Food, Fashion, Industrial Waste Complex...

Fulton Market Street. As a young lad, my mother would take us to the iconic Fulton Market to get fresh fish. I loved it. You got to pick fish so fresh most of them were still moving. Kind of revolting to some, but I love fish. I love it. Since mercury scares have increased and they are still dyeing the river green annually I am not surprised my mother has gone the way of grocers, but she is not the only one to change. The industrial path of the street begins at Halsted heading west interupted briefly by Ashland and continues it's stretch to California, transforming from butchers and galleries, to lumber yards, metal works and much more.

I know, I said butcher shops and galleries. It's the craziest thing. You have to see it for yourself. The most posh, upscale, mod business have flourished right next to the most unexpected businesses. The balance is uncanny, sometimes shocking, but it is great to see different social classes-(if they still exist) coexisting instead of gentrification.

Not only are the new businesses pioneers because of the location, but Folia for example is a fine dining Restaurant and Boutique. Next door they slaughter live pigs. Wild, but true.

Black is the New Black

This is one of the more serious pieces I will write in my lifetime, As I blast AC/DC's classic 'Back in the Black' (which always sounds like gansta rap to me) my mind races with deep intent.
I raised myself on Marvel Comics. I became very intimate with the characters until I matured. They no longer hold much relevance in my social life, but are still significant to my persona.

One my main issues with comic books was the lack of non-caucasian characters. From heroes to villains. D.C. comics seemed to be all out racist to a young black male. Many young black comic collectors shared that sentiment. Marvel was the lesser of the two evils. It was air apparent from the entry of the Black Panther and even subtle attributes such as Spider-Mans full mask that race was to take a back door to storyline and content. The X-Men reiterrated that sentiment and followed through with Storm.
Marvel than followed up with the Bantam, The Falcon, Luke Cage, Sunspot, Cloak (of Claok and Dagger) and more such as Blade and War Machine. There was still modular racism, such as Dazzler. Little known fact she was scripted to be black, but film producers did not agree with Marvels decision of a Grace Jones -esque character. (Look it up!) These characters had succesfully entered the public's conscience, but still took back seat o the barrage of white heroes and such.
Even when Image comics burst on the scene with glossy paper and vibrant inks the stories did not reflect the black diaspora as much as it's predecessor.
So I choose Marvel, lesser of the two evils. Recently Marvel comics has finally jumped into Hollywood. It makes sense for comics to be adapted to film. What many critics don't understand is the story boards are alread done along with script and character breakdowns. All you need to do is cast. All of the character have already been field tested.
Never the less I was Amazed at the accuaracy of the casting from Robbie in Spider-Man, but when the King Pin was cast as Edward Duncan Jr. I was shocked and slightly upset.

Racial issues are a slippery slope. Black people do not agree across the board on any issue. Many applauded the casting. Some were appauled because they chose a black male to represent one of Marvels most sinister villains, who happens to be a drug lord. (It's a little to close to home for many.) But,
I was also surprised when Will Smith played John West! Don't get me wrong, I love Posse!


I am a stickler for detail. I am well aware that there is a lack of roles for those of African decent in Holloywood. Knowing the history and nature of comics; while taking into account half of the Hollywood flicks inproduction used to be comics, you would think I would support this. I don't. Not a bit. How do you think black comic fans of the X-Men would react if a white male was cast as Bishop. Black seems to be the new cool. I feel that casting Samuel. L. Jackson as Nick Fury is a travesty. It undermines the struggle of black people. It just holds a blind eye and deaf ear to any bigotry and the history of the character.
There has been a struggle for black characters on screen and off.


To boost the cool of one character by changing their race is immoral. And worst of all the aesthetic is unbalanced. In one day I saw two different Nick Fury's on T.V. A black one and a white one. Kingpin too! How in black baby Jesus's name am I supposed to explain that? I don;t think you should change that. Just create new black characters (try hiring black writers and artists) and make them good.

I want to quote a line I heard on a made for T.V. movie. Breaking Down the Wall- Lisa Bonnet's Mom said it to her and my Mom says it to me. I'm not saying it's right. I'm just say'n "Black is not ugly. Black is not beautiful, Black is black."

So, now I am going to leave you with images of black characters in comics and album covers. Comic books and hip-Hop have shared a common ground in pop culture since their inception. I will also post historical cartoons and drawings so you can see the improper wy people of colour were portrayed, treated and celebrated.

Keep it real.

The scene?

I don't know what this was...I drove by and decided to go back because of the large number of people. It was at 1615 North Western. A place formally known for quality in music production, McKinley Wells metal fabrication and severl other small design companies. I spent several years producing art and interning in different facilities and studios there. Now it has been renovated and taken a new life as rented art studios. I'd missed a wonderful group show the week before. I was hoping this was the closing, but only one room was open. There were empty beer bottles around and obvious art students and scenesters dressed in the best and worst clothes they could possibly find. There were only two pieces in sight and only one was hung...Maybe the draw was the 'suedo performance art'. Several people drenched themselves in chocolate syrup while dressed in very formal clothes. I don't understand the nature or purpose of the act. It may have been sexual in origin, because they spontaneously began gyrating to the techo music blasting from Ceasar's, (one of the managers of the spaces) tables, or maybe they mixed more than chocolate into the syrup. This happens all too often in Chicago. A party for the sake of drinking with art as an excuse/cover. Maybe I was late or just missing something significant. (I doubt it.) The coolest people there seemed to be bored out of their minds. Many people just gathered outside. There was hardly any space inside the tiny, poorly ventilated studio and many people seemed as if they just wanted to be seen, so I looked and left. It was a waste of gas, I should have hoofed it.