennett's Buckingham Fountain.[citation needed] Climate Main article: Climate of Chicago Chicago, Illinois Climate chart (explanation) J F M A M J J A S O N D   2.1  3218   1.9  3622   2.7  4731   3.6  5942   4.1  7052   4.1  8062   4  8568   4  8366   3.3  7558   3.2  6346   3.4  4935   2.6  3523 █ Average max. and min. temperatures in °F █ Precipitation totals in inches Metric conversion The Chicago River during the January 2014 cold wave The city lies within the typical hot-summer humid continental climate (Köppen: Dfa), and experiences four distinct seasons.[125][126][127] Summers are hot and humid, with frequent heat waves. The July daily average temperature is 75.9 °F (24.4 °C), with afternoon temperatures peaking at 85.0 °F (29.4 °C). In a normal summer, temperatures reach at least 90 °F (32 °C) on as many as 23 days, with lakefront locations staying cooler when winds blow off the lake. Winters are relatively cold and snowy. Blizzards do occur, such as in winter 2011.[128] There are many sunny but cold days. The normal winter high from December through March is about 36 °F (2 °C). January and February are the coldest months. A polar vortex in January 2019 nearly broke the city's cold record of −27 °F (−33 °C), which was set on January 20, 1985.[129][130][131] Measurable snowfall can continue through the first or second week of April.[132] Spring and autumn are mild, short seasons, typically with low humidity. Dew point temperatures in the summer range from an average of 55.7 °F (13.2 °C) in June to 61.7 °F (16.5 °C) in July.[133] They can reach nearly 80 °F (27 °C), such as during the July 2019 heat wave. The city lies within USDA plant hardiness zone 6a, transitioning to 5b in the suburbs.[134] According to the National Weather Service, Chicago's highest official temperature reading of 105 °F (41 °C) was recorded on July 24, 1934.[135] Midway Airport reached 109 °F (43 °C) one day prior and recorded a heat index of 125 °F (52 °C) during the 1995 heatwave.[136] The lowest official temperature of −27 °F (−33 °C) was recorded on January 20, 1985, at O'Hare Airport.[133][136] Most of the city's rainfall is brought by thunderstorms, averaging 38 a year. The region is prone to severe thunderstorms during the spring and summer which can produce large hail, damaging winds, and occasionally tornadoes.[137] Like other major cities, Chicago experiences an urban heat island, making the city and its suburbs milder than surrounding rural areas, especially at night and in winter. The proximity to Lake Michigan tends to keep the Chicago lakefront somewhat cooler in summer and less brutally cold in winter than inland parts of the city and suburbs away from the lake.[138] Northeast winds from wintertime cyclones departing south of the region sometimes bring the city lake-effect snow.[139] Climate data for Chicago (Midway Airport), 1991–2020 normals,[a] extremes 1928–present Month Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec Year Record high °F (°C) 67 (19) 75 (24) 86 (30) 92 (33) 102 (39) 107 (42) 109 (43) 104 (40) 102 (39) 94 (34) 81 (27) 72 (22) 109 (43) Mean maximum °F (°C) 53.4 (11.9) 57.9 (14.4) 72.0 (22.2) 81.5 (27.5) 89.2 (31.8) 93.9 (34.4) 96.0 (35.6) 94.2 (34.6) 90.8 (32.7) 82.8 (28.2) 68.0 (20.0) 57.5 (14.2) 97.1 (36.2) Average high °F (°C) 32.8 (0.4) 36.8 (2.7) 47.9 (8.8) 60.0 (15.6) 71.5 (21.9) 81.2 (27.3) 85.2 (29.6) 83.1 (28.4) 76.5 (24.7) 63.7 (17.6) 49.6 (9.8) 37.7 (3.2) 60.5 (15.8) Daily mean °F (°C) 26.2 (−3.2) 29.9 (−1.2) 39.9 (4.4) 50.9 (10.5) 61.9 (16.6) 71.9 (22.2) 76.7 (24.8) 75.0 (23.9) 67.8 (19.9) 55.3 (12.9) 42.4 (5.8) 31.5 (−0.3) 52.4 (11.3) Average low °F (°C) 19.5 (−6.9) 22.9 (−5.1) 32.0 (0.0) 41.7 (5.4) 52.4 (11.3) 62.7 (17.1) 68.1 (20.1) 66.9 (19.4) 59.2 (15.1) 46.8 (8.2) 35.2 (1.8) 25.3 (−3.7) 44.4 (6.9) Mean minimum °F (°C) −3 (−19) 3.4 (−15.9) 14.1 (−9.9) 28.2 (−2.1) 39.1 (3.9) 49.3 (9.6) 58.6 (14.8) 57.6 (14.2) 45.0 (7.2) 31.8 (−0.1) 19.7 (−6.8) 5.3 (−14.8) −6.5 (−21.4) Record low °F (°C) −25 (−32) −20 (−29) −7 (−22) 10 (−12) 28 (−2) 35 (2) 46 (8) 43 (6) 29 (−2) 20 (−7) −3 (−19) −20 (−29) −25 (−32) Average precipitation inches (mm) 2.30 (58) 2.12 (54) 2.66 (68) 4.15 (105) 4.75 (121) 4.53 (115) 4.02 (102) 4.10 (104) 3.33 (85) 3.86 (98) 2.73 (69) 2.33 (59) 40.88 (1,038) Average snowfall inches (cm) 12.5 (32) 10.1 (26) 5.7 (14) 1.0 (2.5) 0.0 (0.0) 0.0 (0.0) 0.0 (0.0) 0.0 (0.0) 0.0 (0.0) 0.1 (0.25) 1.5 (3.8) 7.9 (20) 38.8 (99) Average precipitation days (≥ 0.01 in) 11.5 9.4 11.1 12.0 12.4 11.1 10.0 9.3 8.4 10.8 10.2 10.8 127.0 Average snowy days (≥ 0.1 in) 8.9 6.4 3.9 0.9 0.0 0.0 0.0 0.0 0.0 0.2 1.6 6.3 28.2 Average ultraviolet index 1 2 4 6 7 9 9 8 6 4 2 1 5 Source 1: NOAA[140][133][136], WRCC[141] Source 2: Weather Atlas (UV)[142] Climate data for Chicago (O'Hare Int'l Airport), 1991–2020 normals,[a] extremes 1871–present[b] Sunshine data for Chicago Time zone As in the rest of the state of Illinois, Chicago forms part of the Central Time Zone. The border with the Eastern Time Zone is located a short distance to the east, used in Michigan and certain parts of Indiana. Demographics Main article: Demographics of Chicago Historical population Census Pop. Note %± 1840 4,470 — 1850 29,963 570.3% 1860 112,172 274.4% 1870 298,977 166.5% 1880 503,185 68.3% 1890 1,099,850 118.6% 1900 1,698,575 54.4% 1910 2,185,283 28.7% 1920 2,701,705 23.6% 1930 3,376,438 25.0% 1940 3,396,808 0.6% 1950 3,620,962 6.6% 1960 3,550,404 −1.9% 1970 3,366,957 −5.2% 1980 3,005,072 −10.7% 1990 2,783,726 −7.4% 2000 2,896,016 4.0% 2010 2,695,598 −6.9% 2020 2,746,388 1.9% 2021 (est.) 2,696,555 −1.8% United States Census Bureau[148] 2010–2020[7] During its first hundred years, Chicago was one of the fastest-growing cities in the world. When founded in 1833, fewer than 200 people had settled on what was then the American frontier. By the time of its first census, seven years later, the population had reached over 4,000. In the forty years from 1850 to 1890, the city's population grew from slightly under 30,000 to over 1 million. At the end of the 19th century, Chicago was the fifth-largest city in the world,[149] and the largest of the cities that did not exist at the dawn of the century. Within sixty years of the Great Chicago Fire of 1871, the population went from about 300,000 to over 3 million,[150] and reached its highest ever recorded population of 3.6 million for the 1950 census. From the last two decades of the 19th century, Chicago was the destination of waves of immigrants from Ireland, Southern, Central and Eastern Europe, including Italians, Jews, Russians, Poles, Greeks, Lithuanians, Bulgarians, Albanians, Romanians, Turkish, Croatians, Serbs, Bosnians, Montenegrins and Czechs.[151][152] To these ethnic groups, the basis of the city's industrial working class, were added an additional influx of African Americans from the American South—with Chicago's black population doubling between 1910 and 1920 and doubling again between 1920 and 1930.[151] Chicago has a significant Bosnian population, many of whom arrived in the 1990s and 2000s.[153] In the 1920s and 1930s, the great majority of African Americans moving to Chicago settled in a so‑called "Black Belt" on the city's South Side.[151] A large number of blacks also settled on the West Side. By 1930, two-thirds of Chicago's black population lived in sections of the city which were 90% black in racial composition.[151] Chicago's South Side emerged as United States second-largest urban black concentration, following New York's Harlem. In 1990, Chicago's South Side and the adjoining south suburbs constituted the largest black majority region in the entire United States.[151] Most of Chicago's foreign-born population were born in Mexico, Poland and India.[154] Chicago's population declined in the latter half of the 20th century, from over 3.6 million in 1950 down to under 2.7 million by 2010. By the time of the official census count in 1990, it was overtaken by Los Angeles as the United States' second largest city.[155] The city has seen a rise in population for the 2000 census and after a decrease in 2010, it rose again for the 2020 census.[156] According to U.S. census estimates as of July 2019, Chicago's largest racial or ethnic group is non-Hispanic White at 32.8% of the population, Blacks at 30.1% and the Hispanic population at 29.0% of the population.[157][158][159][160] Racial composition 2020[161] 2010[162] 1990[160] 1970[160] 1940[160] White (non-Hispanic) 31.4% 31.7% 37.9% 59.0%[c] 91.2% Hispanic or Latino 29.8% 28.9% 19.6% 7.4%[c] 0.5% Black or African American (non-Hispanic) 28.7% 32.3% 39.1% 32.7% 8.2% Asian (non-Hispanic) 6.9% 5.4% 3.7% 0.9% 0.1% Two or more races (non-Hispanic) 2.6% 1.3% n/a n/a n/a Ethnic origins in Chicago Map of racial distribution in Chicago, 2010 U.S. census. Each dot is 25 people: ⬤ White ⬤ Black ⬤ Asian ⬤ Hispanic ⬤ Other Chicago has the third-largest LGBT population in the United States. In 2018, the Chicago Department of Health, estimated 7.5% of the adult population, approximately 146,000 Chicagoans, were LGBTQ.[163] In 2015, roughly 4% of the population identified as LGBT.[164][165] Since the 2013 legalization of same-sex marriage in Illinois, over 10,000 same-sex couples have wed in Cook County, a majority of them in Chicago.[166][167] Chicago became a "de jure" sanctuary city in 2012 when Mayor Rahm Emanuel and the City Council passed the Welcoming City Ordinance.[168] According to the U.S. Census Bureau's American Community Survey data estimates for 2008–2012, the median income for a household in the city was $47,408, and the median income for a family was $54,188. Male full-time workers had a median income of $47,074 versus $42,063 for females. About 18.3% of families and 22.1% of the population lived below the poverty line.[169] In 2018, Chicago ranked seventh globally for the highest number of ultra-high-net-worth residents with roughly 3,300 residents worth more than $30 million.[170] According to the 2008–2012 American Community Survey, the ancestral groups having 10,000 or more persons in Chicago were:[171] Ireland (137,799) Poland (134,032) Germany (120,328) Italy (77,967) China (66,978) American (37,118) UK (36,145) recent African (32,727) India (25,000) Russia (19,771) Arab (17,598) European (15,753) Sweden (15,151) Japan (15,142) Greece (15,129) France (except Basque) (11,410) Ukraine (11,104) West Indian (except Hispanic groups) (10,349) Persons identifying themselves in "Other groups" were classified at 1.72 million, and unclassified or not reported were approximately 153,000.[171] Religion Religion in Chicago (2014)[172][173]   Protestantism (35%)   Roman Catholicism (34%)   Eastern Orthodoxy (1%)   Jehovah's Witness (1%)   No religion (22%)   Judaism (3%)   Islam (2%)   Buddhism (1%)   Hinduism (1%) According to a 2014 study by the Pew Research Center, Christianity is the most prevalently practiced religion in Chicago (71%),[173] with the city being the fourth-most religious metropolis in the United States after Dallas, Atlanta and Houston.[173] Roman Catholicism and Protestantism are the largest branches (34% and 35% respectively), followed by Eastern Orthodoxy and Jehovah's Witnesses with 1% each.[172] Chicago also has a sizable non-Christian population. Non-Christian groups include Irreligious (22%), Judaism (3%), Islam (2%), Buddhism (1%) and Hinduism (1%).[172] Chicago is the headquarters of several religious denominations, including the Evangelical Covenant Church and the Evangelical Lutheran Church in America. It is the seat of several dioceses. The Fourth Presbyterian Church is one of the largest Presbyterian congregations in the United States based on memberships.[174] Since the 20th century Chicago has also been the headquarters of the Assyrian Church of the East.[175] In 2014 the Catholic Church was the largest individual Christian denomination (34%), with the Roman Catholic Archdiocese of Chicago being the largest Catholic jurisdiction. Evangelical Protestantism form the largest theological Protestant branch (16%), followed by Mainline Protestants (11%), and historically Black churches (8%). Among denominational Protestant branches, Baptists formed the largest group in Chicago (10%); followed by Nondenominational (5%); Lutherans (4%); and Pentecostals (3%).[172] Non-Christian faiths accounted for 7% of the religious population in 2014. Judaism has at least 261,000 adherents which is 3% of the population, making it the second largest religion.[176][172] A 2020 study estimated the total Jewish population of the Chicago metropolitan area, both religious and irreligious, at 319,600.[177] The first two Parliament of the World's Religions in 1893 and 1993 were held in Chicago.[178] Many international religious leaders have visited Chicago, including Mother Teresa, the Dalai Lama[179] and Pope John Paul II in 1979.[180] Economy Main article: Economy of Chicago See also: List of companies in the Chicago metropolitan area Federal Reserve Bank of Chicago The Chicago Board of Trade Building Chicago has the third-largest gross metropolitan product in the United States—about $670.5 billion according to September 2017 estimates.[181] The city has also been rated as having the most balanced economy in the United States, due to its high level of diversification.[182] The Chicago metropolitan area has the third-largest science and engineering work force of any metropolitan area in the nation.[183] Chicago was the base of commercial operations for industrialists John Crerar, John Whitfield Bunn, Richard Teller Crane, Marshall Field, John Farwell, Julius Rosenwald and many other commercial visionaries who laid the foundation for Midwestern and global industry. Chicago is a major world financial center, with the second-largest central business district in the United States.[184] The city is the seat of the Federal Reserve Bank of Chicago, the Bank's Seventh District. The city has major financial and futures exchanges, including the Chicago Stock Exchange, the Chicago Board Options Exchange (CBOE), and the Chicago Mercantile Exchange (the "Merc"), which is owned, along with the Chicago Board of Trade (CBOT), by Chicago's CME Group. In 2017, Chicago exchanges traded 4.7 billion derivatives with a face value of over one quadrillion dollars. Chase Bank has its commercial and retail banking headquarters in Chicago's Chase Tower.[185] Academically, Chicago has been influential through the Chicago school of economics, which fielded some 12 Nobel Prize winners. The city and its surrounding metropolitan area contain the third-largest labor pool in the United States with about 4.63 million workers.[186] Illinois is home to 66 Fortune 1000 companies, including those in Chicago.[187] The city of Chicago also hosts 12 Fortune Global 500 companies and 17 Financial Times 500 companies. The city claims three Dow 30 companies: aerospace giant Boeing, which moved its headquarters from Seattle to the Chicago Loop in 2001,[188] McDonald's and Walgreens Boots Alliance.[189] For six consecutive years from 2013 through 2018, Chicago was ranked the nation's top metropolitan area for corporate relocations.[190] However, three Fortune 500 companies left Chicago in 2022, leaving the city with 35, still second to New York City.[191] Manufacturing, printing, publishing, and food processing also play major roles in the city's economy. Several medical products and services companies are headquartered in the Chicago area, including Baxter International, Boeing, Abbott Laboratories, and the Healthcare division of General Electric. Prominent food companies based in Chicago include the world headquarters of Conagra, Ferrara Candy Company, Kraft Heinz, McDonald's, Mondelez International, and Quaker Oats.[citation needed] Chicago has been a hub of the retail sector since its early development, with Montgomery Ward, Sears, and Marshall Field's. Today the Chicago metropolitan area is the headquarters of several retailers, including Walgreens, Sears, Ace Hardware, Claire's, ULTA Beauty and Crate & Barrel.[citation needed] Late in the 19th century, Chicago was part of the bicycle craze, with the Western Wheel Company, which introduced stamping to the production process and significantly reduced costs,[192] while early in the 20th century, the city was part of the automobile revolution, hosting the Brass Era car builder Bugmobile, which was founded there in 1907.[193] Chicago was also the site of the Schwinn Bicycle Company. Chicago is a major world convention destination. The city's main convention center is McCormick Place. With its four interconnected buildings, it is the largest convention center in the nation and third-largest in the world.[194] Chicago also ranks third in the U.S. (behind Las Vegas and Orlando) in number of conventions hosted annually.[195] Chicago's minimum wage for non-tipped employees is one of the highest in the nation and reached $15 in 2021.[196][197] Culture and contemporary life Further information: Culture of Chicago, List of people from Chicago, and List of museums and cultural institutions in Chicago The National Hellenic Museum in Greektown is one of several ethnic museums comprising the Chicago Cultural Alliance. Andy's Jazz Club in River North, a staple of the Chicago jazz scene since the 1950s The city's waterfront location and nightlife has attracted residents and tourists alike. Over a third of the city population is concentrated in the lakefront neighborhoods from Rogers Park in the north to South Shore in the south.[198] The city has many upscale dining establishments as well as many ethnic restaurant districts. These districts include the Mexican American neighborhoods, such as Pilsen along 18th street, and La Villita along 26th Street; the Puerto Rican enclave of Paseo Boricua in the Humboldt Park neighborhood; Greektown, along South Halsted Street, immediately west of downtown;[199] Little Italy, along Taylor Street; Chinatown in Armour Square; Polish Patches in West Town; Little Seoul in Albany Park around Lawrence Avenue; Little Vietnam near Broadway in Uptown; and the Desi area, along Devon Avenue in West Ridge.[200] Downtown is the center of Chicago's financial, cultural, governmental and commercial institutions and the site of Grant Park and many of the city's skyscrapers. Many of the city's financial institutions, such as the CBOT and the Federal Reserve Bank of Chicago, are located within a section of downtown called "The Loop", which is an eight-block by five-block area of city streets that is encircled by elevated rail tracks. The term "The Loop" is largely used by locals to refer to the entire downtown area as well. The central area includes the Near North Side, the Near South Side, and the Near West Side, as well as the Loop. These areas contribute famous skyscrapers, abundant restaurants, shopping, museums, a stadium for the Chicago Bears, convention facilities, parkland, and beaches.[citation needed] Lincoln Park contains the Lincoln Park Zoo and the Lincoln Park Conservatory. The River North Gallery District features the nation's largest concentration of contemporary art galleries outside of New York City.[citation needed] Lakeview is home to Boystown, the city's large LGBT nightlife and culture center. The Chicago Pride Parade, held the last Sunday in June, is one of the world's largest with over a million people in attendance.[201] North Halsted Street is the main thoroughfare of Boystown.[202] The South Side neighborhood of Hyde Park is the home of former US President Barack Obama. It also contains the University of Chicago, ranked one of the world's top ten universities,[203] and the Museum of Science and Industry. The 6-mile (9.7 km) long Burnham Park stretches along the waterfront of the South Side. Two of the city's largest parks are also located on this side of the city: Jackson Park, bordering the waterfront, hosted the World's Columbian Exposition in 1893, and is the site of the aforementioned museum; and slightly west sits Washington Park. The two parks themselves are connected by a wide strip of parkland called the Midway Plaisance, running adjacent to the University of Chicago. The South Side hosts one of the city's largest parades, the annual African American Bud Billiken Parade and Picnic, which travels through Bronzeville to Washington Park. Ford Motor Company has an automobile assembly plant on the South Side in Hegewisch, and most of the facilities of the Port of Chicago are also on the South Side.[citation needed] The West Side holds the Garfield Park Conservatory, one of the largest collections of tropical plants in any U.S. city. Prominent Latino cultural attractions found here include Humboldt Park's Institute of Puerto Rican Arts and Culture and the annual Puerto Rican People's Parade, as well as the National Museum of Mexican Art and St. Adalbert's Church in Pilsen. The Near West Side holds the University of Illinois at Chicago and was once home to Oprah Winfrey's Harpo Studios, the site of which has been rebuilt as the global headquarters of McDonald's.[citation needed] The city's distinctive accent, made famous by its use in classic films like The Blues Brothers and television programs like the Saturday Night Live skit "Bill Swerski's Superfans", is an advanced form of Inland Northern American English. This dialect can also be found in other cities bordering the Great Lakes such as Cleveland, Milwaukee, Detroit, and Rochester, New York, and most prominently features a rearrangement of certain vowel sounds, such as the short 'a' sound as in "cat", which can sound more like "kyet" to outsiders. The accent remains well associated with the city.[204] Entertainment and the arts See also: Theater in Chicago, Visual arts of Chicago, and Music of Chicago The Chicago Theatre The spire of the Copernicus Center is modeled on the Royal Castle in Warsaw. Jay Pritzker Pavilion at night Renowned Chicago theater companies include the Goodman Theatre in the Loop; the Steppenwolf Theatre Company and Victory Gardens Theater in Lincoln Park; and the Chicago Shakespeare Theater at Navy Pier. Broadway In Chicago offers Broadway-style entertainment at five theaters: the Nederlander Theatre, CIBC Theatre, Cadillac Palace Theatre, Auditorium Building of Roosevelt University, and Broadway Playhouse at Water Tower Place. Polish language productions for Chicago's large Polish speaking population can be seen at the historic Gateway Theatre in Jefferson Park. Since 1968, the Joseph Jefferson Awards are given annually to acknowledge excellence in theater in the Chicago area. Chicago's theater community spawned modern improvisational theater, and includes the prominent groups The Second City and I.O. (formerly ImprovOlympic).[citation needed] The Chicago Symphony Orchestra (CSO) performs at Symphony Center, and is recognized as one of the best orchestras in the world.[205] Also performing regularly at Symphony Center is the Chicago Sinfonietta, a more diverse and multicultural counterpart to the CSO. In the summer, many outdoor concerts are given in Grant Park and Millennium Park. Ravinia Festival, located 25 miles (40 km) north of Chicago, is the summer home of the CSO, and is a favorite destination for many Chicagoans. The Civic Opera House is home to the Lyric Opera of Chicago.[citation needed] The Lithuanian Opera Company of Chicago was founded by Lithuanian Chicagoans in 1956,[206] and presents operas in Lithuanian. The Joffrey Ballet and Chicago Festival Ballet perform in various venues, including the Harris Theater in Millennium Park. Chicago has several other contemporary and jazz dance troupes, such as the Hubbard Street Dance Chicago and Chicago Dance Crash.[citation needed] Other live-music genre which are part of the city's cultural heritage include Chicago blues, Chicago soul, jazz, and gospel. The city is the birthplace of house music (a popular form of electronic dance music) and industrial music, and is the site of an influential hip hop scene. In the 1980s and 90s, the city was the global center for house and industrial music, two forms of music created in Chicago, as well as being popular for alternative rock, punk, and new wave. The city has been a center for rave culture, since the 1980s. A flourishing independent rock music culture brought forth Chicago indie. Annual festivals feature various acts, such as Lollapalooza and the Pitchfork Music Festival.[citation needed] Lollapalooza originated in Chicago in 1991 and at first travelled to many cities, but as of 2005 its home has been Chicago.[207] A 2007 report on the Chicago music industry by the University of Chicago Cultural Policy Center ranked Chicago third among metropolitan U.S. areas in "size of music industry" and fourth among all U.S. cities in "number of concerts and performances".[208] Chicago has a distinctive fine art tradition. For much of the twentieth century, it nurtured a strong style of figurative surrealism, as in the works of Ivan Albright and Ed Paschke. In 1968 and 1969, members of the Chicago Imagists, such as Roger Brown, Leon Golub, Robert Lostutter, Jim Nutt, and Barbara Rossi produced bizarre representational paintings. Henry Darger is one of the most celebrated figures of outsider art.[209] Tourism Main article: Tourism in Chicago Ferries offer sightseeing tours and water-taxi transportation along the Chicago River and Lake Michigan. Aerial view of Navy Pier at night Magnificent Mile hosts numerous upscale stores and landmarks, including the Chicago Water Tower. In 2014, Chicago attracted 50.17 million domestic leisure travelers, 11.09 million domestic business travelers and 1.308 million overseas visitors.[210] These visitors contributed more than US$13.7 billion to Chicago's economy.[210] Upscale shopping along the Magnificent Mile and State Street, thousands of restaurants, as well as Chicago's eminent architecture, continue to draw tourists. The city is the United States' third-largest convention destination. A 2017 study by Walk Score ranked Chicago the sixth-most walkable of fifty largest cities in the United States.[211] Most conventions are held at McCormick Place, just south of Soldier Field. Navy Pier, located just east of Streeterville, is 3,000 ft (910 m) long and houses retail stores, restaurants, museums, exhibition halls and auditoriums. Chicago was the first city in the world to ever erect a ferris wheel. The Willis Tower (formerly named Sears Tower) is a popular destination for tourists.[212] Museums Among the city's museums are the Adler Planetarium & Astronomy Museum, the Field Museum of Natural History, and the Shedd Aquarium. The Museum Campus joins the southern section of Grant Park, which includes the renowned Art Institute of Chicago. Buckingham Fountain anchors the downtown park along the lakefront. The University of Chicago's Institute for the Study of Ancient Cultures, West Asia & North Africa has an extensive collection of ancient Egyptian and Near Eastern archaeological artifacts. Other museums and galleries in Chicago include the Chicago History Museum, the Driehaus Museum, the DuSable Museum of African American History, the Museum of Contemporary Art, the Peggy Notebaert Nature Museum, the Polish Museum of America, the Museum of Broadcast Communications, the Pritzker Military Library, the Chicago Architecture Foundation, and the Museum of Science and Industry.[citation needed] Cuisine See also: Culture of Chicago § Food and drink, Chicago farmers' markets, and List of Michelin starred restaurants in Chicago Chicago-style deep-dish pizza A Polish market in Chicago Chicago lays claim to a large number of regional specialties that reflect the city's ethnic and working-class roots. Included among these are its nationally renowned deep-dish pizza; this style is said to have originated at Pizzeria Uno.[213] The Chicago-style thin crust is also popular in the city.[214] Certain Chicago pizza favorites include Lou Malnati's and Giordano's.[215] The Chicago-style hot dog, typically an all-beef hot dog, is loaded with an array of toppings that often includes pickle relish, yellow mustard, pickled sport peppers, tomato wedges, dill pickle spear and topped off with celery salt on a poppy seed bun.[216] Enthusiasts of the Chicago-style hot dog frown upon the use of ketchup as a garnish, but may prefer to add giardiniera.[217][218][219] A distinctly Chicago sandwich, the Italian beef sandwich is thinly sliced beef simmered in au jus and served on an Italian roll with sweet peppers or spicy giardiniera. A popular modification is the Combo—an Italian beef sandwich with the addition of an Italian sausage. The Maxwell Street Polish is a grilled or deep-fried kielbasa—on a hot dog roll, topped with grilled onions, yellow mustard, and hot sport peppers.[220] Chicken Vesuvio is roasted bone-in chicken cooked in oil and garlic next to garlicky oven-roasted potato wedges and a sprinkling of green peas. The Puerto Rican-influenced jibarito is a sandwich made with flattened, fried green plantains instead of bread. The mother-in-law is a tamale topped with chili and served on a hot dog bun.[221] The tradition of serving the Greek dish saganaki while aflame has its origins in Chicago's Greek community.[222] The appetizer, which consists of a square of fried cheese, is doused with Metaxa and flambéed table-side.[223] Chicago-style barbecue features hardwood smoked rib tips and hot links which were traditionally cooked in an aquarium smoker, a Chicago invention.[224] Annual festivals feature various Chicago signature dishes, such as Taste of Chicago and the Chicago Food Truck Festival.[225] One of the world's most decorated restaurants and a recipient of three Michelin stars, Alinea is located in Chicago. Well-known chefs who have had restaurants in Chicago include: Charlie Trotter, Rick Tramonto, Grant Achatz, and Rick Bayless. In 2003, Robb Report named Chicago the country's "most exceptional dining destination".[226] Literature Further information: Chicago literature Carl Sandburg's most famous description of the city is as "Hog Butcher for the World / Tool Maker, Stacker of Wheat / Player with Railroads and the Nation's Freight Handler, / Stormy, Husky, Brawling, City of the Big Shoulders." Chicago literature finds its roots in the city's tradition of lucid, direct journalism, lending to a strong tradition of social realism. In the Encyclopedia of Chicago, Northwestern University Professor Bill Savage describes Chicago fiction as prose which tries to "capture the essence of the city, its spaces and its people". The challenge for early writers was that Chicago was a frontier outpost that transformed into a global metropolis in the span of two generations. Narrative fiction of that time, much of it in the style of "high-flown romance" and "genteel realism", needed a new approach to describe the urban social, political, and economic conditions of Chicago.[227] Nonetheless, Chicagoans worked hard to create a literary tradition that would stand the test of time,[228] and create a "city of feeling" out of concrete, steel, vast lake, and open prairie.[229] Much notable Chicago fiction focuses on the city itself, with social criticism keeping exultation in check. At least three short periods in the history of Chicago have had a lasting influence on American literature.[230] These include from the time of the Great Chicago Fire to about 1900, what became known as the Chicago Literary Renaissance in the 1910s and early 1920s, and the period of the Great Depression through the 1940s. What would become the influential Poetry magazine was founded in 1912 by Harriet Monroe, who was working as an art critic for the Chicago Tribune. The magazine discovered such poets as Gwendolyn Brooks, James Merrill, and John Ashbery.[231] T. S. Eliot's first professionally published poem, "The Love Song of J. Alfred Prufrock", was first published by Poetry. Contributors have included Ezra Pound, William Butler Yeats, William Carlos Williams, Langston Hughes, and Carl Sandburg, among others. The magazine was instrumental in launching the Imagist and Objectivist poetic movements. From the 1950s through 1970s, American poetry continued to evolve in Chicago.[232] In the 1980s, a modern form of poetry performance began in Chicago, the poetry slam.[233] Sports Main article: Sports in Chicago Top: Soldier Field; Bottom: Wrigley Field Top: United Center; Bottom: Guaranteed Rate Field The city has two Major League Baseball (MLB) teams: the Chicago Cubs of the National League play in Wrigley Field on the North Side; and the Chicago White Sox of the American League play in Guaranteed Rate Field on the South Side. The two teams have faced each other in a World Series only once, in 1906.[citation needed] The Cubs are the oldest Major League Baseball team to have never changed their city;[234] they have played in Chicago since 1871.[235] They had the dubious honor of having the longest championship drought in American professional sports, failing to win a World Series between 1908 and 2016. The White Sox have played on the South Side continuously since 1901. They have won three World Series titles (1906, 1917, 2005) and six American League pennants, including the first in 1901. The Chicago Bears, one of the last two remaining charter members of the National Football League (NFL), have won nine NFL Championships, including the 1985 Super Bowl XX. The Bears play their home games at Soldier Field. The Chicago Bulls of the National Basketball Association (NBA) is one of the most recognized basketball teams in the world.[236] During the 1990s, with Michael Jordan leading them, the Bulls won six NBA championships in eight seasons.[237][238] The Chicago Blackhawks of the National Hockey League (NHL) began play in 1926, and are one of the "Original Six" teams of the NHL. The Blackhawks have won six Stanley Cups, including in 2010, 2013, and 2015. Both the Bulls and the Blackhawks play at the United Center.[citation needed] Major league professional teams in Chicago (ranked by attendance) Club League Sport Venue Attendance Founded Championships Chicago Bears NFL Football Soldier Field 61,142 1919 9 Championships (1 Super Bowl) Chicago Cubs MLB Baseball Wrigley Field 41,649 1870 3 World Series Chicago White Sox MLB Baseball Guaranteed Rate Field 40,615 1900 3 World Series Chicago Blackhawks NHL Ice hockey United Center 21,653 1926 6 Stanley Cups Chicago Bulls NBA Basketball 20,776 1966 6 NBA Championships Chicago Fire MLS Soccer Soldier Field 17,383 1997 1 MLS Cup, 1 Supporters Shield Chicago Sky WNBA Basketball Wintrust Arena 10,387 2006 1 WNBA Championships Chicago Half Marathon on Lake Shore Drive on the South Side Chicago Fire FC is a member of Major League Soccer (MLS) and plays at Soldier Field. The Fire have won one league title and four U.S. Open Cups, since their founding in 1997. In 1994, the United States hosted a successful FIFA World Cup with games played at Soldier Field.[citation needed] The Chicago Sky is a professional basketball team playing in the Women's National Basketball Association (WNBA). They play home games at the Wintrust Arena. The team was founded before the 2006 WNBA season began.[239] The Chicago Marathon has been held each year since 1977 except for 1987, when a half marathon was run in its place. The Chicago Marathon is one of six World Marathon Majors.[240] Five area colleges play in Division I conferences: two from major conferences—the DePaul Blue Demons (Big East Conference) and the Northwestern Wildcats (Big Ten Conference)—and three from other D1 conferences—the Chicago State Cougars (Western Athletic Conference); the Loyola Ramblers (Missouri Valley Conference); and the UIC Flames (Horizon League).[241] Chicago has also entered into esports with the creation of the Chicago Huntsmen, a professional Call of Duty team that participates within the CDL.[citation needed] Parks and greenspace Main articles: Parks in Chicago, Chicago Boulevard System, and Cook County Forest Preserves Portage Park on the Northwest Side Washington Square Park on the Near North Side When Chicago was incorporated in 1837, it chose the motto Urbs in Horto, a Latin phrase which means "City in a Garden". Today, the Chicago Park District consists of more than 570 parks with over 8,000 acres (3,200 ha) of municipal parkland. There are 31 sand beaches, a plethora of museums, two world-class conservatories, and 50 nature areas.[242] Lincoln Park, the largest of the city's parks, covers 1,200 acres (490 ha) and has over 20 million visitors each year, making it third in the number of visitors after Central Park in New York City, and the National Mall and Memorial Parks in Washington, D.C.[243] There is a historic boulevard system,[244] a network of wide, tree-lined boulevards which connect a number of Chicago parks.[245] The boulevards and the parks were authorized by the Illinois legislature in 1869.[246] A number of Chicago neighborhoods emerged along these roadways in the 19th century.[245] The building of the boulevard system continued intermittently until 1942. It includes nineteen boulevards, eight parks, and six squares, along twenty-six miles of interconnected streets.[247] The Chicago Park Boulevard System Historic District was listed on the National Register of Historic Places in 2018.[248][249] With berths for more than 6,000 boats, the Chicago Park District operates the nation's largest municipal harbor system.[250] In addition to ongoing beautification and renewal projects for the existing parks, a number of new parks have been added in recent years, such as the Ping Tom Memorial Park in Chinatown, DuSable Park on the Near North Side, and most notably, Millennium Park, which is in the northwestern corner of one of Chicago's oldest parks, Grant Park in the Chicago Loop.[citation needed] The wealth of greenspace afforded by Chicago's parks is further augmented by the Cook County Forest Preserves, a network of open spaces containing forest, prairie, wetland, streams, and lakes that are set aside as natural areas which lie along the city's outskirts,[251] including both the Chicago Botanic Garden in Glencoe and the Brookfield Zoo in Brookfield.[252] Washington Park is also one of the city's biggest parks; covering nearly 400 acres (160 ha). The park is listed on the National Register of Historic Places listings in South Side Chicago.[253] Law and government Government Main article: Government of Chicago Daley Plaza with Picasso statue, City Hall in background. At right, the Daley Plaza Building contains the state law courts. The government of the City of Chicago is divided into executive and legislative branches. The mayor of Chicago is the chief executive, elected by general election for a term of four years, with no term limits. The current mayor is Brandon Johnson. The mayor appoints commissioners and other officials who oversee the various departments. As well as the mayor, Chicago's clerk and treasurer are also elected citywide. The City Council is the legislative branch and is made up of 50 aldermen, one elected from each ward in the city.[254] The council takes official action through the passage of ordinances and resolutions and approves the city budget.[255] The Chicago Police Department provides law enforcement and the Chicago Fire Department provides fire suppression and emergency medical services for the city and its residents. Civil and criminal law cases are heard in the Cook County Circuit Court of the State of Illinois court system, or in the Northern District of Illinois, in the federal system. In the state court, the public prosecutor is the Illinois state's attorney; in the Federal court it is the United States attorney. Politics Main article: Political history of Chicago Presidential election results in Chicago[256] Year Democratic Republican Others 2020 82.5% 944,735 15.8% 181,234 1.6% 18,772 2016 82.9% 912,945 12.3% 135,320 4.8% 53,262 During much of the last half of the 19th century, Chicago's politics were dominated by a growing Democratic Party organization. During the 1880s and 1890s, Chicago had a powerful radical tradition with large and highly organized socialist, anarchist and labor organizations.[257] For much of the 20th century, Chicago has been among the largest and most reliable Democratic strongholds in the United States; with Chicago's Democratic vote the state of Illinois has been "solid blue" in presidential elections since 1992. Even before then, it was not unheard of for Republican presidential candidates to win handily in downstate Illinois, only to lose statewide due to large Democratic margins in Chicago. The citizens of Chicago have not elected a Republican mayor since 1927, when William Thompson was voted into office. The strength of the party in the city is partly a consequence of Illinois state politics, where the Republicans have come to represent rural and farm concerns while the Democrats support urban issues such as Chicago's public school funding.[citation needed] Chicago contains less than 25% of the state's population, but it is split between eight of Illinois' 17 districts in the United States House of Representatives. All eight of the city's representatives are Democrats; only two Republicans have represented a significant portion of the city since 1973, for one term each: Robert P. Hanrahan from 1973 to 1975, and Michael Patrick Flanagan from 1995 to 1997.[citation needed] Machine politics persisted in Chicago after the decline of similar machines in other large U.S. cities.[258] During much of that time, the city administration found opposition mainly from a liberal "independent" faction of the Democratic Party. The independents finally gained control of city government in 1983 with the election of Harold Washington (in office 1983–1987). From 1989 until May 16, 2011, Chicago was under the leadership of its longest-serving mayor, Richard M. Daley, the son of Richard J. Daley. Because of the dominance of the Democratic Party in Chicago, the Democratic primary vote held in the spring is generally more significant than the general elections in November for U.S. House and Illinois State seats. The aldermanic, mayoral, and other city offices are filled through nonpartisan elections with runoffs as needed.[259] The city is home of former United States President Barack Obama and First Lady Michelle Obama; Barack Obama was formerly a state legislator representing Chicago and later a US senator. The Obamas' residence is located near the University of Chicago in Kenwood on the city's south side.[260] Crime Main articles: Crime in Chicago and Timeline of organized crime in Chicago Chicago Police Department SUV, 2011 Chicago's crime rate in 2020 was 3,926 per 100,000 people.[261] Chicago experienced major rises in violent crime in the 1920s, in the late 1960s, and in the 2020s.[262][263] Chicago's biggest criminal justice challenges have changed little over the last 50 years, and statistically reside with homicide, armed robbery, gang violence, and aggravated battery. Chicago has attracted attention for a high murder rate and perceived crime rate compared to other major cities like New York and Los Angeles. However, while it has a large absolute number of crimes due to its size, Chicago is not among the top-25 most violent cities in the United States.[264][265] Murder rates in Chicago vary greatly depending on the neighborhood in question.[266] The neighborhoods of Englewood on the South Side, and Austin on the West side, for example, have homicide rates that are ten times higher than other parts of the city.[267] Chicago has an estimated population of over 100,000 active gang members from nearly 60 factions.[268][269] According to reports in 2013, "most of Chicago's violent crime comes from gangs trying to maintain control of drug-selling territories",[270] and is specifically related to the activities of the Sinaloa Cartel, which is active in several American cities.[271] Violent crime rates vary significantly by area of the city, with more economically developed areas having low rates, but other sections have much higher rates of crime.[270] In 2013, the violent crime rate was 910 per 100,000 people;[272] the murder rate was 10.4 – while high crime districts saw 38.9, low crime districts saw 2.5 murders per 100,000.[273] Chicago has a long history of public corruption that regularly draws the attention of federal law enforcement and federal prosecutors.[274] From 2012 to 2019, 33 Chicago aldermen were convicted on corruption charges, roughly one third of those elected in the time period. A report from the Office of the Legislative Inspector General noted that over half of Chicago's elected alderman took illegal campaign contributions in 2013.[275] Most corruption cases in Chicago are prosecuted by the US Attorney's office, as legal jurisdiction makes most offenses punishable as a federal crime.[276] Education Main article: Chicago Public Schools When it was opened in 1991, the central Harold Washington Library appeared in Guinness World Records as the largest municipal public library building in the world. Schools and libraries Chicago Public Schools (CPS) is the governing body of the school district that contains over 600 public elementary and high schools citywide, including several selective-admission magnet schools. There are eleven selective enrollment high schools in the Chicago Public Schools,[277] designed to meet the needs of Chicago's most academically advanced students. These schools offer a rigorous curriculum with mainly honors and Advanced Placement (AP) courses.[278] Walter Payton College Prep High School is ranked number one in the city of Chicago and the state of Illinois.[279] Chicago high school rankings are determined by the average test scores on state achievement tests.[280] The district, with an enrollment exceeding 400,545 students (2013–2014 20th Day Enrollment), is the third-largest in the U.S.[281] On September 10, 2012, teachers for the Chicago Teachers Union went on strike for the first time since 1987 over pay, resources and other issues.[282] According to data compiled in 2014, Chicago's "choice system", where students who test or apply and may attend one of a number of public high schools (there are about 130), sorts students of different achievement levels into different schools (high performing, middle performing, and low performing schools).[283] Chicago has a network of Lutheran schools,[284] and several private schools are run by other denominations and faiths, such as the Ida Crown Jewish Academy in West Ridge. The Roman Catholic Archdiocese of Chicago operates Catholic schools, that include Jesuit preparatory schools and others. A number of private schools are completely secular. There are also the private Chicago Academy for the Arts, a high school focused on six different categories of the arts and the public Chicago High School for the Arts, a high school focused on five categories (visual arts, theatre, musical theatre, dance, and music) of the arts.[285] The Chicago Public Library system operates 3 regional libraries and 77 neighbourhood branches, including the central library.[286] Colleges and universities For a more comprehensive list, see List of colleges and universities in Chicago. The University of Chicago, as seen from the Midway Plaisance Since the 1850s, Chicago has been a world center of higher education and research with several universities. These institutions consistently rank among the top "National Universities" in the United States, as determined by U.S. News & World Report.[citation needed] Highly regarded universities in Chicago and the surrounding area are: the University of Chicago; Northwestern University; Illinois Institute of Technology; Loyola University Chicago; DePaul University; Columbia College Chicago and University of Illinois at Chicago. Other notable schools include: Chicago State University; the School of the Art Institute of Chicago; East–West University; National Louis University; North Park University; Northeastern Illinois University; Robert Morris University Illinois; Roosevelt University; Saint Xavier University; Rush University; and Shimer College.[287] William Rainey Harper, the first president of the University of Chicago, was instrumental in the creation of the junior college concept, establishing nearby Joliet Junior College as the first in the nation in 1901.[288] His legacy continues with the multiple community colleges in the Chicago proper, including the seven City Colleges of Chicago: Richard J. Daley College, Kennedy–King College, Malcolm X College, Olive–Harvey College, Truman College, Harold Washington College and Wilbur Wright College, in addition to the privately held MacCormac College.[citation needed] Chicago also has a high concentration of post-baccalaureate institutions, graduate schools, seminaries, and theological schools, such as the Adler School of Professional Psychology, The Chicago School of Professional Psychology, the Erikson Institute, The Institute for Clinical Social Work, the Lutheran School of Theology at Chicago, the Catholic Theological Union, the Moody Bible Institute, the John Marshall Law School and the University of Chicago Divinity School.[citation needed] Media Further information: Media in Chicago and Chicago International Film Festival WGN began in the early days of radio and developed into a multi-platform broadcaster, including a cable television super-station. Chicago was home of The Oprah Winfrey Show from 1986 until 2011 and other Harpo Production operations until 2015. Television The Chicago metropolitan area is the third-largest media market in North America, after New York City and Los Angeles and a major media hub.[289] Each of the big four U.S. television networks, CBS, ABC, NBC and Fox, directly owns and operates a high-definition television station in Chicago (WBBM 2, WLS 7, WMAQ 5 and WFLD 32, respectively). Former CW affiliate WGN-TV 9, which was owned from its inception by Tribune Broadcasting (now owned by the Nexstar Media Group since 2019), is carried with some programming differences, as "WGN America" on cable and satellite TV nationwide and in parts of the Caribbean. WGN America eventually became NewsNation in 2021. Chicago has also been the home of several prominent talk shows, including The Oprah Winfrey Show, Steve Harvey Show, The Rosie Show, The Jerry Springer Show, The Phil Donahue Show, The Jenny Jones Show, and more. The city also has one PBS member station (its second: WYCC 20, removed its affiliation with PBS in 2017[290]): WTTW 11, producer of shows such as Sneak Previews, The Frugal Gourmet, Lamb Chop's Play-Along and The McLaughlin Group. As of 2018, Windy City Live is Chicago's only daytime talk show, which is hosted by Val Warner and Ryan Chiaverini at ABC7 Studios with a live weekday audience. Since 1999, Judge Mathis also films his syndicated arbitration-based reality court show at the NBC Tower. Beginning in January 2019, Newsy began producing 12 of its 14 hours of live news programming per day from its new facility in Chicago.[citation needed] Newspapers Two major daily newspapers are published in Chicago: the Chicago Tribune and the Chicago Sun-Times, with the Tribune having the larger circulation. There are also several regional and special-interest newspapers and magazines, such as Chicago, the Dziennik Związkowy (Polish Daily News), Draugas (the Lithuanian daily newspaper), the Chicago Reader, the SouthtownStar, the Chicago Defender, the Daily Herald, Newcity,[291][292] StreetWise and the Windy City Times. The entertainment and cultural magazine Time Out Chicago and GRAB magazine are also published in the city, as well as local music magazine Chicago Innerview. In addition, Chicago is the home of satirical national news outlet, The Onion, as well as its sister pop-culture publication, The A.V. Club.[293] Movies and filming Main articles: List of movies set in Chicago and List of television shows set in Chicago Radio This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2022) (Learn how and when to remove this template message) Chicago has five 50,000 watt AM radio stations: the CBS Radio-owned WBBM and WSCR; the Tribune Broadcasting-owned WGN; the Cumulus Media-owned WLS; and the ESPN Radio-owned WMVP. Chicago is also home to a number of national radio shows, including Beyond the Beltway with Bruce DuMont on Sunday evenings.[citation needed] Chicago Public Radio produces nationally aired programs such as PRI's This American Life and NPR's Wait Wait...Don't Tell Me!.[citation needed] Infrastructure Transportation Further information: Transportation in Chicago Aerial photo of the Jane Byrne Interchange (2022) after reconstruction, initially opened in the 1960s Chicago is a major transportation hub in the United States. It is an important component in global distribution, as it is the third-largest inter-modal port in the world after Hong Kong and Singapore.[294] The city of Chicago has a higher than average percentage of households without a car. In 2015, 26.5 percent of Chicago households were without a car, and increased slightly to 27.5 percent in 2016. The national average was 8.7 percent in 2016. Chicago averaged 1.12 cars per household in 2016, compared to a national average of 1.8.[295] Expressways Further information: Roads and expressways in Chicago Seven mainline and four auxiliary interstate highways (55, 57, 65 (only in Indiana), 80 (also in Indiana), 88, 90 (also in Indiana), 94 (also in Indiana), 190, 290, 294, and 355) run through Chicago and its suburbs. Segments that link to the city center are named after influential politicians, with three of them named after former U.S. Presidents (Eisenhower, Kennedy, and Reagan) and one named after two-time Democratic candidate Adlai Stevenson. The Kennedy and Dan Ryan Expressways are the busiest state maintained routes in the entire state of Illinois.[296] Transit systems Chicago Union Station, opened in 1925, is the third-busiest passenger rail terminal in the United States. The Regional Transportation Authority (RTA) coordinates the operation of the three service boards: CTA, Metra, and Pace. The Chicago Transit Authority (CTA) handles public transportation in the City of Chicago and a few adjacent suburbs outside of the Chicago city limits. The CTA operates an extensive network of buses and a rapid transit elevated and subway system known as the Chicago "L" or just "L" (short for "elevated"), with lines designated by colors. These rapid transit lines also serve both Midway and O'Hare Airports. The CTA's rail lines consist of the Red, Blue, Green, Orange, Brown, Purple, Pink, and Yellow lines. Both the Red and Blue lines offer 24‑hour service which makes Chicago one of a handful of cities around the world (and one of two in the United States, the other being New York City) to offer rail service 24 hours a day, every day of the year, within the city's limits. Metra, the nation's second-most used passenger regional rail network, operates an 11-line commuter rail service in Chicago and throughout the Chicago suburbs. The Metra Electric Line shares its trackage with Northern Indiana Commuter Transportation District's South Shore Line, which provides commuter service between South Bend and Chicago. Pace provides bus and paratransit service in over 200 surrounding suburbs with some extensions into the city as well. A 2005 study found that one quarter of commuters used public transit.[297] Greyhound Lines provides inter-city bus service to and from the city, and Chicago is also the hub for the Midwest network of Megabus (North America). Passenger rail Amtrak train on the Empire Builder route departs Chicago from Union Station. Amtrak long distance and commuter rail services originate from Union Station.[298] Chicago is one of the largest hubs of passenger rail service in the nation.[299] The services terminate in the San Francisco area, Washington, D.C., New York City, New Orleans, Portland, Seattle, Milwaukee, Quincy, St. Louis, Carbondale, Boston, Grand Rapids, Port Huron, Pontiac, Los Angeles, and San Antonio. Future services will terminate at Rockford and Moline. An attempt was made in the early 20th century to link Chicago with New York City via the Chicago – New York Electric Air Line Railroad. Parts of this were built, but it was never completed. Bicycle and scooter sharing systems In July 2013, the bicycle-sharing system Divvy was launched with 750 bikes and 75 docking stations[300] It is operated by Lyft for the Chicago Department of Transportation.[301] As of July 2019, Divvy operated 5800 bicycles at 608 stations, covering almost all of the city, excluding Pullman, Rosedale, Beverly, Belmont Cragin and Edison Park.[302] In May 2019, The City of Chicago announced its Chicago's Electric Shared Scooter Pilot Program, scheduled to run from June 15 to October 15.[303] The program started on June 15 with 10 different scooter companies, including scooter sharing market leaders Bird, Jump, Lime and Lyft.[304] Each company was allowed to bring 250 electric scooters, although both Bird and Lime claimed that they experienced a higher demand for their scooters.[305] The program ended on October 15, with nearly 800,000 rides taken.[306] Freight rail Chicago is the largest hub in the railroad industry.[307] All five Class I railroads meet in Chicago. As of 2002, severe freight train congestion caused trains to take as long to get through the Chicago region as it took to get there from the West Coast of the country (about 2 days).[308] According to U.S. Department of Transportation, the volume of imported and exported goods transported via rail to, from, or through Chicago is forecast to increase nearly 150 percent between 2010 and 2040.[309] CREATE, the Chicago Region Environmental and Transportation Efficiency Program, comprises about 70 programs, including crossovers, overpasses and underpasses, that intend to significantly improve the speed of freight movements in the Chicago area.[310] Airports Further information: Transportation in Chicago § Airports O'Hare International Airport Chicago is served by O'Hare International Airport, the world's busiest airport measured by airline operations,[311] on the far Northwest Side, and Midway International Airport on the Southwest Side. In 2005, O'Hare was the world's busiest airport by aircraft movements and the second-busiest by total passenger traffic.[312] Both O'Hare and Midway are owned and operated by the City of Chicago. Gary/Chicago International Airport and Chicago Rockford International Airport, located in Gary, Indiana and Rockford, Illinois, respectively, can serve as alternative Chicago area airports, however they do not offer as many commercial flights as O'Hare and Midway. In recent years the state of Illinois has been leaning towards building an entirely new airport in the Illinois suburbs of Chicago.[313] The City of Chicago is the world headquarters for United Airlines, the world's third-largest airline. Port authority Main article: Port of Chicago The Port of Chicago consists of several major port facilities within the city of Chicago operated by the Illinois International Port District (formerly known as the Chicago Regional Port District). The central element of the Port District, Calumet Harbor, is maintained by the U.S. Army Corps of Engineers.[314] Iroquois Landing Lakefront Terminal: at the mouth of the Calumet River, it includes 100 acres (0.40 km2) of warehouses and facilities on Lake Michigan with over 780,000 square meters (8,400,000 square feet) of storage. Lake Calumet terminal: located at the union of the Grand Calumet River and Little Calumet River 6 miles (9.7 km) inland from Lake Michigan. Includes three transit sheds totaling over 29,000 square meters (310,000 square feet) adjacent to over 900 linear meters (3,000 linear feet) of ship and barge berthing. Grain (14 million bushels) and bulk liquid (800,000 barrels) storage facilities along Lake Calumet. The Illinois International Port district also operates Foreign trade zone No. 22, which extends 60 miles (97 km) from Chicago's city limits. Utilities Electricity for most of northern Illinois is provided by Commonwealth Edison, also known as ComEd. Their service territory borders Iroquois County to the south, the Wisconsin border to the north, the Iowa border to the west and the Indiana border to the east. In northern Illinois, ComEd (a division of Exelon) operates the greatest number of nuclear generating plants in any US state. Because of this, ComEd reports indicate that Chicago receives about 75% of its electricity from nuclear power. Recently, the city began installing wind turbines on government buildings to promote renewable energy.[315][316][317] Natural gas is provided by Peoples Gas, a subsidiary of Integrys Energy Group, which is headquartered in Chicago. Domestic and industrial waste was once incinerated but it is now landfilled, mainly in the Calumet area. From 1995 to 2008, the city had a blue bag program to divert recyclable refuse from landfills.[318] Because of low participation in the blue bag programs, the city began a pilot program for blue bin recycling like other cities. This proved successful and blue bins were rolled out across the city.[319] Health systems Prentice Women's Hospital on the Northwestern Memorial Hospital Downtown Campus The Illinois Medical District is on the Near West Side. It includes Rush University Medical Center, ranked as the second best hospital in the Chicago metropolitan area by U.S. News & World Report for 2014–16, the University of Illinois Medical Center at Chicago, Jesse Brown VA Hospital, and John H. Stroger Jr. Hospital of Cook County, one of the busiest trauma centers in the nation.[320] Two of the country's premier academic medical centers reside in Chicago, including Northwestern Memorial Hospital and the University of Chicago Medical Center. The Chicago campus of Northwestern University includes the Feinberg School of Medicine; Northwestern Memorial Hospital, which is ranked as the best hospital in the Chicago metropolitan area by U.S. News & World Report for 2017–18;[321] the Shirley Ryan AbilityLab (formerly named the Rehabilitation Institute of Chicago), which is ranked the best U.S. rehabilitation hospital by U.S. News & World Report;[322] the new Prentice Women's Hospital; and Ann & Robert H. Lurie Children's Hospital of Chicago. The University of Illinois College of Medicine at UIC is the second largest medical school in the United States (2,600 students including those at campuses in Peoria, Rockford and Urbana–Champaign).[323] In addition, the Chicago Medical School and Loyola University Chicago's Stritch School of Medicine are located in the suburbs of North Chicago and Maywood, respectively. The Midwestern University Chicago College of Osteopathic Medicine is in Downers Grove. The American Medical Association, Accreditation Council for Graduate Medical Education, Accreditation Council for Continuing Medical Education, American Osteopathic Association, American Dental Association, Academy of General Dentistry, Academy of Nutrition and Dietetics, American Association of Nurse Anesthetists, American College of Surgeons, American Society for Clinical Pathology, American College of Healthcare Executives, the American Hospital Association and Blue Cross and Blue Shield Association are all based in Chicago. Sister cities Main article: List of sister cities of Chicago See also Chicago area water quality Chicago Wilderness Gentrification of Chicago List of cities with the most skyscrapers List of people from Chicago List of fiction set in Chicago National Register of Historic Places listings in Central Chicago National Register of Historic Places listings in North Side Chicago National Register of Historic Places listings in West Side Chicago USS Chicago, 4 ships Chicago History   "It is hopeless for the occasional visitor to try to keep up with Chicago. She outgrows his prophecies faster than he can make them." - Mark Twain, 1883 Chicago was only 46 years old when Mark Twain wrote those words, but it had already grown more than 100-fold, from a small trading post at the mouth of the Chicago River into one of the nation?s largest cities, and it wasn?t about to stop. Over the next 20 years, it would quadruple in population, amazing the rest of the world with its ability to repeatedly reinvent itself. And it still hasn?t stopped. Chicago continues to be a place that many people from diverse backgrounds call home. Before it was a city, it was the home to numerous indigenous peoples, a legacy which continues to frame our relationship with the city, the land, and the environment. Today, Chicago has become a global city, a thriving center of international trade and commerce, and a place where people of every nationality and background come to pursue the American dream. Indigenous Chicago Chicago is the traditional homelands of  Hooc?k (Winnebago/Ho?Chunk), Jiwere (Otoe), Nutachi (Missouria), and Baxoje (Iowas); Kiash Matchitiwuk (Menominee); Meshkwahkîha (Meskwaki); Asâkîwaki (Sauk); Myaamiaki (Miami), Waayaahtanwaki (Wea), and Peeyankih?iaki (Piankashaw); Kiikaapoi (Kickapoo); Inoka (Illini Confederacy); Anishinaabeg (Ojibwe), Odawak (Odawa), and Bodéwadmik (Potawatomi). Seated atop a continental divide, the Chicago region is located at the intersection of several great waterways, leading the area to become the site of travel and healing for many Tribes. The City understands that Tribes are sovereign Nations and should have the first voice in acknowledging their historical and contemporary presence on this land. If your Tribe would like to see changes, please reach out to us for comments. Early Chicago Chicago?s first permanent non-indigenous resident was a trader named Jean Baptiste Point du Sable, a free black man from Haiti whose father was a French sailor and whose mother was an African slave, he came here in the 1770s via the Mississippi River from New Orleans with his Native American wife, and their home stood at the mouth of the Chicago River. In 1803, the U.S. government built Fort Dearborn at what is now the corner of Michigan Avenue and Wacker Drive (look for the bronze markers in the pavement). It was destroyed in 1812 following the Battle of Fort Dearborn, rebuilt in 1816, and permanently demolished in 1857. A Trading Center Incorporated as a city in 1837, Chicago was ideally situated to take advantage of the trading possibilities created by the nation?s westward expansion. The completion of the Illinois & Michigan Canal in 1848 created a water link between the Great Lakes and the Mississippi River, but the canal was soon rendered obsolete by railroads. Today, 50 percent of U.S. rail freight continues to pass through Chicago, even as the city has become the nation?s busiest aviation center, thanks to O?Hare and Midway International airports. The Great Fire of 1871 As Chicago grew, its residents took heroic measures to keep pace. In the 1850s, they raised many of the streets five to eight feet to install a sewer system ? and then raised the buildings, as well. Unfortunately, the buildings, streets and sidewalks were made of wood, and most of them burned to the ground in the Great Chicago Fire of 1871. The Chicago Fire Department training academy at 558 W. DeKoven St. is on the site of the O?Leary property where the fire began. The Chicago Water Tower and Pumping Station at Michigan and Chicago avenues are among the few buildings to have survived the fire. "The White City" Chicago rebuilt quickly. Much of the debris was dumped into Lake Michigan as landfill, forming the underpinnings for what is now Grant Park, Millennium Park and the Art Institute of Chicago. Only 22 years later, Chicago celebrated its comeback by holding the World?s Columbian Exposition of 1893, with its memorable ?White City.? One of the Exposition buildings was rebuilt to become the Museum of Science and Industry. Chicago refused to be discouraged even by the Great Depression. In 1933 and 1934, the city held an equally successful Century of Progress Exposition on Northerly Island. Hull House  In the half-century following the Great Fire, waves of immigrants came to Chicago to take jobs in the factories and meatpacking plants. Many poor workers and their families found help in settlement houses operated by Jane Addams and her followers. Her Hull House Museum is located at 800 S. Halsted St. Chicago Firsts Throughout their city?s history, Chicagoans have demonstrated their ingenuity in matters large and small: The nation?s first skyscraper, the 10-story, steel-framed Home Insurance Building, was built in 1884 at LaSalle and Adams streets and demolished in 1931.  When residents were threatened by waterborne illnesses from sewage flowing into Lake Michigan, they reversed the Chicago River in 1900 to make it flow toward the Mississippi.  Start of the "Historic Route 66" which begins at Grant Park on Adams Street in the front of the Art Institute of Chicago. Chicago was the birthplace of:  the refrigerated rail car (Swift) mail-order retailing (Sears and Montgomery Ward) the car radio (Motorola) the TV remote control (Zenith) The first self-sustaining nuclear chain reaction, ushering in the Atomic Age, took place at the University of Chicago in 1942. The spot is marked by a Henry Moore sculpture on Ellis Avenue between 56th and 57th streets. The 1,451-foot Willis Tower (formerly known as the Sears Tower), completed in 1974, was the the tallest building in the world from 1974 to 1998. Chicago has played a central role in American economic, cultural and political history. Since the 1850s Chicago has been one of the dominant metropolises in the Midwestern United States, and has been the largest city in the Midwest since the 1880 census. The area's recorded history begins with the arrival of French explorers, missionaries and fur traders in the late 17th century and their interaction with the local Pottawatomie Native Americans. Jean Baptiste Point du Sable was the first permanent non-indigenous settler in the area, having a house at the mouth of the Chicago River in the late 18th century. There were small settlements and a U.S. Army fort, but the soldiers and settlers were all driven off in 1812. The modern city was incorporated in 1837 by Northern businessmen and grew rapidly from real estate speculation and the realization that it had a commanding position in the emerging inland transportation network, based on lake traffic and railroads, controlling access from the Great Lakes into the Mississippi River basin. Despite a fire in 1871 that destroyed the Central Business District, the city grew exponentially, becoming the nation's rail center and the dominant Midwestern center for manufacturing, commerce, finance, higher education, religion, broadcasting, sports, jazz, and high culture. The city was a magnet for European immigrants?at first Germans, Irish and Scandinavians, then from the 1890s to 1914, Jews, Czechs, Poles and Italians. They were all absorbed in the city's powerful ward-based political machines. Many joined militant labor unions, and Chicago became notorious for its violent strikes, but respected for its high wages. Large numbers of African Americans migrated from the South starting in the World War I era as part of the Great Migration. Mexicans started arriving after 1910, and Puerto Ricans after 1945. The Cook County suburbs grew rapidly after 1945, but the Democratic party machine kept both the city and suburbs under control, especially under mayor Richard J. Daley, who was chairman of the Cook County Democratic Party. Deindustrialization after 1970 closed the stockyards and most of the steel mills and factories, but the city retained its role as a financial and transportation hub. Increasingly it emphasized its service roles in medicine, higher education, and tourism. The city formed the political base for leaders such as Stephen A. Douglas in the 1850s, Adlai Stevenson in the 1950s, and Barack Obama in recent years. Pre-1830 Early native settlements At its first appearance in records by explorers, the Chicago area was inhabited by a number of Algonquian peoples, including the Mascouten and Miami. The name "Chicago" is derived from a French rendering of the Native American word shikaakwa, known to botanists as Allium tricoccum, from the Miami-Illinois language. The first known reference to the site of the current city of Chicago as "Checagou" was by Robert de LaSalle around 1679 in a memoir.[1] Henri Joutel, in his journal of 1688, noted that the wild garlic, called "chicagoua", grew abundantly in the area.[2] According to his diary of late September 1687: when we arrived at the said place called Chicagou which, according to what we were able to learn of it, has taken this name because of the quantity of garlic which grows in the forests in this region.[2] The tribe was part of the Miami Confederacy, which included the Illini and Kickapoo. In 1671, Potawatomi guides first took the French trader Nicolas Perrot to the Miami villages near the site of present-day Chicago.[3] Pierre François Xavier de Charlevoix would write in 1721 that the Miami had a settlement in what is now Chicago around 1670. Chicago's location at a short canoe portage (the Chicago Portage) connecting the Great Lakes with the Mississippi River system attracted the attention of many French explorers, notably Louis Jolliet and Jacques Marquette in 1673. The Jesuit Relations indicate that by this time, the Iroquois tribes of New York had driven the Algonquian tribes entirely out of Lower Michigan and as far as this portage, during the later Beaver Wars.[4] René-Robert Cavelier, Sieur de La Salle, who traversed the Kankakee and Illinois Rivers south of Chicago in the winter of 1681?82, identified the Des Plaines River as the western boundary of the Miami. In 1683, La Salle built Fort St. Louis on the Illinois River. Almost two thousand Miami, including Weas and Piankeshaws, left the Chicago area to gather on the opposite shore at the Grand Village of the Illinois, seeking French protection from the Iroquois. In 1696, French Jesuits led by Jean-François Buisson de Saint-Cosme built the Mission of the Guardian Angel to Christianize the local Wea and Miami people.[5] Shortly thereafter, Augustin le Gardeur de Courtemanche visited the settlement on behalf of the French government, seeking peace between the Miami and Iroquois. Miami chief Chichikatalo accompanied de Courtemanche to Montreal.[4] The Algonquian tribes began to retake the lost territory in the ensuing decades, and in 1701, the Iroquois formally abandoned their claim to their "hunting grounds" as far as the portage to England in the Nanfan Treaty, which was finally ratified in 1726. This was largely a political maneuver of little practicality, as the English then had no presence in the region whatsoever, the French and their Algonquian allies being the dominant force in the area. A writer in 1718 noted at the Was had a village in Chicago, but had recently fled due to concerns about approaching Ojibwes and Pottawatomis. The Iroquois and Meskwaki probably drove out all Miami from the Chicago area by the end of the 1720s. The Pottawatomi assumed control of the area, but probably did not have any major settlements in Chicago. French and allied use of the Chicago portage was mostly abandoned during the 1720s because of continual Native American raids during the Fox Wars.[6] There was also a Michigamea chief named Chicago who may have lived in the region. In the 1680s, the Illinois River was called the Chicago River.[7] Retrospective map showing how Chicago may have appeared in 1812 (right is north, published in 1884) Retrospective map showing how Chicago may have appeared in 1812 (right is north, published in 1884)   Chicago in 1820 Chicago in 1820 First non-native settlements Fort Dearborn depicted as in 1831, sketched 1850s although the accuracy of the sketch was debated soon after it appeared. The first settler in Chicago was Jean Baptiste Point du Sable, a free black man,[8] who built a farm at the mouth of the Chicago River in 1790.[8][9] He left Chicago in 1800. In 1968, Point du Sable was honored at Pioneer Court as the city's founder and featured as a symbol. In 1795, following the Northwest Indian War, some Native Americans ceded the area of Chicago to the United States for a military post in the Treaty of Greenville. The US built Fort Dearborn in 1803 on the Chicago River. It was destroyed by Indian forces during the War of 1812 in the Battle of Fort Dearborn, and many of the inhabitants were killed or taken prisoner.[10] The fort had been ordered to evacuate. During the evacuation soldiers and civilians were overtaken near what is today Prairie Avenue. After the end of the war, the Potawatomi ceded the land to the United States in the 1816 Treaty of St. Louis. (Today, this treaty is commemorated in Indian Boundary Park.) Fort Dearborn was rebuilt in 1818 and used until 1837.[11]:?25? Growth of the city 1821 Survey of Chicago Thompson's plat, the first official map of what would become the City of Chicago Chicago in 1830, as depicted in 1884 Chicago in 1831, as depicted in 1893 by Rudolf Cronau Chicago in 1832, as depicted in 1892 Chicago in 1836 Extensions to city limits through 1884 In 1829, the Illinois legislature appointed commissioners to locate a canal and lay out the surrounding town. The commissioners employed James Thompson to survey and plat the town of Chicago, which at the time had a population of less than 100. Historians regard the August 4, 1830, filing of the plat as the official recognition of a location known as Chicago.[4] Yankee entrepreneurs saw the potential of Chicago as a transportation hub in the 1830s and engaged in land speculation to obtain the choicest lots. On August 12, 1833, the Town of Chicago was incorporated with a population of 350.[12] On July 12, 1834, the Illinois from Sackets Harbor, New York, was the first commercial schooner to enter the harbor, a sign of the Great Lakes trade that would benefit both Chicago and New York state.[11]:?29? Chicago was granted a city charter by the State of Illinois on March 4, 1837;[13] it was part of the larger Cook County. By 1840 the boom town had a population of over 4,000. After 1830, the rich farmlands of northern Illinois attracted Yankee settlers. Yankee real estate operators created a city overnight in the 1830s.[14] To open the surrounding farmlands to trade, the Cook County commissioners built roads south and west. The latter crossed the "dismal Nine-mile Swamp," the Des Plaines River, and went southwest to Walker's Grove, now the Village of Plainfield. The roads enabled hundreds of wagons per day of farm produce to arrive and so the entrepreneurs built grain elevators and docks to load ships bound for points east through the Great Lakes. Produce was shipped through the Erie Canal and down the Hudson River to New York City; the growth of the Midwest farms expanded New York City as a port. In 1837, Chicago held its first mayoral election and elected William B. Ogden as its inaugural mayor. Emergence as a transportation hub Further information: Transportation in Chicago 1853 Bird's eye view of Chicago 1857 Bird's eye view of Chicago In 1848, the opening of the Illinois and Michigan Canal allowed shipping from the Great Lakes through Chicago to the Mississippi River and the Gulf of Mexico. The first rail line to Chicago, the Galena & Chicago Union Railroad, was completed the same year. Chicago would go on to become the transportation hub of the United States, with its road, rail, water, and later air connections. Chicago also became home to national retailers offering catalog shopping such as Montgomery Ward and Sears, Roebuck and Company, which used the transportation lines to ship all over the nation. By the 1850s, the construction of railroads made Chicago a major hub and over 30 lines entered the city. The main lines from the East ended in Chicago, and those oriented to the West began in Chicago and so by 1860, the city had become the nation's trans-shipment and warehousing center. Factories were created, most famously the harvester factory that was opened in 1847 by Cyrus Hall McCormick. It was a processing center for natural resource commodities extracted in the West. The Wisconsin forests supported the millwork and lumber business; the Illinois hinterland provided the wheat. Hundreds of thousands of hogs and cattle were shipped to Chicago for slaughter, preserved in salt, and transported to eastern markets. By 1870, refrigerated cars allowed the shipping of fresh meat to cities in the East.[15] The prairie bog nature of the area provided a fertile ground for disease-carrying insects. In springtime, Chicago was so muddy from the high water that horses could scarcely move. Comical signs proclaiming "Fastest route to China" or "No Bottom Here" were placed to warn people of the mud. Travelers reported Chicago was the filthiest city in America. The city created a massive sewer system. In the first phase, sewage pipes were laid across the city above ground and used gravity to move the waste. The city was built in a low-lying area subject to flooding. In 1856, the city council decided that the entire city should be elevated four to five feet by using a newly available jacking-up process. In one instance, the five-story Brigg's Hotel, weighing 22,000 tons, was lifted while it continued to operate. Observing that such a thing could never have happened in Europe, the British historian Paul Johnson cites the astounding feat as a dramatic example of American determination and ingenuity based on the conviction that anything material is possible.[16] Immigration and population in 19th century Portrait of John Jones, a prominent early African-American businessman in Chicago Portrait of Mary Jane Richardson Jones, 1865 Husband and wife John and Mary Jones were among the most prominent early African-American citizens of Chicago. A bird's-eye view of Chicago in 1898. It became the second American city to reach a population of 1.6 million. 0:29 Chicago - State St at Madison Street, 1897 Although originally settled by Yankees in the 1830s, the city in the 1840s had many Irish Catholics come as a result of the Great Famine. Later in the century, the railroads, stockyards, and other heavy industry of the late 19th century attracted a variety of skilled workers from Europe, especially Germans, English, Swedes, Norwegians, and Dutch.[17] A small African-American community formed, led by activist leaders like John Jones and Mary Richardson Jones, who established Chicago as a stop on the Underground Railroad.[18] In 1840, Chicago was the 92nd city in the United States by population. Its population grew so rapidly that 20 years later, it was the ninth city. In the pivotal year of 1848, Chicago saw the completion of the Illinois and Michigan Canal, its first steam locomotives, the introduction of steam-powered grain elevators, the arrival of the telegraph, and the founding of the Chicago Board of Trade.[19] By 1857, Chicago was the largest city in what was then called the Northwest. In 20 years, Chicago grew from 4,000 people to over 90,000. Chicago surpassed St. Louis and Cincinnati as the major city in the West and gained political notice as the home of Stephen Douglas, the 1860 presidential nominee of the Northern Democrats. The 1860 Republican National Convention in Chicago nominated the home-state candidate Abraham Lincoln. The city's government and voluntary societies gave generous support to soldiers during the American Civil War.[20] Many of the newcomers were Irish Catholic and German immigrants. Their neighborhood saloons, a center of male social life, were attacked in the mid-1850s by the local Know-Nothing Party, which drew its strength from evangelical Protestants. The new party was anti-immigration and anti-liquor and called for the purification of politics by reducing the power of the saloonkeepers. In 1855, the Know-Nothings elected Levi Boone mayor, who banned Sunday sales of liquor and beer. His aggressive law enforcement sparked the Lager Beer Riot of April 1855, which erupted outside a courthouse in which eight Germans were being tried for liquor ordinance violations. After 1865, saloons became community centers only for local ethnic men, as reformers saw them as places that incited riotous behavior and moral decay.[21] Salons were also sources of musical entertainment. Francis O'Neill, an Irish immigrant who later became police chief, published compendiums of Irish music that were largely collected from other newcomers playing in saloons.[22] By 1870, Chicago had grown to become the nation's second-largest city and one of the largest cities in the world. Between 1870 and 1900, Chicago grew from a city of 299,000 to nearly 1.7 million and was the fastest-growing city in world history. Chicago's flourishing economy attracted huge numbers of new immigrants from Eastern and Central Europe, especially Jews, Poles, and Italians, along with many smaller groups. Many businesspeople and professionals arrived from the eastern states. Relatively few new arrivals came from Chicago's rural hinterland. The exponential growth put increasing pollution on the environment, as hazards to public health impacted everyone.[23] Gilded Age Further information: Architecture of Chicago and Chicago railroad strike of 1877 The Chicago Water Tower, one of the few surviving buildings after the Great Chicago Fire of 1871. A residential building in Chicago's Lincoln Park in 1885, when the city had dirt roads Most of the city burned in the 1871 Great Chicago Fire. The damage from the fire was immense since 300 people died, 18,000 buildings were destroyed, and nearly 100,000 of the city's 300,000 residents were left homeless. Several key factors exacerbated the spread of the fire. Most of Chicago's buildings and sidewalks were then constructed of wood. Also, the lack of attention to proper waste disposal practices, which was sometimes deliberate to favor certain industries, left an abundance of flammable pollutants in the Chicago River along which the fire spread from the south to the north.[24][25][circular reference][26] The fire led to the incorporation of stringent fire-safety codes, which included a strong preference for masonry construction.[27] The Danish immigrant Jens Jensen arrived in 1886 and soon became a successful and celebrated landscape designer. Jensen's work was characterized by a democratic approach to landscaping, which was informed by his interest in social justice and conservation, and a rejection of antidemocratic formalism. Among Jensen's creations were four Chicago city parks, most famously Columbus Park. His work also included garden design for some of the region's most influential millionaires. The World's Columbian Exposition of 1893 was constructed on former wetlands at the present location of Jackson Park along Lake Michigan in Chicago's Hyde Park neighborhood. The land was reclaimed according to a design by the landscape architect Frederick Law Olmsted. The temporary pavilions, which followed a classical theme, were designed by a committee of the city's architects under the direction of Daniel Burnham. It was called the "White City" for the appearance of its buildings.[28] The Exposition drew 27.5 million visitors; is considered among the most influential world's fairs in history; and affected art, architecture, and design throughout the nation.[29] The classical architectural style contributed to a revival of Beaux Arts architecture that borrowed from historical styles, but Chicago was also developing the original skyscraper and organic forms based in new technologies. The fair featured the first and until recently the largest Ferris wheel ever built. The soft, swampy ground near the lake proved unstable ground for tall masonry buildings. That was an early constraint, but builders developed the innovative use of steel framing for support and invented the skyscraper in Chicago, which became a leader in modern architecture and set the model nationwide for achieving vertical city densities.[30] Developers and citizens began immediate reconstruction on the existing Jeffersonian grid. The building boom that followed saved the city's status as the transportation and trade hub of the Midwest. Massive reconstruction using the newest materials and methods catapulted Chicago into its status as a city on par with New York and became the birthplace of modern architecture in the United States.[31] Rise of industry and commerce Further information: Economy of Chicago 1893 Bird's eye view of Chicago The Home Insurance Building in Chicago, the world's first skyscraper. Chicago became the center of the nation's advertising industry after New York City. Albert Lasker, known as the "father of modern advertising," made Chicago his base from 1898 to 1942. As head of the Lord and Thomas agency, Lasker devised a copywriting technique that appealed directly to the psychology of the consumer. Women, who seldom smoked cigarettes, were told that if they smoked Lucky Strikes, they could stay slender. Lasker's use of radio, particularly with his campaigns for Palmolive soap, Pepsodent toothpaste, Kotex products, and Lucky Strike cigarettes, not only revolutionized the advertising industry but also significantly changed popular culture.[32] Gambling In Chicago, like other rapidly growing industrial centers with large immigrant working-class neighborhoods, gambling was a major issue. The city's elite upper-class had private clubs and closely-supervised horse racing tracks. The middle-class reformers like Jane Addams focused on the workers, who discovered freedom and independence in gambling that were a world apart from their closely-supervised factory jobs and gambled to validate risk-taking aspect of masculinity, betting heavily on dice, card games, policy, and cock fights. By the 1850s, hundreds of saloons had offered gambling opportunities, including off-track betting on the horses.[33][34] The historian Mark Holler argues that organized crime provided upward mobility to ambitious ethnics. The high-income, high-visibility vice lords, and racketeers built their careers and profits in ghetto neighborhoods and often branched into local politics to protect their domains.[35] For example, in 1868 to 1888, Michael C. McDonald, "The Gambler King of Clark Street," kept numerous Democratic machine politicians in his city on expense account to protect his gambling empire and to keep the goo-goo reformers at bay.[36] In large cities, illegal businesses like gambling and prostitution were typically contained in the geographically-segregated red light districts. The businessowners made regularly-scheduled payments to police and politicians, which they treated as licensing expenses. The informal rates became standardized. For example, in Chicago, they ranged from $20 a month for a cheap brothel to $1000 a month for luxurious operations in Chicago. Reform elements never accepted the segregated vice districts and wanted them all destroyed, but in large cities, the political machine was powerful enough to keep the reformers at bay. Finally, around 1900 to 1910, the reformers grew politically strong enough to shut down the system of vice segregation, and the survivors went underground.[37] 20th century All Star Tournament, 18 Inch Balke Line, Chicago, May 7?14, 1906 Detail of lobby columns at the Ford Center for Performing Arts Merchants' Hotel on left, looking North from State and Washington Streets, before 1868 Birds-eye view of Chicago in 1916 Loop street scene in 1900; colorized photograph Chicago's manufacturing and retail sectors, fostered by the expansion of railroads throughout the upper Midwest and East, grew rapidly and came to dominate the Midwest and greatly influence the nation's economy.[38] The Chicago Union Stock Yards dominated the packing trade. Chicago became the world's largest rail hub, and one of its busiest ports by shipping traffic on the Great Lakes. Commodity resources, such as lumber, iron and coal, were brought to Chicago and Ohio for processing, with products shipped both East and West to support new growth.[39] Lake Michigan?the primary source of fresh water for the city?became polluted from the rapidly growing industries in and around Chicago; a new way of procuring clean water was needed. In 1885 the civil engineer Lyman Edgar Cooley proposed the Chicago Sanitary and Ship Canal. He envisioned a deep waterway that would dilute and divert the city's sewage by funneling water from Lake Michigan into a canal, which would drain into the Mississippi River via the Illinois River. Beyond presenting a solution for Chicago's sewage problem, Cooley's proposal appealed to the economic need to link the Midwest with America's central waterways to compete with East Coast shipping and railroad industries. Strong regional support for the project led the Illinois legislature to circumvent the federal government and complete the canal with state funding. The opening in January 1900 met with controversy and a lawsuit against Chicago's appropriation of water from Lake Michigan. By the 1920s the lawsuit was divided between the states of the Mississippi River Valley, who supported the development of deep waterways linking the Great Lakes with the Mississippi, and the Great Lakes states, which feared sinking water levels might harm shipping in the lakes. In 1929 the U.S. Supreme Court ruled in support of Chicago's use of the canal to promote commerce, but ordered the city to discontinue its use for sewage disposal.[40] New construction boomed in the 1920s, with notable landmarks such as the Merchandise Mart and art deco Chicago Board of Trade Building completed in 1930. The Wall Street Crash of 1929, the Great Depression and diversion of resources into World War II led to the suspension for years of new construction. The Century of Progress International Exposition was the name of the World's Fair held on the Near South Side lakefront from 1933 to 1934 to celebrate the city's centennial.[41][42] The theme of the fair was technological innovation over the century since Chicago's founding. More than 40 million people visited the fair, which symbolized for many hope for Chicago and the nation, then in the midst of the Great Depression.[43] The demographics of the city were changing in the early 20th century as black southern families migrated out of the south, but while cities like Chicago empathized with the condition of impoverished white children, black children were mostly excluded from the private and religious institutions that provided homes for such children. Those that did take in black dependent children were overcrowded and underfunded because of institutional racism. Between 1899 and 1945 many of the city's black children found themselves in the juvenile court system. The 1899 Juvenile Court Act, supported by Progressive reformers, created a class of dependants for orphans and other children lacking "proper parental care or guardianship" but the court's designations of "delinquency" and "dependency" were racialized[when defined as?] so black children were far more likely to be labeled as delinquents.[44][fact or opinion?] Politics in the late 19th and early 20th centuries Further information: Political history of Chicago Nicely dressed Jewish men and boys standing on a sidewalk in Chicago, 1903 Theodore Roosevelt in Chicago, 1915 Map of downtown Chicago in 1917. During the election of April 23, 1875, the voters of Chicago chose to operate under the Illinois Cities and Villages Act of 1872. Chicago still operates under this act, in lieu of a charter. The Cities and Villages Act has been revised several times since, and may be found in Chapter 65 of the Illinois Compiled Statutes. Late-19th-century big city newspapers such as the Chicago Daily News - founded in 1875 by Melville Stone - ushered in an era of news reporting that was, unlike earlier periods, in tune with the particulars of community life in specific cities. Vigorous competition between older and newer-style city papers soon broke out, centered on civic activism and sensationalist reporting of urban political issues and the numerous problems associated with rapid urban growth. Competition was especially fierce between the Chicago Times (Democratic), the Chicago Tribune (Republican), and the Daily News (independent), with the latter becoming the city's most popular paper by the 1880s.[45] The city's boasting lobbyists and politicians earned Chicago the nickname "Windy City" in the New York press. The city adopted the nickname as its own. Violence and crime Polarized attitudes of labor and business in Chicago prompted a strike by workers' lobbying for an eight-hour work day, later named the Haymarket affair. A peaceful demonstration on May 4, 1886, at Haymarket near the west side was interrupted by a bomb thrown at police; seven police officers were killed. Widespread violence broke out. A group of anarchists were tried for inciting the riot and convicted. Several were hanged and others were pardoned. The episode was a watershed moment in the labor movement, and its history was commemorated in the annual May Day celebrations.[46] By 1900, Progressive Era political and legal reformers initiated far-ranging changes in the American criminal justice system, with Chicago taking the lead.[47] The city became notorious worldwide for its rate of murders in the early 20th century, yet the courts failed to convict the killers. More than three-fourths of cases were not closed. Even when the police made arrests in cases where killers' identities were known, jurors typically exonerated or acquitted them. A blend of gender-, race-, and class-based notions of justice trumped the rule of law, producing low homicide conviction rates during a period of soaring violence.[48] During the late 19th and early 20th centuries, rates of domestic murder tripled in Chicago. Domestic homicide was often a manifestation of strains in gender relations induced by urban and industrial change. At the core of such family murders were male attempts to preserve masculine authority. Yet, there were nuances in the motives for the murder of family members, and study of the patterns of domestic homicide among different ethnic groups reveals basic cultural differences. German male immigrants tended to murder over declining status and the failure to achieve economic prosperity. Italian men killed family members to save a gender-based ideal of respectability that entailed patriarchal control over women and family reputation. African American men, like the Germans, often murdered in response to economic conditions but not over desperation about the future. Like the Italians, the killers tended to be young, but family honor was not usually at stake. Instead, black men murdered to regain control of wives and lovers who resisted their patriarchal "rights".[49] Progressive reformers in the business community created the Chicago Crime Commission (CCC) in 1919 after an investigation into a robbery at a factory showed the city's criminal justice system was deficient. The CCC initially served as a watchdog of the justice system. After its suggestion that the city's justice system begin collecting criminal records was rejected, the CCC assumed a more active role in fighting crime. The commission's role expanded further after Frank J. Loesch became president in 1928. Loesch recognized the need to eliminate the glamor that Chicago's media typically attributed to criminals. Determined to expose the violence of the crime world, Loesch drafted a list of "public enemies"; among them was Al Capone, whom he made a scapegoat for widespread social problems.[50] After the passage of Prohibition, the 1920s brought international notoriety to Chicago. Bootleggers and smugglers bringing in liquor from Canada formed powerful gangs. They competed with each other for lucrative profits, and to evade the police, to bring liquor to speakeasies and private clients. The most notorious was Al Capone.[51][52] Immigration and migration in the 20th century Further information: Roman Catholic Archdiocese of Chicago From 1890 to 1914, migrations swelled, attracting to the city of mostly unskilled Catholic and Jewish immigrants from Southern and Eastern Europe, including Italians, Greeks, Czechs, Poles, Lithuanians, Ukrainians, Hungarians, and Slovaks. World War I cut off immigration from Europe, which brought hundreds of thousands of southern blacks and whites into Northern cities to fill in the labor shortages. The Immigration Act of 1924 restricted populations from southern and eastern Europe, apart from refugees after World War II. The heavy annual turnover of ethnic populations ended, and the groups stabilized, each favoring specific neighborhoods.[53][54] While whites from rural areas arrived and generally settled in the suburban parts of the city, large numbers of blacks from the South arrived as well.[55] The near South Side of the city became the first Black residential area, as it had the oldest, less expensive housing. Although restricted by segregation and competing ethnic groups such as the Irish, gradually continued black migration caused this community to expand, as well as the black neighborhoods on the near West Side. These were de facto segregated areas (few blacks were tolerated in ethnic white neighborhoods); the Irish and ethnic groups who had been longer in the city began to move to outer areas and the suburbs. After World War II, the city built public housing for working-class families to upgrade residential quality. The high-rise design of such public housing proved a problem when industrial jobs left the city and poor families became concentrated in the facilities. After 1950, public housing high rises anchored poor black neighborhoods south and west of the Loop. "Old stock" Americans who relocated to Chicago after 1900 preferred the outlying areas and suburbs, with their commutes eased by train lines, making Oak Park and Evanston enclaves of the upper middle class. In the 1910s, high-rise luxury apartments were constructed along the lakefront north of the Loop, continuing into the 21st century. They attracted wealthy residents but few families with children, as wealthier families moved to suburbs for the schools. There were problems in the public school system; mostly Catholic students attended schools in the large parochial system, which was of middling quality.[56] There were a few private schools. The Latin School, Francis Parker and later The Bateman School, all centrally located served those who could afford to pay. The northern and western suburbs developed some of the best public schools in the nation, which were strongly supported by their wealthier residents. The suburban trend accelerated after 1945, with the construction of highways and train lines that made commuting easier. Middle-class Chicagoans headed to the outlying areas of the city, and then into the Cook County and Dupage County suburbs. As ethnic Jews and Irish rose in economic class, they left the city and headed north. Well-educated migrants from around the country moved to the far suburbs. Chicago's Polonia sustained diverse political cultures in the early twentieth century, each with its own newspaper. In 1920 the community had a choice of five daily papers ? from the Socialist Dziennik Ludowy (People's Daily; 1907?1925) to the Polish Roman Catholic Union's Dziennik Zjednoczenia (Union Daily; 1921?1939). The decision to subscribe to a particular paper reaffirmed a particular ideology or institutional network based on ethnicity and class, which lent itself to different alliances and different strategies.[57] In 1926, the city hosted the 28th International Eucharistic Congress, a major event for the Catholic community of Chicago. As the First World War cut off immigration, tens of thousands of African Americans came north in the Great Migration out of the rural South. With new populations competing for limited housing and jobs, especially on the South Side, social tensions rose in the city. Postwar years were more difficult. Black veterans looked for more respect for having served their nation, and some whites resented it. In 1919, the Chicago race riot erupted, in what became known as "Red Summer", when other major cities also suffered mass racial violence based in competition for jobs and housing as the country tried to absorb veterans in the postwar years. During the riot, thirty-eight people died (23 black and 15 white) and over five hundred were injured. Much of the violence against blacks in Chicago was led by members of ethnic Irish athletic clubs, who had much political power in the city and defended their "territory" against African Americans. As was typical in these occurrences, more blacks than whites died in the violence. Concentrating the family resources to achieve home ownership was a common strategy in the ethnic European neighborhoods. It meant sacrificing current consumption, and pulling children out of school as soon as they could earn a wage. By 1900, working-class ethnic immigrants owned homes at higher rates than native-born people. After borrowing from friends and building associations, immigrants kept boarders, grew market gardens, and opened home-based commercial laundries, eroding home-work distinctions, while sending out women and children to work to repay loans. They sought not middle-class upward mobility but the security of home ownership. Many social workers wanted them to pursue upward job mobility (which required more education), but realtors asserted that houses were better than a bank for a poor man. With hindsight, and considering uninsured banks' precariousness, this appears to have been true. Chicago's workers made immense sacrifices for home ownership, contributing to Chicago's sprawling suburban geography and to modern myths about the American dream. The Jewish community, by contrast, rented apartments and maximized education and upward mobility for the next generation.[58] Beginning in the 1940s, waves of Hispanic immigrants began to arrive. The largest numbers were from Mexico and Puerto Rico, as well as Cuba during Fidel Castro's rise. During the 1980s, Hispanic immigrants were more likely to be from Central and South America. After 1965 and the change in US immigration laws, numerous Asian immigrants came; the largest proportion were well-educated Indians and Chinese, who generally settled directly in the suburbs. By the 1970s gentrification began in the city, in some cases with people renovating housing in old inner city neighborhoods, and attracting singles and gay people. State Street c. 1907 State Street c. 1907   International Ballooning Contest, Aero Park, Chicago, July 4, 1908 International Ballooning Contest, Aero Park, Chicago, July 4, 1908   Bird's eye view of Chicago in 1938 Bird's eye view of Chicago in 1938   Oak Street Beach, 1925 Oak Street Beach, 1925 1930s Main article: Chicago in the 1930s Labor unions Chicago skyline from Northerly Island Taken sometime in 1941 After 1900 Chicago was a heavily unionized city, apart from the factories (which were non-union until the 1930s). The Industrial Workers of the World was founded in Chicago in June 1905 at a convention of 200 socialists, anarchists, and radical trade unionists from all over the United States. The Railroad brotherhoods were strong, as were the crafts unions affiliated with the American Federation of Labor. The AFL unions operated through the Chicago Federation of Labor to minimize jurisdictional conflicts, which caused many strikes as two unions battled to control a work site. The unionized teamsters in Chicago enjoyed an unusually strong bargaining position when they contended with employers around the city, or supported another union in a specific strike. Their wagons could easily be positioned to disrupt streetcars and block traffic. In addition, their families and neighborhood supporters often surrounded and attacked the wagons of nonunion teamsters who were strikebreaking. When the teamsters used their clout to engage in sympathy strikes, employers decided to coordinate their antiunion efforts, claiming that the teamsters held too much power over commerce in their control of the streets. The teamsters' strike in 1905 represented a clash both over labor issues and the public nature of the streets. To the employers, the streets were arteries for commerce, while to the teamsters, they remained public spaces integral to their neighborhoods.[59] World War II On December 2, 1942, the world's first controlled nuclear reaction was conducted at the University of Chicago as part of the top secret Manhattan Project. During World War II, the steel mills in the city of Chicago alone accounted for 20% of all steel production in the United States and 10% of global production. The city produced more steel than the United Kingdom during the war, and surpassed Nazi Germany's output in 1943 (after barely missing in 1942). The city's diversified industrial base made it second only to Detroit in the value?$24 billion?of war goods produced. Over 1,400 companies produced everything from field rations to parachutes to torpedoes, while new aircraft plants employed 100,000 in the construction of engines, aluminum sheeting, bombsights, and other components. The Great Migration, which had been on pause due to the Depression, resumed at an even faster pace as the 1910 - 1930 period, as hundreds of thousands of black Americans arrived in the city to work in the steel mills, railroads, and shipping yards.[60] Postwar Returning World War II veterans and immigrants from Europe (in particular displaced persons from Eastern Europe) created a postwar economic boom and led to the development of huge housing tracts on Chicago's Northwest and Southwest sides. The city was extensively photographed during the postwar years by street photographers such as Richard Nickel and Vivian Maier. In the 1950s, the postwar desire for new and improved housing, aided by new highways and commuter train lines, caused many middle and higher income Americans to begin to move from the inner-city of Chicago to the suburbs. Changes in industry after 1950, with restructuring of the stockyards and steel industries, led to massive job losses in the city for working-class people. The city population shrank by nearly 700,000. The City Council devised "Plan 21" to improve neighborhoods and focused on creating "Suburbs within the city" near downtown and the lakefront. It built public housing to try to improve housing standards in the city. As a result, many poor were uprooted from newly created enclaves of Black, Latino, and poor people in neighborhoods such as Near North, Wicker Park, Lakeview, Uptown, Cabrini?Green, West Town and Lincoln Park. The passage of civil rights laws in the 1960s also affected Chicago and other northern cities. In the 1960s and the 1970s, many middle- and upper-class Americans continued to move from the city for better housing and schools in the suburbs. Office building resumed in the 1960s. When completed in 1974, the Sears Tower, now known as the Willis Tower, was at 1451 feet the world's tallest building. It was designed by the famous Chicago firm of Skidmore, Owings & Merrill, which designed many of the city's other famous buildings. House in Chicago's inner city, 1974. Photo by Danny Lyon. House in Chicago's inner city, 1974. Photo by Danny Lyon.   Chicago Picasso, a 1967 sculpture in Daley Plaza. Pablo Picasso refused the $100,000 fee and donated it to the people of Chicago. Chicago Picasso, a 1967 sculpture in Daley Plaza. Pablo Picasso refused the $100,000 fee and donated it to the people of Chicago. Mayor Richard J. Daley served 1955?1976, dominating the city's machine politics by his control of the Cook County Democratic Central Committee, which selected party nominees, who were usually elected in the Democratic stronghold. Daley took credit for building four major expressways focused on the Loop, and city-owned O'Hare Airport (which became the world's busiest airport, displacing Midway Airport's prior claims). Several neighborhoods near downtown and the lakefront were gentrified and transformed into "suburbs within the city".[61] He held office during the unrest of the 1960s, some of which was provoked by the police department's discriminatory practices. In the Lincoln Park, Lakeview, Wicker Park and Humboldt Park communities, the Young Lords under the leadership of Jose Cha Cha Jimenez marched and held sit ins to protest the displacement of Latinos and the poor. After the assassination of Martin Luther King Jr. in 1968, major riots of despair resulted in the burning down of sections of the black neighborhoods of the South and West sides. Protests against the Vietnam War at the 1968 Democratic National Convention, held in Chicago, resulted in street violence, with televised broadcasts of the Chicago police's beating of unarmed protesters.[62] In 1979, Jane Byrne, the city's first woman mayor, was elected, winning the Democratic primary due to a citywide outrage about the ineffective snow removal across the city.[63] In 1983, Harold Washington became the first black mayor of Chicago. Richard M. Daley, son of Richard J. Daley, became mayor in 1989, and was repeatedly reelected until he declined to seek re-election in 2011. He sparked debate by demolishing many of the city's vast public housing projects, which had deteriorated and were holding too many poor and dysfunctional families. Concepts for new affordable and public housing have changed to include many new features to make them more viable: smaller scale, environmental designs for public safety, mixed-rate housing, etc. New projects during Daley's administration have been designed to be environmentally sound, more accessible and better for their occupants. 21st century In September 2008, Chicago accepted a $2.52 billion bid on a 99-year lease of Midway International Airport to a group of private investors, but the deal fell through due to the collapse of credit markets during the 2008?2012 global recession[64][65] In 2008, as Chicago struggled to close a growing budget deficit, the city agreed to a 75-year, $1.16 billion deal to lease its parking meter system to an operating company created by Morgan Stanley. Daley said the "agreement is very good news for the taxpayers of Chicago because it will provide more than $1 billion in net proceeds that can be used during this very difficult economy." The agreement quadrupled rates, in the first year alone, while the hours which people have to pay for parking were broadened from 9 a.m. ? 6 p.m. to 8 a.m. ? 9 p.m., and from Monday through Saturday to every day of the week. Additionally, the city agreed to compensate the new owners for loss of revenue any time any road with parking meters is closed by the city for anything from maintenance work to street festivals.[66][67] In three years, the proceeds from the lease were all but spent. In his annual budget address on October 21, 2009, Daley projected a deficit for 2009 of more than $520 million. Daley proposed a 2010 budget totaling $6.14 billion, including spending $370 million from the $1.15 billion proceeds from the parking meter lease.[68] In his annual budget address on October 13, 2010, Daley projected a deficit for 2010 of $655 million, the largest in city history.[69] Daley proposed a 2011 budget totaling $6.15 billion, including spending all but $76 million of what remained of the parking meter lease proceeds, and received a standing ovation from aldermen.[70][71] In 2011, Rahm Emanuel was elected mayor of Chicago.[72] Chicago earned the title of "City of the Year" in 2008 from GQ for contributions in architecture and literature, its world of politics, and the downtown's starring role in the Batman movie The Dark Knight.[73] The city was rated by Moody's as having the most balanced economy in the United States due to its high level of diversification.[74] Flag Four historical events are commemorated by the four red stars on Chicago's flag: The United States' Fort Dearborn, established at the mouth of the Chicago River in 1803; the Great Chicago Fire of 1871, which destroyed much of the city; the World Columbian Exposition of 1893, by which Chicago celebrated its recovery from the fire; and the Century of Progress World's Fair of 1933?1934, which celebrated the city's centennial. The flag's two blue stripes symbolize the north and south branches of the Chicago River, which flows through the city's downtown. The three white stripes represent the North, West and South sides of the city, Lake Michigan being the east side. Major disasters Main article: Timeline of Chicago history The most famous and serious disaster was the Great Chicago Fire of 1871. On December 30, 1903, the "absolutely fireproof", five-week-old Iroquois Theater was engulfed by fire. The fire lasted less than thirty minutes; 602 people died as a result of being burned, asphyxiated, or trampled.[75] The S.S. Eastland was a cruise ship based in Chicago and used for tours. On July 24, 1915?a calm, sunny day?the ship was taking on passengers when it rolled over while tied to a dock in the Chicago River. A total of 844 passengers and crew were killed. An investigation found that the Eastland had become too heavy with rescue gear that had been ordered by Congress in the wake of the Titanic disaster.[76] On December 1, 1958, the Our Lady of the Angels School Fire occurred in the Humboldt Park area. The fire killed 92 students and three nuns; in response, fire safety improvements were made to public and private schools across the United States.[77] April 13, 1992, billions of dollars in damage was caused by the Chicago Flood, when a hole was accidentally drilled into the long-abandoned (and mostly forgotten) Chicago Tunnel system, which was still connected to the basements of numerous buildings in the Loop. It flooded the central business district with 250 million US gallons (950,000 m3) of water from the Chicago River.[78][79] A major environmental disaster occurred in July 1995, when a week of record high heat and humidity caused 739 heat-related deaths, mostly among isolated elderly poor and others without air conditioning.[80] See also American urban history Bibliography of Chicago history Chicago in the 1930s Ethnic groups in Chicago; the larger groups have articles such as Poles in Chicago and History of African Americans in Chicago History of education in Chicago Political history of Chicago Roman Catholic Archdiocese of Chicago Timeline of Chicago history Before the 19th century As interpreted from the 1670 translation of the de Soto narrative into French by Pierre Richelet, the Chucagua River, was believed to be the Mississippi. La Salle named Checagou, the transliterated from Spanish, as the gateway to the River of de Soto. Site of Chicagou on the lake, in Guillaume de L'Isle's map (Paris, 1718) 1673: French-Canadian explorers Jacques Marquette and Louis Jolliet, on their way to Québec, pass through the area that will become Chicago. 1677: Father Claude Allouez arrived to try to convert the natives to Christianity 1682: French explorer René Robert Cavelier, Sieur de la Salle, passes through Chicago en route to the mouth of the Mississippi River. 1696: Jesuit missionary Francois Pinet founds the Mission of the Guardian Angel. It is abandoned four years later. 1705: Conflicts develop between French traders and the Fox tribe of Native Americans. 1719: The Comanche Indian Tribe settle in the Great Plains and in the Midwest of the United States. 1754: The Illinois Country becomes part of New France, days later The French and Indian War begins with the war against the British. 1763: The Illinois Country falls to British Troops after the defeat of New France. 1775: The Revolutionary War begins with America declaring independence from Britain. 1778: The Illinois Campaign is born under the command of George Rogers Clark to lead the fight against major British outposts scattered across the country. 1780s: Jean Baptiste Point du Sable establishes Chicago's first permanent settlement near the mouth of the Chicago River. 1795: Six square miles (16 km2) of land at the mouth of the Chicago River are reserved by the Treaty of Greenville for use by the United States. 1796: Kittahawa, du Sable's Potawatomi Indian wife, delivers Eulalia Point du Sable, Chicago's first recorded birth. 19th century 1800s?1840s 1803: The United States Army orders the construction of Fort Dearborn by Major John Whistler. It is built near the mouth of the Chicago River. 1812 June 17, Jean La Lime is killed by John Kinzie, making him the first recorded murder victim in Chicago. August 15, the Battle of Fort Dearborn. 1816: The Treaty of St. Louis is signed in St. Louis, Missouri. Ft. Dearborn is rebuilt. 1818: December 3, Illinois joins the Union and becomes a state. 1820 Chicago 1821 Survey of Chicago 1830 August 4, Chicago is surveyed and platted for the first time by James Thompson. Population: "Less than 100".[1] 1833: Chicago incorporated as a town.[1] 1837 Chicago incorporated as a city.[1] C.D. Peacock jewelers was founded. It is the oldest Chicago business still operating today. Chicago receives its first charter.[2] Rush Medical College is founded two days before the city was chartered. It is the first medical school in the state of Illinois which is still operating. The remaining 450 Potawatomi left Chicago. 1840 July 10, Chicago's first legally executed criminal, John Stone was hanged for rape and murder. Population: 4,470.[3] 1844: Lake Park designated.[4] 1847: June 10, The first issue of the Chicago Tribune is published. 1848 Chicago Board of Trade opens on April 3 by 82 local businessmen. Illinois and Michigan Canal opens and traffic begins moving faster. Galena and Chicago Union Railroad enters operation becoming the first railroad in Chicago 1849 Wauconda is founded. Merchants' Hotel on left, looking North from State and Washington Streets, before 1868 Chicago in 1830, as depicted in 1884 Chicago in 1832, as depicted in 1892 Chicago in 1836 1893 Bird's eye view of Chicago Fort Dearborn depicted as in 1831, sketched 1850s although the accuracy of the sketch was debated soon after it appeared. 1850s?1890s 1850: Population: 29,963.[3] 1851: Chicago's first institution of higher education, Northwestern University, is founded. 1852: Mercy Hospital becomes the first hospital in Illinois. 1853 October: State Convention of the Colored Citizens held in city.[5] Union Park named.[4] 1854: A cholera epidemic took the lives of 5.5% of the population of Chicago.[6] 1855 Chicago Theological Seminary founded.[1] April 21, Lager Beer riot. Population: 80,000.[4] 1856: Chicago Historical Society founded. 1857 Iwan Ries & Co. Chicago's oldest family-owned business opens, still in operation today, the oldest family-owned tobacco shop. Mathias A. Klein & Sons (Klein Tools Inc.), still family owned and run today by fifth and sixth generation Klein's. Cook County Hospital opens.[1] Hyde Park House built.[4] 1859: McCormick Theological Seminary relocated.[1] 1860 September 8, the Lady Elgin Disaster. Population: 112,172.[3] Daprato Statuary Company (Currently Daprato Rigali Studios) founded by the Daprato brothers, Italian immigrants from Barga. 1865 Corporal punishment was abandoned in schools.[4] Population: 178,492.[4] 1866: School of the Art Institute of Chicago founded. 1867 Construction began on the Water Tower designed by architect W. W. Boyington. Chicago Academy of Music founded.[4] 1868 Rand McNally is formed as a railway guide company. Lincoln Park Zoo founded.[4] 1869 Chicago Water Tower built. The first Illinois woman suffrage convention was held in Chicago The Chicago Club is established. Washington Square Park being developed.[4] 1870 St. Ignatius College founded, later Loyola University Population: 298,977.[3] 1871: October 8 ? 10, the Great Chicago Fire.[4][7] 1872 Montgomery Ward in business. Establishment of the first Black fire company in the city. The original library, inside the old water tower on the site that is now the Rookery Building. This former water tower was the site of the original public library, exterior view 1873: Chicago Public Library established.[4] 1875: Holy Name Cathedral dedicated.[4] 1877: Railroad strike.[8] Art Institute of Chicago As seen from Michigan Ave 1878 Art Institute of Chicago established. Conservator newspaper begins publication.[9][10] 1879: Art Institute of Chicago founded.[1] 1880: Polish National Alliance headquartered in city. 1881: Unsightly beggar ordinance effected.[11] Home Insurance Building Field Museum in Chicago 1885: Home Insurance Building building was the first skyscraper that stood in Chicago from 1885 to 1931. Originally ten stories and 138 ft (42.1 m) tall, it was designed by William Le Baron Jenney in 1884[12][13] Two floors were added in 1891, bringing its now finished height to 180 feet (54.9 meters). It was the first tall building to be supported both inside and outside by a fireproof structural steel frame, though it also included reinforced concrete. A landmark lost to history and is considered the world's first skyscraper. Chicago Water Tower and Chicago Avenue Pumping Station, circa 1886 1886 May 4, the Haymarket riot.[14] Chicago Evening Post published (until 1932).[1] 1887: Newberry Library established. 1888: Dearborn Observatory rebuilt. 1889 Hull House founded.[1][15] Auditorium Building completed.[1] Auditorium Theatre opened. 1890: The University of Chicago is founded by John D. Rockefeller. 1891 Chicago Symphony Orchestra founded by Theodore Thomas.[1] Provident Hospital founded.[1] 1892 June 6, The Chicago and South Side Rapid Transit Railroad, Chicago's first 'L' line, went into operation. Masonic Temple for two years, the tallest building in Chicago. Streetcar tunnels in Chicago (under the Chicago River) in use until 1906.[1] 1893 May 1 ? October 30, The World's Columbian Exposition (World's Fair); World's Parliament of Religions held.[16][1] October 28, Mayor Carter Harrison, Sr. was assassinated by Patrick Eugene Prendergast.[17] Sears, Roebuck and Company in business. First Ferris wheel built by George Washington Gale Ferris Jr. Art Institute of Chicago building opens.[1] Monadnock Building completed.[1] Universal Peace Congress held.[18] Chicago Civic Federation founded.[17] 1894 May 11 ? August 2, the Pullman Strike.[14][1] ?enské Listy women's magazine begins publication.[19][20] Field Museum of Natural History established.[1] 1895: Marquette Building completed.[1] 1896 1896 Democratic National Convention held; Bryan delivers Cross of Gold speech.[21] Campaign "to improve municipal service and politics" begun in 1896.[1] Abeny beauty shop[22] and Tonnesen Sisters photo studio[23] in business. 1897 March 12, The Chicago Elevator Protective Association of Chicago was formed. Later, on July 15, 1901, to become the International Union of Elevator Constructors Local 2. The Union Loop Elevated is completed. National union of meat packers formed.[1] 1898: National peace jubilee was held.[1] 1899 Cook County juvenile court established.[24] Municipal Art League established.[1] Carson, Pirie, Scott and Company Building constructed. Chicago-Sanitary-and-Ship-Canal, during construction Chicago USA. Map of the business portion of Chicago. 1905 Source The New International Encyclopædia, v. 4, 1905, between pp. 610?11. 1900 Chicago Sanitary and Ship Canal opens;[25] the Chicago River is completely reversed. Municipal Reference Library active (approximate date).[26] Labor strike of machinists.[8] Population: 1,698,575.[1] 20th century Construction of the Chicago Drainage Canal, 1900s 1900s?1940s See also: Chicago in the 1930s 1902: Meatpacking strike.[8] 1903 December 30, Iroquois Theater Fire City Club of Chicago formed. 1905 The Industrial Workers of the World was founded in June[27] Teamsters' strike.[1] Chicago Defender newspaper begins publication.[28] City Hall rebuilding completed.[1] Chicago Federal Building completed.[1] 1906 Municipal court established.[24] The Chicago White Sox defeated the Chicago Cubs in the only all-Chicago World Series. Sinclair's fictional The Jungle published.[14] Chicago Tunnel Company operated a 2 ft. narrow-gauge railway freight tunnel network (until 1959).[1] 1907: Adolph Kroch opens a bookstore which will evolve into Kroch's and Brentano's 1908 The Chicago Cubs win the World Series for the second year in a row Binga Bank in business.[29] 1909: Burnham's Plan of Chicago presented.[14] 1910: Population: 2,185,283.[1][30] July 1: Comiskey Park opened (originally called White Sox Park). December 22: Chicago Union Stock Yards fire (1910) 1911: Chicago and North Western Railway Terminal completed.[1] 1912: Harriet Monroe starts Poetry, which will soon make Chicago a magnet for modern poets. 1913 Great Lakes Storm of 1913 Wabash Avenue YMCA opens.[31] 1914: Alpha Suffrage Club active.[32] April 23: Wrigley Field opened (originally called Weeghman Park). All Star Tournament, 18 Inch Balke Line, Chicago, May 7?14, 1906 Jewish men and boys standing on a sidewalk in Chicago, 1903 Theodore Roosevelt in Chicago, 1915 During construction, 1915 (Chicago Daily News) 1915 July 24, the SS Eastland Disaster.[1] Chicago Municipal Tuberculosis Sanitarium founded.[30] 1916 Rebuilding of the American Fort Navy Pier built. [30] 1918 Micheaux Film and Book Company in business.[33] The Spanish flu killed over 8,500 people in Chicago between September and November 1918. 1919 July 27, the Chicago race riot of 1919. Real estate broker Archibald Teller opened the first Fannie May candy store. 1920: Population: 2,701,705.[30] 1921 Balaban and Katz Chicago Theatre built, (later the Chicago Theatre). Field Museum of Natural History relocates to Chicago Park District.[30] Street-widening and street-opening projects underway.[30] Medill School of Journalism opens.[30] 1922: Chicago Council on Global Affairs established.[34] 1924 Murder trial and conviction of Leopold and Loeb. October 9: Soldier Field opened. 1925 Goodman Theatre established. Chicago railway station opened.[30] The Tribune Tower was completed on Michigan Avenue. The building's large Gothic entrance contains pieces of stone from other famous buildings: Westminster Abbey, Cologne Cathedral, the Alamo, the Taj Mahal, the Great Pyramid, and the Arc de Triomphe. 1926 Nederlander Theatre opened. Granada Theatre opened. 1927: Originally called the Chicago Municipal Airport, Chicago Midway International Airport opened. It was renamed in 1949 to honor the Battle of Midway in World War II. July 28: 27 people, mostly women and children, were killed in the Favorite Boat Disaster. 1929 February 14, the St. Valentine's Day Massacre.[21][35] Oscar De Priest becomes U.S. representative for Illinois's 1st congressional district.[36][37] Civic Opera Building & Civic Opera House opened. 1930 March 6: 50,000 gather for International Unemployment Day, capping 10 days of protest against Great Depression conditions. May 12, Adler Planetarium opened, through a gift from local merchant Max Adler. It was the first planetarium in the Western Hemisphere.[38] April 6, Twinkies are in Invented in Schiller Park. May 30, Shedd Aquarium opens. The Merchandise Mart was built for Marshall Field & Co. The $32 million, 4.2 million square foot (390,000 m2) building was the world's largest commercial building. It was sold it to Joseph P. Kennedy in 1945. 1933 Museum of Science and Industry (Chicago) opened. March 6: Mayor Anton Cermak was killed while riding in a car with President-elect Roosevelt. The assassin was thought to have been aiming for Roosevelt. 1933?34: Century of Progress World's Fair. 1934 May 19: Chicago Union Stock Yards fire (1934) July 1: Brookfield Zoo opened. July 22: John Dillinger was shot by the FBI in the alley next to the Biograph Theater.[21] 1935 January 19: Coopers Inc. sells the world's first briefs. Jay Berwanger of the University of Chicago is awarded the very first Heisman Trophy 1937: Labor strike of steelworkers.[8] 1938: Community Factbook begins publication.[39] 1944: Premiere of Williams' play The Glass Menagerie. 1945: Ebony magazine begins publication.[40] 1946: Construction of Thatcher Homes begins. 1948: Chicago Daily Sun and Times newspaper begins publication.[9] 1950s?1990s 1950: Chess Records in business.[41] 1954: Johnson Products Company in business. 1955: The first McDonald's franchise restaurant, owned by Ray Kroc, opened in the suburb of Des Plaines. 1958 December 1, Our Lady of the Angels School Fire. The last streetcar ran in the city. At one time, Chicago had the largest streetcar system in the world. 1959: Second City comedy troupe active. 1960 September 26: Nixon-Kennedy televised presidential debate held.[21] The first of the Playboy Clubs, featuring bunnies, opened in Chicago. 1963 ? Donald Rumsfeld became U.S. representative for Illinois's 13th congressional district.[42] 1965?66 ? The Chicago Freedom Movement, centering on the topic of open housing, paves the way for the 1968 Fair Housing Act. 1966 July 13?14: Chicago student nurse massacre 1967 January 26 ? 27, Major snowstorm deposits 23 inches of snow, closing the city for several days.[2] August 1: maiden voyage of UAC TurboTrain. 1968: February 7: Mickelberry Sausage Company plant explosion kills nine and injured 70. August 26 ? 29, 1968 Democratic National Convention and its accompanying anti-Vietnam War protests. 1969 October: Weathermen's antiwar demonstration.[43] December 4: Black Panther Fred Hampton assassinated. The Chicago 8 trial opens. The 100-floor John Hancock Center was built. 1970 Soul Train television program begins broadcasting. Casa Aztlán (organization) founded.[44] 1971: Segundo Ruiz Belvis Cultural Center founded.[45] 1972: Vietnam Veterans Against the War headquartered in Chicago. 1973: Sears Tower, the tallest building in the world for the next 25 years, was completed. 1974: Steppenwolf Theatre Company founded. 1977: Chicago Marathon begins.[41] 1978: First BBS goes online on February 16. 1979 Heavy snowstorm and city's slow response lead to upset of incumbent mayor. May 25, the American Airlines Flight 191 crashes. Chicago's first female mayor, Jane M. Byrne, takes office. Woodstock Institute headquartered in city.[46] 1981: Hill Street Blues television show premieres on January 15. 1982 September ? October: Chicago Tylenol murders 1983 Harold Washington became the first African American mayor.[47] Ordinance banning handguns takes effect.[35][48] 1984 The Chicago Cubs reach the postseason for the first time since 1945 The Nike shoe Air Jordan is made for superstar basketball player of the Chicago Bulls Michael Jordan. Heartland Institute headquartered in city.[49] 1986 Oprah Winfrey's Harpo Productions, Inc. in business. The Chicago Bears win Super Bowl XX Presidential Towers complex completed 1988 Lights are installed in Wrigley Field Christian Peacemaker Teams headquartered in city.[49] 1990: Population: 2,783,726.[3] 1991: May 28, at the Consumer Electronics Show in Chicago, Sony proudly revealed that it was working with Nintendo to create a version of the Super NES with an in-built CD drive. The two Japanese companies had been working together in secret on the project, tentatively titled the Nintendo PlayStation, since 1989 and with the hype about CD-ROM reaching fever pitch, Sony?s announcement should have been a highlight of the trade show. Eventually leads to betrayal of the company Nintendo to Sony into Leading to the beginning of PlayStation Counsel.[50] 1992: April 13, the Chicago Flood. 1995 The Chicago Heat Wave of 1995. Your Radio Playhouse begins broadcasting. Kroch's and Brentano's, once the largest privately owned bookstore chain in the US, closes. 1996 Chicago hosts the 1996 Democratic National Convention, sparking protests such as the one whereby Civil Rights Movement historian Randy Kryn and 10 others were arrested by the Federal Protective Service.[51] City website online (approximate date).[52][53] 1998: The Chicago Bulls won their sixth NBA championship in eight years. 21st century 2001: 9/11 Chicago International Speedway is opened. Boeing moves its headquarters from Seattle to Chicago A video game company called Bungie Launches Halo that would give Rise to Microsoft's Xbox counsels. 2002: Lakeview Polar Bear Club founded (now known as the Chicago Polar Bear Club). 2003 Meigs Field closed after having large X-shaped gouges dug into the runway surface by bulldozers in the middle of the night. Chicago Film Archives founded. February 17: 2003 E2 nightclub stampede June 29: 2003 Chicago balcony collapse 2004: Millennium Park opens.[54] 2005 The Chicago White Sox win their first World Series in 88 years. Regional Chicago Metropolitan Agency for Planning established.[55] 2006 May 1, the 2006 U.S. immigration reform protests draw over 400,000. Cloud Gate artwork installed in Millennium Park. 2008: November 4, US President-elect Barack Obama makes his victory speech in Grant Park. In 2009, an Amtrak Lake Shore Limited train backing into Chicago Union Station Chicago Theater in 2011 2010 June 28: US supreme court case McDonald v. City of Chicago decided; overturns city handgun ban.[48] Chicago Blackhawks win the Stanley Cup. City of Chicago Data Portal launched.[3] 2011 February 2: 900 cars abandoned on Lake Shore Drive due to Blizzard. March 30: Last of Cabrini Green towers torn down. Rahm Emanuel becomes mayor. Population: 8,707,120; metro 17,504,753.[56] 2012 38th G8 summit and 2012 Chicago Summit are to take place in Chicago. The first of an ongoing franchise of NBC Chicago-set dramas, Chicago Fire, makes its world premiere on WMAQ 2013 Chicago Blackhawks win the Stanley Cup scoring 2 goals in 17 seconds to defeat the Boston Bruins Robin Kelly becomes U.S. representative for Illinois's 2nd congressional district. 2014: January: Chiberia August: Archer Daniels Midland completes its headquarters move from Decatur to the Loop. November 2: Wallenda performs high-wire stunt.[57] 2015 606 linear park opens. Chicago Blackhawks win the Stanley Cup yet again for the third time in six years, establishing a "puck dynasty" nationwide and arguably becoming the best team in the NHL. Video of the murder of Laquan McDonald is released by court order, and protests ensue. 2016: June 16: McDonald's announces it will move its headquarters from Oak Brook to the West Loop by 2018. ConAgra completes its headquarters move from Omaha to the Merchandise Mart. November 2: Cubs win the world series. Navy Pier in 2017 2017 January 21: Women's protest against U.S. president Trump.[58] City approves public high school "post-graduation plan" graduation requirement (to be effected 2020).[59] 2018: Walgreens announces the move of its headquarters from Deerfield, including 2,000 jobs, to the Old Chicago Main Post Office. 14th Street Coach Yard and Willis Tower, October 2018 2019 May 20: Lori Lightfoot becomes the first female African-American mayor of Chicago. 2020 March 16: First Chicago death due to the COVID-19 pandemic; Governor J.B. Pritzker and Mayor Lori Lightfoot issue a stay at home order. Over 7,700 people in Chicago died in the pandemic. May 28 ? June 1: George Floyd protests in Chicago 2022 May ? July: 2022-2023 abortion protests 2023 May 15: Brandon Johnson becomes mayor. See also History of Chicago List of mayors of Chicago National Register of Historic Places listings in Chicago
  • Industry: Music
  • Original/Reproduction: Original
  • Signed: Yes

PicClick Insights - "FOTO BURLESCA ORIGINAL FIRMADA 1926 BABE MORRIS ""Reina del Jazz"" en Chicago VI PicClick Exclusivo

  •  Popularidad - 1 seguidor, 0.1 nuevos seguidores por día, 10 days for sale on eBay. Cantidad normal en seguimiento. 0 vendidos, 1 disponible.
  •  Mejor Precio -
  •  Vendedor - 807+ artículos vendidos. 0% votos negativos. Gran vendedor con la regeneración positiva muy buena y sobre 50 calificaciones.

La Gente También Amó PicClick Exclusivo