Performing Arts

In just over a decade, a tiny, do-it-yourself stand-up scene on the North Side of Chicago produced some of the most successful and influential stand-up comedians of their generation. Hannibal Buress, T.J. Miller, Kyle Kinane, Cameron Esposito, Pete Holmes, Beth Stelling, Matt Braunger and Kumail Nanjiani make up a partial list of names of comics who emerged from a scene that had very little industry attention—or even a home club.

It was also a scene that took a backseat to the city’s vaunted improv institution, and if we’re being completely honest, it was a scene where comics mostly performed to drunks in the backs of dingy bars on their off nights. None of it was glamorous. None of it should have worked at all. But somehow, some way, the comedians from this scene have managed to etch their own names into the Chicago comedy pantheon. The Perfect Amount of Wrong is the story of that scene, as told by its veterans.

Local historian Seth Bate tells the story of the Walnut Valley Festival with reflections from staff, emcees, performers, campers, and characters from throughout its history.

The Festival was launched in 1972 when a guitar maker, a farmer, and a businessman built their own music festival from the ground up. It has made the small town of Winfield into an annual destination for acoustic musicians and music lovers from around the world and it has always been participatory, with the informal campsite pickin’ as much a part of the event as the stage shows and instrumental contests. The Walnut Valley Festival has always been proud of its deep-rooted traditions, but most of all, it is a community celebration.

Take a seat in the front for a journey through the first 50 years of TV in Chicago. Many of the pioneering stations there defined the early years with innovation, personaility and programming.

The history of television in Chicago begins with the birth of the medium and is defined by the city's pioneering stations. WBKB (now WLS-TV) was the principal innovator of the Chicago School of Television, an improvisational production style that combined small budgets, personable talent, and the creative use of scenery and props. WNBQ (now WMAQ-TV) expanded the innovative concept to a wider audience via the NBC network. WGN-TV scored with sports and kids. Strong personalities drove the success of WBBM-TV. A noncommercial educational station, WTTW, and the city's first UHF station, WCIU, added diversity and ethnic programming. The airwaves in Chicago have been home to a wealth of talented performers and iconic programs that have made the city one of the country's greatest television towns. Chicago Television, featuring photographs from the archives of the Museum of Broadcast Communications (MBC) and the collections of local stations and historians, gives readers a front-row seat on a journey through the fi rst 50 years of Chicago television, 1940-1990. Founded in 1982 by broadcaster Bruce DuMont, the MBC Web site offers over 10,000 digital assets.

Detroit broadcasting history is rich with character . . . and characters.

It began atop the Penobscot Building on October 23, 1946, when WWDT shot a signal to the convention center, part of a ""New Postwar Products Exposition."" WWJ-TV offered scheduled programming in June 1947, and WXYZ-TV and WJBK-TV jumped in a year later. The medium has influenced the city's personality and social agenda ever since. Soupy Sales turned getting a pie in the face into an art form. Mort Neff celebrated the state's outdoor charms. George Pierrot showed Detroiters the world. Other beloved personalities include: Milky the Clown, Ed McKenzie, Sonny Eliot, John Kelly, Marilyn Turner, Robin Seymour, Bill Bonds, Dick Westerkamp, Jingles, Bill Kennedy, Lou Gordon, Captain Jolly, Johnny Ginger, Auntie Dee, and many more.

The Balaban and Katz Theater Corporationperfected the movie palaceconcept in Chicago, creating an extremely popular pastime that contributed greatly to Chicago's cultural identity.

The Balabans started in the movie theater business in 1908 by leasing the 100-seat Kedzie Nickelodeonon Kedzie Avenue. Balaban brothers Barney and A. J. dreamed of operating 5,000-seat movie palaces, so in 1916, they joined family friends Sam and Morris Katz to form the Balaban and Katz Theater Corporation. Their mission was to offer an unrivaled theater-going experience with the finest live performances and service. They built ornate theaters, such as the Chicago, the Uptown, and the Congress Theaters, filling them with fine furnishings, antiques, and artwork.Balaban and Katzproduced live stage shows between the movies with the likes of Bob Hope, Louis Armstrong, and Benny Goodman. Sadly, only a few of these gorgeous theaters still stand today.

Author David Balaban is named after his grandfather, one of the seven Balaban brothers who ran Balaban and Katz. Join him as he shares the stories and images of grandfather and great-uncles movie theaters.

Cincinnati Television provides an informative entertaining look at Cincinnati's broadcast history through the images and stories of its participants.

Cincinnati has a distinguished television history. Beginning before WLW-T signed on the air in February 1948, its experimental station W8XCT broadcast from the 46th floor of the Carew Tower. WKRC-TV and WCPO-TV signed on in 1949, WCET in 1954, and WXIX-TV in 1968. Since then, television has become part of the family.

Uncle Al, Skipper Ryle, Batty Hattie from Cincinnati, the Cool Ghoul, Peter Grant, Al Schottelkotte, Nick Clooney, Ruth Lyons, Paul Baby, Bob Braun, and Jerry Springer visited Cincinnati living rooms on television. Remember Midwestern Hayride, TV Dance Party, PM Magazine, Juvenile Court, Young People's Specials, Lilias, Dotty Mack, Bob Shreve, Mr. Hop, Bean's Clubhouse, The Last Prom, and Ira Joe? They are part of the collective Cincinnati history, part of the Cincinnati culture, and part of the Cincinnati family.

Jim Friedman is a Cincinnati native and resident wordsmith who has created television shows since 1979. He has won 56 regional Emmy Awards for writing, directing, and producing television shows for WCPO-TV, WKRC-TV, WLWT, WXIX, and WCET. He created The Celebrate Series, The Dooley Show, Everyday Freedom Heroes, and the Dreambuilder movies. In Cincinnati Television, he shares memories from in front of the camera, behind the scenes, and all over town.

Utilizing remarkable images from the Manning Brothers Historical Collection, the Michigan Opera Theatre Archives, and several additional collections, Michael Hauser and Marianne Weldon have captured the excitement of the shared entertainment experience in Detroit Opera House.

The theater known today as the Detroit Opera House has been an integral part of the city's culture and history as well as the live entertainment industry. Its existence has been threatened in the past, but it has survived wars, the Great Depression, civil unrest, economic meltdowns, the abandonment of downtown, and, most recently, a pandemic. Generations of patrons have fond, vivid memories of attending films, stage presentations, or events with family and friends as it transitioned from the Broadway Capitol to the Paramount to the Grand Circus to the Detroit Opera House. The reason for building these "temples of amusement" was to literally transport a guest into another world, and the Detroit Opera House has valiantly fulfilled that task. What began as an idea by David DiChiera, founder of Michigan Opera Theatre, the owner and operator of today's Detroit Opera House, blossomed into a magnificent performing arts center with its formal opening in 1996.

Hauser is marketing manager for the Detroit Opera House, and Weldon is the collections manager for art and artifacts at Bryn Mawr College.

Cleveland's Playhouse Square documents the fascinating history of the five theatres which boomed, beginning in the 1920s.

In the early 1920s, five opulent theaters--the Allen, the Ohio, the State, the Palace, and the Hanna--opened on a stretch of Euclid Avenue in Cleveland. They offered legitimate theater, vaudeville, name bands and entertainers, and films for the affluent and hardworking citizens of this booming industrial city. Unfortunately, the introduction of television and the flight to the suburbs in the 1950s and 1960s turned the theaters into ghost palaces destined for the wrecking ball. In 1970, a bold group of planners led by Raymond K. Shepardson formed the Playhouse Square Association, a nonprofit group dedicated to saving the theaters. A 25-year restoration endeavor emerged that raised $53 million, culminating in the largest theater restoration project in the world. Today Playhouse Square Center ranks second only to New York's Lincoln Center as North America's largest performing arts complex.

Capturing the first 50 years of Cincinnati's radio broadcasting golden era with both words and rare and often unpublished images.

Like radio listeners in many other cities its size, Greater Cincinnatians have kept their ears tuned to their local radio stations for music, news, and entertainment for nearly a century. However, unlike those cities, Cincinnati enjoyed several unique broadcast stories ranging from some of the earliest forays into radio dramatics to the country's first 500,000-watt superpower radio station. The listeners were treated to several up-and-coming celebrities like Doris Day, Rosemary Clooney, Andy Williams, and ""Fats"" Waller; the rise of three major communications corporations; and ultimately, an amazing array of nationally broadcast network shows and talents that, for a brief period, placed the city's broadcasters behind only New York and Chicago in terms of importance.

This new headquarters of the Madam C.J. Walker Manufacturing Company, with its terra-cotta trimmed facade, was to be more than corporate offices and a factory for what then was one of America's most successful black businesses. In fact, it was designed as "a city within a city," with an African Art Deco theater, ballroom, restaurant, drugstore, beauty salon, beauty school, and medical offices. Generations of African American families met for Sunday dinner at the Coffee Pot, enjoyed first-run movies and live performances in the Walker Theatre, and hosted dances in the Casino. Today, this National Historic Landmark is an arts center anchoring the Indiana Avenue Cultural District.

It had repercussions throughout the nation as the first major war of AM radio versus FM radio. It was Forty-fives versus album cuts and the "good guys" versus the "bad boys"--and Naptown would never be the same. Two brilliant and fierce broadcasting competitors went head to head: Richard Fairbanks, who for almost two decades owned WIBC-AM 1070, the 50,000-watt radio behemoth, versus Don Burden, the young upstart broadcasting impresario who swaggered into town and launched the glitzy, promotion-oriented though relatively low-powered WIFE-AM 1310. How was the war fought? What were the strategies? Who were the personalities both in the limelight and behind the scenes? And who, in the end, would win Naptown's rock radio wars?