Chicago Italians

From Wikipedia, the free encyclopedia


Exterior view (in 1909) of the storefront office of P. Schiavone & Son, bankers and steamship agents, located at 925 South Halsted Street.Little Italy is located in the Near West Side community area of the city of Chicago, Illinois. It encompasses a 12 block stretch of Taylor Street east of Ashland Avenue and the streets to the north and south for several blocks in each direction. The neighborhood lies between the Illinois Medical District to the west and the University of Illinois at Chicago to the east. It is a neighborhood of strongly Italian influence.

Little Italy never had a concentration of Italian-Americans that constituted a majority.[1] Other ethnicities have always been present in the area known as "Little Italy."[2] Nonetheless, the neighborhood was given its name due to the strong influence of Italians and Italian culture on the neighborhood throughout the 19th and 20th century.

Though the Italian population declined throughout the late 20th century, many Italian restaurants and groceries remain in the formerly prominent Taylor Street corridor.[3] The neighborhood also hosts the National Italian American Sports Hall of Fame as well as the historic Roman Catholic churches Our Lady of Pompeii, Notre Dame de Chicago, and Holy Family 1940s to present Italians began arriving in Chicago in the 1850s in small numbers. By 1880, there were 1,357 Italians in the city.[4] By the 1920s, Italian cookery became one of the most popular ethnic cuisines in America, spawning many successful bakeries and restaurants—some of which prospered for generations and continue to influence the Chicago dining scene today.[3] By 1927, Italians owned 500 grocery stores, 257 restaurants, 240 pastry shops, and numerous other food related businesses that were concentrated in the Italian neighborhoods.[3] One success story is that of the Gonnella Baking Company, Chicago’s largest producer of Italian bread and rolls.[5]

The immigration of Italians accelerated throughout the late 19th century and into the early 20th century. Chicago's foreign-born Italian population was 16,008 in 1900 and peaked at 73,960 in 1930.[4] The largest area of settlement was the Taylor Street area, but there were also 20 other significant Italian enclaves throughout the city and suburbs.


1940s to present
Following World War II, several developments hindered the cohesion of the community. The construction of the Eisenhower Expressway and the University of Illinois at Chicago Medical district forced many to move. The establishment of the Circle Campus of UIC in the 1960s by Mayor Richard J. Daley further dispersed the community. During the construction of the 100-acre UIC campus, 200 businesses and 800 homes were bulldozed in Little Italy, with 5,000 residents displaced.[6]

By the end of the 20th century, Little Italy was one of many formerly high-profile elements of the city’s geography that had become a mere shadow of itself.[7] Few long-time residents are left in the community. Census data for the Taylor Street Little Italy tract showed only 1,280 people reporting Italian as their primary ancestry in 1990. In 2000, the number was 1,018.[8] However, Chicago’s foodways continue to rely on their roots in the intimate neighborhood cuisines, including cuisine from the surviving Italian restaurants in the formerly prominent Taylor Street corridor.[3]


Recent gentrification
Rents in the area have risen in the past few decades due to an influx of condominiums, townhouses, and the proximity of Little Italy to UIC and the Loop. An example of this gentrification: in the 1990 census, no homes in the Little Italy sample area were reported to be worth more than $400,000. By contrast, according to the 2000 census, 62 homes were reportedly worth more than $500,000, and 13 of those were worth at least $1 million.[8].


Landmarks
Two of the more significant landmarks of Little Italy were the Catholic churches of Our Lady of Pompeii and Holy Guardian Angel founded by Mother Cabrini.[9] Holy Guardian Angel was the first Italian congregation in Chicago. The parish was established in 1898, and the church was built on Arthington Street in 1899. Due to the burgeoning population, a second major Italian church, Our Lady of Pompeii, was founded in 1911.[10] The Holy Guardian Angel Church was razed for the construction of the expressway system.[11] The Our Lady of Pompeii Church is now a the Shrine of Our Lady of Pompeii.

Hull House, Jane Addams' settlement house known for its social and educational programs was also located within the Little Italy area.

In recent years, the National Italian American Sports Hall of Fame (founded in 1977 in Elmwood Park, Illinois) was relocated to a new building in Little Italy.


Other "Little Italies" in Chicago

A three story apartment house and a one story dwelling in Little Hell in September 1902.Several other areas in Chicago had significant Italian populations aside from Taylor Street, which has popularly been known as Chicago's "Little Italy."


Little Sicily or "Little Hell"
In the 22nd Ward on the city's Near North Side, a Sicilian enclave known alternately as "Little Sicily" and "Little Hell" was established in an area formerly populated by Scandinavians.[12] It was considered the most colorful Italian neighborhood,[9] and was home to 20,000 Italians by 1920.[9] However, the neighborhood no longer exists today due to the construction of the Cabrini-Green public housing projects on the site during and after WWII. By the mid 1960s, the rising violent crime rate and other social problems that came as a result of the housing projects caused an exodus of many of the original inhabitants of the area.[12]


"Heart of Italy"
On the city's South Side, a community centered on 24th and Oakley called "Heart of Italy" or "Little Tuscany" is composed mostly of Northern Italian immigrants. This neighborhood is home to the yearly Festa Pasta Vino, an Italian food and wine festival that claims to be "Chicago’s largest celebration of Italian culture".[13]


References
^ a b Grinnell, Max. "Encyclopedia of Chicago "Little Italy"". Chicago Historical Society. Retrieved on 2007-02-07.
^ Binford, Henry C., "Multicentered Chicago", The Encyclopedia of Chicago, p. 548-9, Eds. Grossman, James R., Keating, Ann Durkin, and Reiff, Janice L., 2004, The University of Chicago Press, ISBN 0-226-31015-9
^ a b c d Poe, Tracy N., "Foodways", The Encyclopedia of Chicago, p. 308-9, Eds. Grossman, James R., Keating, Ann Durkin, and Reiff, Janice L., 2004, The University of Chicago Press, ISBN 0-226-31015-9
^ a b Vecoli, Rodolph J., "Italians", The Encyclopedia of Chicago, Eds. Grossman, James R., Keating, Ann Durkin, and Reiff, Janice L., 2004, The University of Chicago Press, ISBN 0-226-31015-9
^ Kraig, Bruce, "Food Processing", The Encyclopedia of Chicago, p. 304, Eds. Grossman, James R., Keating, Ann Durkin, and Reiff, Janice L., 2004, The University of Chicago Press, ISBN 0-226-31015-9
^ Leroux, Charles, "Cold Shoulder: UIC and its neighborhood are thriving but the two have yet to embrace", Chicago Tribune, September 25, 1991.
^ Binford, Henry C., "Multicentered Chicago", The Encyclopedia of Chicago, p. 552, Eds. Grossman, James R., Keating, Ann Durkin, and Reiff, Janice L., 2004, The University of Chicago Press, ISBN 0-226-31015-9
^ a b Paolini, Matthew and Craig Tiede, "Economic upswing in Little Italy comes with a price" Medill News Service. December 1, 2005.
^ a b c Candeloro, Dominic (2006). "[http://www.virtualitalia.com/ch/chicago_italians1.shtml chicago's italians immigrants, ethnics, achievers, 1850-1985 - part 1]". virtualitalia.com. Retrieved on 2007-04-19.
^ Candeloro, Dominic Lawrence Chicago's Italians: Immigrants, Ethnics, Americans p. 24
^ Candeloro, Dominic (2006). "[http://www.virtualitalia.com/ch/chicago_italians2.shtml chicago's italians immigrants, ethnics, achievers, 1850-1985 - part 2]". virtualitalia.com. Retrieved on 2007-04-19.
^ a b Seligman, Amanda, "Cabrini-Green", The Encyclopedia of Chicago, Eds. Grossman, James R., Keating, Ann Durkin, and Reiff, Janice L., 2004, The University of Chicago Press, ISBN 0-226-31015-9
^ "Chicago's Festa Pasta Vino". Retrieved on 2007-02-08.

From Wikipedia, the free encyclopedia

Embrace Your Inner Foodie

During Chicago Restaurant Week 2009!

Tables are set at over 130 tantalizing eateries throughout the city for the 2nd Annual Chicago Restaurant Week. From February 20-27, food lovers will enjoy amazing opportunities to revisit their favorite spots – or sample some they've always wanted to try – for just $22 for 3-course prix-fixe lunches and $32 for 3-course prix-fixe dinners (excluding beverages, tax and gratuity).

Restaurants may offer lunch or dinner, or both, as a participant in Chicago Restaurant Week. American Express® Cardmembers may make early reservations through January 25, 2009.

Whatever your taste – spicy sizzle, scrumptious seafood, or 5-star sophistication - you're sure to find plenty to savor during Chicago Restaurant Week. Just visit our list of participating restaurants to make your choices by restaurant name, neighborhood, or type of cuisine. Then get ready to eat it up, Chicago!


Search for a participating restaurant:


Ai Japanese Restaurant & Lounge
358 W. Ontario Japanese
Aigre Doux
230 W. Kinzie St. American
Ajasteak
660 North State Japanese
Alhambra Palace
1240 W. Randolph Mediterranean
Andiamo
10000 Bessie Coleman Drive Inside the Hilton Italian
aria
200 N. Columbus Drive American
Atwater's
15 South River Lane Geneva IL, 60134 American
Atwood Cafe
One West Washington Street American
Ballo, A Rosebud Restaurant
445 North Dearborn Italian
Ben Pao
52 W. Illinois Chinese
Benihana - Schaumburg
1200 E. Higgins Road Schaumburg IL, 60173 Japanese
Berghoff Restaurant
17 W. Adams St. American
Bistro 110
110 East Pearson Street French
bluprint restaurant & lounge
222 Merchandise Mart Plz # 135 American
Brasserie Jo
59 W. Hubbard French
Brazzaz The Brazilian Steakhouse
539 North Dearborn Brazilian
Bubba Gump Shrimp Company
700 E. Grand Ave American
Cafe Ba Ba Reeba
2024 N. Halsted Spanish
Cafe des Architectes
20 East Chestnut Street French
Cafe Spiaggia
980 North Michigan Ave. Italian
Caliterra Restaurant
633 N. St. Clair Italian
Cape Cod Room
140 E. Walton Pl. Seafood
Carmine's
1043 N. Rush St. Italian
Carnivale
702 W Fulton St Latin
Carson's BBQ Ribs, Steaks & Chops
612 N. Wells American
Chez Colette
5550 North River Road Rosemont IL, 60018 French
Chicago Firehouse Restaurant, The
1401 S. Michigan Ave. American
China Grill
230 North Michigan Ave Fusion
C-House
166 E. Superior Street American
Coco Pazzo
300 W. Hubbard Italian
Coco Pazzo Cafe
636 N. St. Clair Italian
Crofton on Wells
535 N. Wells St. American
David Burke's Primehouse
616 N. Rush Street Steak & Beef
Devon Seafood Grill
39 E. Seafood
Dine Restaurant
733 W. Madison Ave. American
Drawing Room at Le Passage
937 North Rush St American
Ed Debevic's
640 N. Wells St. American
English
444 N. LaSalle St. Gastro Tavern
Farmerie 58
58 E. Ontario American
Fleming’s Prime Steakhouse & Wine Bar
25 E. Ohio Street Steak & Beef
Fox & Obel Market, Cafe & Catering
401 East Illinois American
Frontera Grill and Topolobampo
445 North Clark Street Mexican
Fulton's on the River
315 N. LaSalle Street American
The Gage Chicago
24 S. Michigan Ave. Gastro Tavern
Geja's Cafe
340 W. Armitage Ave. Continental
Grace O'Malley's Restaurant
1416 S. Michigan Ave. Irish
Grill on the Alley
909 North Michigan Ave American
Hard Rock Cafe
63 W. Ontario American
Harry Caray's Italian Steakhouse
33 West Kinzie Street Steak & Beef
Harvest Grill
540 N. Michigan Ave. American
House of Blues Back Porch Restaurant
329 North Dearborn Cajun
Hugo's Frog Bar
1024 N. Rush St. Seafood
Indian Garden Restaurant
247 E. Ontario Street #2 Indian
Jack Binion's Steakhouse
777 Casino Center Drive Hammond IN, 46320 Steak & Beef
Japonais
600 W. Chicacgo Ave. Japanese
Joe's Seafood, Prime Steak and Stone Crab
60 E. Grand Seafood
Kamehachi Japanese Restaurant and Sushi Bar
240 East Ontario Japanese
Kamehachi Japanese Restaurant and Sushi Bar (Wells)
1400 North Wells Japanese
Keefer's Restaurant
20 W. Kinzie Seafood
Klay Oven
414 N. Orleans Indian
La Cantina Grill
1911 S. Michigan Avenue Mexican
La Cantina Italian Chophouse
71 W. Monroe Italian
La Madia
59 W. Grand Ave. Italian
La Sardine
111 N. Carpenter French
La Trattoria Del Merlo
1967 N. Halsted St. Italian
Lawry's The Prime Rib
100 East Ontario Steak & Beef
LB Bistro & Patisserie
301 E. North Water St., Lvl. 2 French
Le Colonial Restaurant
937 N. Rush Street Vietnamese
The Lobby at The Peninsula Chicago
108 E. Superior Breakfast / Brunch
Lockwood Restaurant & Bar
17 E. Monroe Street American
Luxbar
18 E. Bellevue Pl. American
M Avenue Restaurant
701 N. Michigan Ave. American
Maggiano's Little Italy
516 N. Clark Street Italian
Martini Park
640 N. LaSalle Drive American
McCormick and Schmick's Fresh Seafood Restaurant
1 E. Wacker Dr. Seafood
McCormick and Schmick's Fresh Seafood Restaurant - Chestnut
41 E. Chestnut St. Seafood
Melting Pot
609 N. Dearborn American
Merlo on Maple
16 W. Maple Italian
Merlo Ristorante
2638 N. Lincoln Avenue Italian
Metropolitan Club, The
Sears Tower - 67th Floor - 233 S. Wacker Dr American
Mexx Kitchen at the Whiskey
1015 North Rush Street Mexican
Morton's The Steakhouse
65 East Wacker Place Steak & Beef
N9NE Steakhouse
440 W. Randolph Steak & Beef
Naha
500 North Clark Street American
Nick's Fishmarket
51 S. Clark St. Seafood
NoMI
800 N. Michigan Ave., 7th Fl. Eclectic
one sixtyblue
1400 West Randolph American
Original Gino's East, The
633 N. Wells St. Pizza
Osteria Via Stato
620 N. State Street Italian
Palm, The
323 E. Wacker Drive Steak & Beef
Pane Caldo
72 E Walton St Italian
Park 52 Restaurant
5201 S. Harper Ave. American
Park Grill
11 N. Michigan Ave. American
Parrot Cage Restaurant
7059 S. South Shore Drive American
Petterino's
150 N. Dearborn American
Phil Stefani's 437 Rush
437 N Rush St Italian
Piccolo Sogno Restaurant
464 N. Halsted St. Italian
Prosecco
710 N. Wells Italian
Pump Room
1301 N. State Parkway Euro
Quartino Ristorante
626 N. State St. Italian
Restaurant at Conrad, The
521 N. Rush @ Michigan Avenue American
Rhapsody
65 E. Adams American
Ristorante We
172 W. Adams Italian
Riva
700 East Grand Avenue Seafood
Rock Bottom Restaurant & Brewery
One West Grand American
Rockit Bar & Grill
22 W. Hubbard Street American
Rosebud on Rush
720 N. Rush Italian
Rosebud Prime
One S. Dearborn Steak & Beef
Rosebud Steakhouse
192 E. Walton Steak & Beef
Rosebud Theater District
70 W. Madison Italian
Rosebud, The
1500 W. Taylor Italian
Roy's Chicago
720 N. State Street Fusion
Ruth's Chris Steak House
431 North Dearborn Steak & Beef
Saloon Steakhouse, The
200 E. Chestnut Street Steak & Beef
Seasons Restaurant
120 E. Delaware Place American
Shor
2233 S Martin Luther King Dr American
Shula's Steak House
301 East N. Water Street Steak & Beef
Smith & Wollensky
318 North State Street Steak & Beef
South Water Kitchen
225 N. Wabash Avenue American
Sullivan's Steakhouse
415 North Dearborn Steak & Beef
Sushi Samba Rio
504 N. Wells Japanese
Tavern at the Park
130 East Randolph St American
Texas De Brazil - Downtown Chicago
51 East Ohio Brazilian
Tizi Melloul
531 N. Wells Mediterranean
Topolobampo
445 N. Clark St. Mexican
Triad Sushi Lounge
1933 S. Indiana Ave. Japanese
Tuscany on Taylor
1014 W. Taylor Street Italian
Viand Bar & Kitchen
155 East Ontario American
Walnut Room, The
111 N. State St., 7th Fl. American
Wave
644 N. Lake Shore Drive Mediterranean
Wildfire Chicago
159 W. Erie American
Zapatista
1307 S. Wabash Ave. Mexican
Zest Restaurant
505 North Michigan Avenue American

The St. Valentines Day Massacre.


Probably the most publicized and talked about Mob event ever is the St. Valentines Day Massacre. Several movies have been made about it and numerous books have been published.



The North Side gang, led at the time by George 'Bugs' Moran, were being a major thorn in Al Capone's side. Capone finally decided he had had enough and, with the help of 'Machine Gun' Jack McGurn and others, hatched the plot that was to make murder history.
Capone had a gangster from Detroit set up a deal with Moran for a quantity of liquor that had been recently hijacked. Moran accepted the deal and arranged to take possession at a garage at 2122 North Clark Street on February 14th, 1929. Capone's friends from Detroit informed him of the arrangements and phase two of the plan went into effect. Capone's team acquired a police paddy wagon, either by theft or bribery, and police uniforms and proceeded to the garage on the morning of the 14th. Two of the hit team dressed in the police uniforms, the others wore long coats and presumably looked like the detectives of the group. They pulled up to the front of the garage and all charged out and in to the building just as the police would have in a routine raid. Inside the garage were six members of Moran's gang (the old O'Banion gang) - Adam Meyer, John May, James Clark, Al Weinshank, the Gusenburg brothers, Frank and Pete and an optometrist Dr. Reinhardt Schwimmer who picked a bad day to visit. The hit team had all seven men stand up and face the wall. The seven complied, expecting a pat down search for weapons and identification. Then two of Capone's men opened up with Thompson submachine guns, peppering each victim with numerous rounds from the .45 caliber weapon. The hoods disguised as cops then took the guns and marched the plain clothed gun men out of the garage with their hands raised as if they were under arrest. They all got into the police wagon and drove off.

The hit was only a partial success, however. The main target, Bugs Moran, was late getting up that morning and he and two others, Willy Marks and Ted Newbury, were just rounding the corner when the police wagon rolled up. Figuring the police were there for just a routine bust, Moran and Co. stayed just out of sight waiting for the police to leave. When the machine guns opened up, Bugs and his friends took off. He was later picked up by the police department for questioning about the incident. Bugs was quoted as saying "Only Capone kills like that."

Al Capone, of course, denied all knowledge of the hit. He was actually in Florida at his beach front condo soaking up the sun and sipping martinis. The members of the hit team never were identified. In fact, the news papers the next day carried the story that it actually was the police that had performed the murders as a reprisal for the theft of the booze from crooked cops some weeks earlier. No one in Chicago at that time found such a claim unusual since the corruption in the police force was so absolute. A forensic scientist from New York , Calvin Goddard, was actually called in to test all the machine guns in the police forces possession to rule out such a scenario. Goddard could not match up any weapon in the police arsenal to the bullets found at the scene.



About a year after the murders, the police raided the home of Fred Burke, a professional killer who sometimes had been hired by Capone. In his possession the came across the tommy guns used in the St. Valentines Day Massacre. Burke was never brought to Illinois to be tried for the massacre though. He was, instead, convicted for the killing of a police man in Michigan and sentenced to life. The rumors surrounding the find were that Burke was never brought to Chicago since his testimony would implicate the police in the planting of the weapons and cause police suspicion all over again.



It is not known who actually participated in the killings at 2122 North Clark but some of the more likely suspects were : Machine Gun McGurn, Tony 'Joe Batters' Accardo, George 'Shotgun' Ziegler, Claude Maddox, Gus Winkler and 'Crane Neck' Nugent, the last four being members of the elite hit squad Murder Inc. from Brooklyn.

IF BOTH of your parents are/were ITALIAN this is a nice reflection back to the way things used to be...

Per tutta la Mia famiglia e gli amici it amo oggi, domani e sempre

To all my family and friends I love you today, tomorrow and always

42 Things In The Life Of An Italian American Child


01. You have at least one relative who wore a black dress every day for an entire year after a funeral.

02. You spent your entire childhood thinking what you ate for lunch was pronounced 'sangwich.'

03. Your family dog understood Italian.

04. Every Sunday afternoon of your childhood was spent visiting your grandparents and extended family.




05. You've experienced the phenomena of 150 people fitting into 50 square feet of yard during a family cookout

06. You were surprised to discover the FDA recommends you eat three meals a day, not seven.

07. You thought killing the pig each year and having salami, capacollo, pancetta and prosciutto hanging out to dry from your shed ceiling was absolutely normal. (Wow, that's really Italian!)

08. You ate pasta for dinner at least three times a week, and every Sunday, and laughed at the commercial for Wednesday is Prince Spaghetti day.

09. You grew up thinking no fruit or vegetable had a fixed price and that the price of everything was negotiable through haggling.

10. You were as tall as your grandmother by the age of seven.

11. You thought everyone's last name ended in a vowel.

12. You thought nylons were supposed to be worn rolled to the ankles.





13. Your mom's main hobby is cleaning.

14. You were surprised to find out that wine was actually sold in stores.

15. You thought that everyone made their own tomato sauce.

16. You never ate meat on Christmas Eve or any Friday for that matter.






17. You ate your salad after the main course.

18. You thought Catholic was the only religion in the world.


19. You were beaten at least once with a wooden spoon or broom.

20. You thought every meal had to be eaten with a hunk of bread in your hand






21. You can understand Italian but you can't speak it.
22. You have at least one relative who came over on the boat.

23. All of your uncles fought in a World War.



24. You have at least six male relatives named
Tony, Frank, Joe or Louie.

25. You have relatives who aren't really your relatives.

26. You have relatives you don't speak to. Haaaaaaaaaaaaaaaaaa!!

27. You drank wine before you were a teenager.

28. You relate on some level, admit it, to the Godfather and the Sopranos. I maka a meata ball you can't refuse!.
Forrgetttabbboutit! Badda bing!






29. You grew up in a house with a yard that didn't have one patch of dirt that didn't have a flower or a vegetable growing out of it.

30. Your grandparent's furniture was as comfortable as sitting on plastic. Wait!!!! You were sitting on plastic.

31. You thought that talking loud was normal.


32. You thought sugared almonds and the Tarantella were common at all weddings.

33. You thought everyone got pinched on the cheeks and money stuffed in their pockets by their relatives.

34. Your mother is overly protective of the males in the family no matter what their age.

35. There was a crucifix in every room of the house.

36. Wakes would be held in someone's living room.

37. You couldn't date a boy without getting approval from your father. (Oh, and he had to be Italian)

38. You called pasta 'macaroni'.

39. You dreaded taking out your lunch at school
40. Going out for a cup of coffee usually meant going out for a cup of coffee over Zia's house.

41 Every condition, ailment, misfortune, memory loss and accident was attributed to the fact that you didn't eat something.

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How they celebrate New Years in Italy

Rome
Rome's traditional New Year's Eve celebrations are centered in Piazza del Popolo. Huge crowds celebrate with rock and classical music and dancing and of course, fireworks. The celebrations last well into the night. On New Year's day (while the adults are sleeping), children will be entertained in the square by performers and acrobats.
Next to the church of Santa Maria del Popolo, you can still see the exhibit of traditional nativity scenes (through January 8) from 100 regions of Italy and other countries of the world.

Rome has a classical music concert outdoors on the square in front of the Quirinale, off Via Nazionale, around 11:00 followed by fireworks at midnight.

Rimini
Rimini, on the Adriatic coast, is one of Italy's most popular nightlife spots. Besides celebrations in numerous nightclubs and bars, Rimini holds a huge New Year's Eve festival in Piazzale Fellini starting at 9:00. There's music, dancing, and entertainment and a spectacular fireworks display. The Rimini New Year's Eve festival will be televised in Italy.
Naples and Capri
Naples is known as having one of the best New Year's Eve fireworks displays. They also have huge outdoor music events and in some parts of Naples, people still throw their old things out of their windows.

A tradition called Lo Sciuscio originated in Naples. Although it has pretty much died out there, it still exists in some smaller towns nearby. Groups of amateur musicians (now mainly children) go from house to house playing and singing on New Year's Eve. A small gift of money or sweets is given to them to bring good luck in the new year and turning them away may bring bad luck.

Near Naples, local folkloric groups perform in the Piazzetta in Capri and Piazza Diaz in Anacapri on January 1.

Bologna
Bologna traditionally celebrates New Year's Eve with the Fiera del Bue Grasso (fat ox fair). The ox is decorated from horns to tail with flowers and ribbons. The church bells are rung, spectators light candles and of course, fireworks are set off. At the end, a special lottery is held with the winner getting to keep the ox. The procession ends just before midnight in Piazza San Petronio.
Venice
Many restaurants in Venice go all out with huge feasts on New Year's Eve, starting around 9:00 and lasting until midnight. Although expensive, they tend to be very good with many courses and lots of wine. Be sure to make a reservation ahead of time. Many restaurants will be closed on New Year's day, however. You can usually expect pizza places, hotel restaurants, and Chinese restaurants to be open.
St Mark's Square has a huge celebration with music, a giant fireworks display, bellini brindisi (toast), and a huge group kiss at midnight. The group kiss will also be held in Piazza Ferretto in Mestre Venice New Year program.

On New Year's Day, many bathers take a chilling dip in the waters of Venice's Lido Beach. That's one way to get over your hangover!

Florence
Many restaurants in Florence will have extravagent meals, too. Be sure to reserve early. Fireworks will be set off at midnight and a good place to see them would be on one of the bridges on the Arno. There will be many private fireworks celebrations all over town, too.
One of the most popular clubs in Florence, Tenax, holds a New Year's Eve party. Here are more nightclubs and places to party

Christmas is a time for love and fun,
A time to reshape souls and roots and skies,
A time to give your heart to everyone
Freely, like a rich and lavish sun,
Like a burning star to those whose lonely sighs
Show need of such a time for love and fun.

For children first, whose pain is never done,
Whose bright white fire of anguish never dies,
It's time to give your heart to every one,

That not one angel fall, to hatred won
For lack of ears to listen to her cries,
Or arms to carry him towards love and fun,

Or friends to care what happens on the run
To adult life, where joy or sadness lies.
It's time to give your heart to everyone,

For God loves all, and turns His back on none,
Good or twisted, ignorant or wise.
Christmas is a time for love and fun,
A time to give your heart to everyone
Merry Chrixst

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In 1967, Chicago musicians Robert Lamm, James Pankow, Walter Parazaider, Lee Loughnane, Terry Kath, Peter Cetera, and Danny Seraphine formed a group with one dream, to integrate all the musical diversity from their beloved city and weave a new sound, rock 'n' roll band with horns. Their dream turned into 20 Top Ten singles, 12 Top Ten albums (five of which were #1), and sales of more than 120 million records.

Pursuant to that goal, Parazaider enrolled at Chicago's DePaul University, all the while still playing "Many gigs and smoke-filled rooms and dance halls, and also some orchestra balls." It was at DePaul that he met another young Chicago musician, Jimmy Guercio, who years later would become Chicago's producer. "We started playing in different rock 'n roll bands in the area."

But while doing all that academic work, Parazaider had also gotten a non-classical musical idea he thought had promise: a rock 'n roll band with horns. In the trendy world of pop music, horns took a back seat in the mid-'6O's, when bands, imitating the four-piece rhythm section of the Beatles, stayed with the limits of guitars-bass-drums. Even the Saxophone, so much a part of '50's rock 'n roll, was heard less often. Only in R&B, which maintained something of the big band tradition, did people such as James Brown and others continue to use horn sections regularly. In the summer of l966, the Beatles turned around and brought horns back. Their "Revolver" album featured songs such as "Got To Get You Into My Life," which included two trumpets and two tenor saxophones.

Parazaider's band at the time was the "Missing Links", which featured a very talented guy named Terry Kath on bass. Kath had been a friend of Parazaider's and Guercio's since they were teenagers. On drums was Danny Seraphine, who had been raised in Chicago's Little Italy section. Trumpet player Lee Loughnane, another DePaul student, sometimes sat in with the band.

Like other future members of Chicago, Loughnane began performing in local groups. First, there was the Shannon Show Band, an Irish group in which he found himself part of a three-man horn section trumpet, trombone, and tenor saxophone just like the one Chicago would use. "I even sang my first lead vocal in that band," Loughnane recalls. "I sang "Kicks," by Paul Revere and the Raiders. I was so good at it that I became a singing sensation with Chicago. I sang three leads on 23 albums!"

Through Terry Kath, Loughnane met Seraphine and Parazaider, and he started to sit in with the Missing Links. "Terry and I became thick as thieves," he recalls. "Walt was the only horn player in that band, and he encouraged me to come by and sit in a lot so there would be two horns and you could get that octave R&B sound. It was sort of the thing at the time, and I really enjoyed playing with the band."

Now, Parazaider, Kath, Seraphine, and Loughnane decided to develop Parazaider's concept for a rock 'n roll band with horns. To make the concept work, they needed to bring in additional band members. The first musician Parazaider approached, in the fall of 1966, was a newly transferred DePaul sophomore from Quincy College who played trombone. "Walt had been kind of keeping an eye on me in school," says James Pankow. "He approached me and said, "Hey, man, I've been checking you out, and I like your playing, and I think you got it. I said, "Well, what do you mean, I got it?" He had that twinkle in his eye, and I figured, well, whatever the hell be means, I guess he likes what I do."

Pankow's recruitment brought the new band's complement of horns up to three, but they still needed bass and keyboards. They thought they had found both in a dive on the South Side when they heard piano player "Bobby Charles" of Bobby Charles and the Wanderers, whose real name was Robert Lamm.

Lamm received a phone call. He isn't sure who called him, but the voice on the other end of the phone outlined the ideas of forming a band that could play rock 'n roll with horns in it and asked it he was interested. He said he was. He was also asked if he knew how to play the bass pedals on an organ, thus filling up another sound in the band. "I lied and told them I could," he says. "I needed to learn how to do it real quick, and I did, on the job."

Lamm met the rest of the guys at a meeting set up to determine how to go about achieving their musical goals. The date was February 15th, 1967. "We had a get together in Walter's apartment on the north side of Chicago," says Pankow. "It was Danny, Terry, Robert, Walter, Lee, and myself, and we agreed to devote our lives and our energies to making this project work."

They rehearsed in Parazaider's parents' basement as often as they could. "We figured that the only people with horn sections that were really making any noise were the soul acts," says Pankow, "so we kind of became a soul band doing James Brown and Wilson Pickett stuff."

The group needed a name. Parazaider recalls: "An Italian friend of mine who was going to book us said, "You know, everybody is saying "Thing, Thing this, Thing that. There's a lot of you. We'll call you the Big Thing."

The Big Thing played its first engagement at the GiGi A Go Go is Lyons, Illinois, in March 1967. In June, July, and August, the band appeared in Peoria, Sioux Falls, South Dakota, Rockford, and Indianapolis. But the most important early gig was a week-long stand at Shula's Club in Niles, Michigan, August 29 to September 3.

In Niles, they arranged a meeting with Parazaider's old friend Jimmy Guercio, who had become a producer for CBS Records. "He heard us play," Parazaider recalls "He was very impressed ." It was the big break they had been looking for. Guercio told the band to hang on, that he would be in touch. Encouraged by this, they began to develop more of their own original material. "I began to write songs," says Pankow. "Robert began to write more songs, and Terry Kath began to contribute material."

Meanwhile, the Big Thing stayed on the Midwest club circuit through the fall, building a following. An engagement during the second week of December proved to be another important gig. "We were an opening act at Barnaby's in Chicago for a band called the Exceptions, which was the biggest club band in the Midwest, and we stuck around and listened to them," says Pankow. "I was just blown away."

If the Big Thing had stayed late to see the Exceptions, one of the Exceptions had come early to see the Big Thing. "I had heard a lot about these guys," says Peter Cetera, then bass player for the Exceptions. "I was just floored 'cause they were doing songs that nobody else was doing, and in different ways. They were doing the Beatles' Magical Mystery Tour" and "Got To Get You Into My Life" and different versions of rock songs with horns."

After the gig, says Pankow, he approached us and said, "I don't know what you guys are doing, but I like it. It's really refreshing. It's cool."

"At the end of the two-week stint," says Cetera, "I was out of the Exceptions and into the Big Thing."

Peter Cetera was born in Chicago on September 13, 1944, and his first instrument was the accordion, which he took up then he was ten. "That's unfortunately true," he admits, when asked about it. "There was accordion and guitar, and for some reason I chose accordion. I don't know why. I guess because I was half Polish, and we played a lot of polkas. It didn't do me any good for my rock 'n roll career, but it actually was a lot of fun."

Cetera perfectly fit the musical needs of the Big Thing. "We needed a bass player at the time," notes Loughnane. "Robert was playing the bass pedals on the organ. He did a pretty good job, but there just wasn't enough bottom with the bass pedals. You needed a real bass in the band. And we needed a tenor voice. We had two baritones (Lamm and Kath), so we had midrange and lower notes covered. But we needed a high voice for the same reason that you have three horns. You have trumpet, tenors and trombone. You cover as much range harmonically as you can, and we wanted to do the same thing vocally. When Peter joined the band, that solidified our vocals. You could get more color musically, and we started building from there."

It was probably at the Big Thing's next appearance at Barnaby's, March 6 - 10, l968, that Guercio came back for a second look. Impressed by the band's improvement, he took action. "He told us to prepare for a move to L.A.," says Pankow, "to keep working on our original material, and he would call us when be he was ready for us."

The band, now renamed "Chicago Transit Authority" by Guercio in honour of the bus line he used to ride to school, was in a creative fervour. Kath, Pankow, and especially Lamm were writing large amounts of original material, with Lamm completing two of the group's most memorable songs, "Questions 67 and 68" and "Does Anybody Really Know What Time It Is?" just prior to the departure from Chicago.

Guercio moved quickly. "He got a little two-bedroom house near the Hollywood Freeway, and he told us that he was ready," Pankow recalls. "We made the move in June of 1968. We threw all of our lives in U-haul trailers and drove across the country. The married guys left their wives at home at first because they couldn't afford to bring their families out. We got disturbance calls from the neighbours five times a day because all we did was practice day and night." The band began to play around the Los Angeles area. "I think we made all of $15, $20 at whatever beerhall we could play in the suburbs of Los Angeles for a while there," says Parazaider.

According to the terms of his production deal with CBS, Guercio was given the opportunity to showcase prospective signings for the label three times. He arranged Chicago Transit Authority's first showcase at the Whisky-A-Go-Go in August, but CBS's West coast division turned them down. A month later, CBS turned CTA down again, strike two.

Running short of money, Guercio was asked to produce the second album by Blood, Sweat & Tears, a jazz-rock group on CBS. Intending to use his earnings from the project to continue funding Chicago Transit Authority and to find a way to get them signed to CBS, Guercio sought the band's permission to produce someone else. He said, "To tell you the truth, I really haven't recorded horns as a whole band situation. I've recorded horns that did sort of blaps here and there or little parts here and there. This would be a good way for me to learn how to record horns."

Instead of risking another showcase with CBS, Guercio cut a demo of CTA, and when it began to get notice in the industry, CBS president Clive Davis reversed the decision of the West Coast executives and signed the group. Seven months after arriving in California, almost two years since they had come together in Parazaider's apartment, and after more than a cumulative half century of playing and practicing, the seven members of Chicago Transit Authority finally were given a chance to show the world what they could do.

In January 1969, when the group flew to New York to begin work on its first album, it faced two problems it knew nothing about. The first was that, because the Guercio-produced Blood, Sweat and Tears LP at first appeared to be a flop (though it later became a spectacular hit), the status of his new project, CTA, suffered: The label curtailed the amount of time the band would have in the CBS studio. The group was allowed only five days of basic tracking and five days of overdubbing. And then there was the second problem. Although they were well rehearsed, the band members had never been in a studio before.

"We actually went in and started making "Chicago Transit Authority" and found out we knew very little about what we were doing," says Walt Parazaider. "I had done commercial jingles in Chicago, but this was a totally different thing for all of us. The first song was "Does Anybody Really Know What Tine It Is ?" We tried to record it as a band, live, all of us in the studio at once. How the hell do you get seven guys playing it right the first time? I just remember standing in the middle of that room. I didn't want to look at anybody else for fear I'd throw them off and myself, too. I think that we actually realized after we didn't get anything going that it had to be rhythm section first, then the horns, and that's basically how we recorded a lot of the albums."

But after they worked out the basic mechanics of recording, the large bulk of material the band had amassed began to be a problem to fit on the then standard 35-minute, one-disc LP. The band had more than enough material for a double album, and they wanted to make a statement. If they had lot to say, this seemed like the time to say it. Early 1969 was a period when rock was taking on a seriousness undreamed of only a few years before. The Beatles had recently released their two-record "white" album and had also shattered the previously sacrosanct three-minute limit for a single by spending over seven minutes singing "Hey Jude."

When told of the band's intention to make a double album, Columbia's business people informed Guercio that CTA could have a double album only if they agreed to cut their royalties. The band agreed.

Released in April 1969," Chicago Transit Authority" was played by the newly powerful FM album rock stations, especially college radio. "AM radio wouldn't touch us because we were unpackagable," says Pankow. "They weren't able to pigeonhole our music. It was too different, and the cuts on the albums were so long that they really weren't tailored for radio play unless they were edited, and we didn't know anything about editing. The album was an underground hit, FM radio was embraced by the college audiences in the late '6O's. All of a sudden, the college campuses around the country discovered Chicago. The album broke into Billboard magazine's Top LP's chart for the week ending May 17, 1969, and eventually peaked at Number 17. By the end of 1972, it had amassed 148 weeks on the chart, making it the longest running album by a rock group up to that time.

It was about this time that the real Chicago Transit Authority (the elevated train line in Chicago) sued the band over the use of it's name. A simple shortening to"Chicago" was agreed on.

In early December, "Chicago" flew to London to begin a 14-date European tour and when they returned to the U.S., their first album had become a gold record. In between tour dates in August 1969, Chicago had found the time to record its second album. One of the first songs Lamm brought in for he album was "25 Or 6 To 4," a song with a lyric Chicago fans have pondered ever since. What does that title mean ? "It's just a reference to the time of day," says Lamm. As for the lyric: "The song is about writing a song. It's not mystical."

The second album also saw the debut of a new songwriter in the band, although the circumstances under which be became a writer are unfortunate. During a break in the touring in the summer of 1969, Peter Cetera was set upon at a baseball game at Dodger Stadium in Los Angeles. "Four marines didn't like a long-haired rock 'n' roller in a baseball park," Cetera recounts, "and of course I was a Cub fan, and I was in Dodger Stadium, and that didn't do so well. I got in a fight and got a broken jaw in three places, and I was in intensive care for a couple of days." The incident had an effect on Cetera's career and an impact on his singing style. "The only funny thing I can think about the whole incident," he says, "is that, with my jaw wired together, I actually went on the road, and I was actually singing through my clenched jaw, which, to this day, is still the way I sing."

When it was released in January 1970, the second album, instead of featuring a picture of the band on the cover and a title drawn from one of the songs, had the band's distinctive logo on the cover and was called Chicago II. From the start, Chicago took a conceptual approach to the way it was presented to the public. The album covers were overseen by John Berg, the head of the art department at Columbia Records, and Nick Fasciano designed the logo, which has adorned every album cover in the group catalogue. "Guercio was insistent upon the logo being the dominant factor in the artwork," says Pankow, even though the artwork varied greatly from cover to cover. Thus, the logo might appear carved into a rough wooden panel, as on Chicago V, or tooled into an elaborate leatherwork design, like Chicago VII, or become a mouth-watering chocolate bar, for the Chicago X cover, which was a Grammy Award winner.

And then there were those sequential album titles. "People always asked why we were numbering our albums," jokes Cetera, "and the reason is, because we always argued about what to call it. 'All right, III, all right, IV!", Actually, the band never attempted to title the albums, feeling that the music spoke for itself.

In commercial terms, the major change that came with Chicago II was that it opened the floodgates for Chicago as a singles band. In October 1969, Columbia had re-tested the waters by releasing "Beginnings" as a single, but AM radio still wasn't interested, and the record failed to chart. All of this changed, however, when the label excerpted two songs, "Make Me Smile" and "Colour My World," from Pankow's ballet and released them as the two sides of a single in March 1970. "I was driving in my car down Santa Monica Boulevard in L.A.," Pankow remembers, "and I turned the radio to KHJ and 'Make Me Smile' came on. I almost hit the car in front of me, 'cause it's my song, and I'm hearing it on the biggest station in L.A. At that point, I realized, hey, we have a hit single. They don't play you in L.A. unless you're hit-bound. So, that was one of the more exciting moments in my early career."

The single reached the Top 10, while Chicago II immediately went gold and got to Number 4 on the LP chart, joining the first album, which was still selling well. A second single, Lamm's "25 Or 6 To 4," was an even bigger hit in the summer of 1970, peaking at Number 4.

But instead of reaching into the second album for a third single, Columbia and Chicago decided to try to re-stimulate interest in the first album, and succeeded. The group's next single was "Does Anybody Really Know What Time It Is?" which became their third Top 10 hit in a row by the start of 1971. Ironically, Chicago's belated singles success cost the group its "underground" following. "All of a sudden," Loughnane recalls,"people started saying we sold out. The same music! Exactly the same songs !"

As January 1971 rolled around, once again Chicago had found time to record a new double album. "That third album scared us,' says Parazaider, "because we basically had run out of the surplus of material that we had, and we were still working a lot on the road. We were afraid that we were getting ready to record a little under the gun. But I don't think it shows."

After the singles from Chicago III had run their course, helping the album to its chart peak at Number 2 and its gold record award, Columbia turned back to the first and second albums which were still in the charts, re-releasing as a single "Beginnings" backed by "Colour My World," and then "Questions 67 and 68". "They all became hits," notes Loughnane, "to the point where radio said, "If you release something off that first album again, we'll neverplay another one of your records."

All of this meant that, with its first three albums, Chicago had reached astonishing popular success. All three double albums were still on the charts throughout 1971, and hits came from each one. But how to top that? In October, Columbia released a lavish four-record box set chronicling the group's week-long stand at Carnegie Hall, the previous April. Manager/producer Guercio had to fight Columbia to get the label to release the album, due to its manufacturing cost. He agreed to assume the extra expense if the album didn't sell a million units. The bill never arrived. "Chicago At Carnegie Hall" went gold out of the box and has since been certified for sales of two million copies.

Though Chicago had made previous visits to Europe and the Far East, it embarked on its first full-scale world tour in February 1972. The high point of the tour was in Japan, where Chicago recorded another live album that was so superior to the Carnegie Hall album, there's really no comparison. "The Japanese hooked up two eight-track machines together to make 16 tracks," notes Parazaider. "The sound was excellent."

Chicago's next studio album marked a change from its first three studio works in a number of respects. For one thing, Chicago V, released in July 1972, was only a single album. For another, the lengthy instrumental excursions of past records had been cut down, leaving nine relatively tightly arranged songs. "When we released all those double records, there wasn't a limit on how many songs you could have on a record and how many copyrights you could get off of that record. Then the companies decided that they were only going to pay on ten copyrights per record no matter how many songs there were." The new copyright rule benefited some recording artists at a time when performers were recording extended compositions, sometimes fitting only one per side of a record. But Chicago, which previously had given its fans extra value for their money on double-record sets, suffered. "We wanted to be able to write songs that stretched and said everything we wanted to say," Loughnane notes. "VII was the last double record, I don't think you ever saw another double record, from anybody, as a matter of fact, because there was no reason. Monetarily, everybody lost from that."

Chicago V is perhaps best remembered for Lamm's "Saturday In The Park". The album sold very well, topping the charts for nine weeks, the first of five straight Chicago albums to reach Number 1. "Saturday In The Park" became the group's first gold single, hitting Number 3.

In October 1972, a second single from Chicago V, Lamm's 'Dialogue (Part I & II)' with vocals by Kath and Cetera, was released. "Dialogue" became an instant favourite with fans. Guercio, meanwhile, bought a ranch in Colorado and built a recording studio there that he dubbed Caribou. He was seeking to avoid the expense and restrictions of the New York studios and what he considered their outdated equipment. "We got a little tired of recording in New York, with maids beating on hotel room doors," says Parazaider. "The sixth, seventh, eighth, tenth and eleventh albums were done up at Caribou Ranch, 8,500 feet up in the Rockies, about an hour's drive outside of Boulder."

The first fruits of the new studio were released in June 1973, in the form of the single "Feelin' Stronger Every Day" and the album Chicago VI. "Feeling Stronger Every Day" was about a relationship, Pankow says, but "underlying that relationship it's almost like the band is feeling stronger than ever." Pankow's "Just You 'N' Me," which would be released as the album's second single, and which would go gold and hit Number 1 in the Cash Box chart (Number 4 in Billboard), was one of Chicago's most memorable ballads and very much a harbinger of the future. "'Just You 'N' Me' was the result of a lovers' quarrel," Pankow recalls. "I was in the process of becoming engaged to a woman who became my wife for over 20 years. We had a disagreement, and rather than put my fist through the wall or get crazy or get nuclear, I went out to the piano, and this song just kind of poured out. We wound up getting married shortly thereafter, and the lead sheet of that song was the announcement for the wedding, with our picture embossed on it."

When Chicago gathered at the Caribou Ranch to record its seventh album in the fall of 1973, the initial intention was to do a jazz album. On his own, Pankow brought in another gorgeous ballad, though this time his subject matter went beyond romance. "I've Been Searchin 'So Long" was a song about finding myself," he says. "I just had to talk about who I was and what I was feeling at the time. The '70's was a time for soul-searching."

Cetera, who never claimed to be a Jazz musician, was discouraged about the original concept of the album, and also at his lack of participation as songwriter. Cetera's last-minute contribution to Chicago VII is one of the album's best-remembered songs, "Wishing You Were Here." "There's two people that I always wanted to be," Cetera confesses, "and that was a Beatle or a Beach Boy. I got to meet the Beach Boys at various times and got to be good friends with Carl Wilson." Cetera wrote the song in the style of the Beach Boys, who were at Caribou when it was to be recorded. Guercio, who had known the group since his backup days in the mid '60's, had recently taken over their management. Cetera asked the Beach Boys to sing on the bridge and chorus of "Wishing You Were Here." "They said, 'Yeah, we'd love to," be recalls. "So, I got to do the background harmonies with Carl and Dennis Wilson and Al Jardine. For a night, I was a Beach Boy."

As a result of the good vibrations between the members of both bands, it was agreed that a national tour would be fun and exciting for the bands and the audiences. The following summer, the Chicago-Beach Boys tour filled stadiums from coast to coast, nearly eclipsing the Rolling Stones, who were touring simultaneously.

Chicago VII was preceded by the February 1974 single release of "I've Been Searchin' So Long", which become the band's eighth Top 10 hit. "Call On Me" became their ninth, and "Wishing You Were Here" became their tenth, peaking at Number 9 on Cash Box, Number 11 on Billboard. The album was another chart topper. The year 1974 also marked the addition of an eighth member of Chicago, Brazilian percussionist Laudir De Oliveira, a former member of Sergio Mendez's Brazil '66. De Oliveira had first appeared on Chicago VI as a sideman.

Also in '74, Robert Lamm released a solo album called "Skinny Boy". Chicago began work on its next album August 1, 1974, at Caribou Ranch, and the results started to emerge in February 1975. Pankow wrote the sentimental "Old Days". "It's a memorabilia song, it's about my childhood," he says. "It touches on key phrases that, although they date me, are pretty right-on in terms of images of my childhood. 'The Howdy Doody Show' on television and collecting baseball cards and comic books." "Old Days" was a Top 5 hit when it was released as the second single from Chicago VIII, which appeared in March 1975.

The year 1975 marked an early commercial peak in Chicago's career, a year during which the band scored its fourth straight Number 1 album, a year when all its previous albums were back in the charts. Chicago's worldwide record sales for this single year were a staggering 20 million copies. The group returned with an all-new album in June 1976, when it released Chicago X. (Chicago IX had been a greatest hits collection.) The big hit from the album was a song that just barely made the final cut, Peter Cetera's "If You Leave Me Now". "That was one of those magical 'We need one more song (situations)," Cetera recalls.

"If You Leave Me Now" streaked to Number 1, Chicago's first Billboard singles chart topper. It also topped charts around the world. Chicago X won the band its first platinum record (the awards had only just been inaugurated that year), selling a million copies in three months. Afterward, the ballad style of "If You Leave Me Now" increasingly seemed to become the preferred style of Chicago's audience and radio listeners. "That drove me crazy," says Lamm. "I know it drove Terry crazy, because that isn't what we set out to be and it isn't how we heard ourselves."

By 1977, after eight relentless years of touring and recording, strain was beginning to show. "We'd cut down the touring from 300 dates to 250, down to 200, which is still a lot of days on the road," says Parazaider. "But let's face it, we were booming." In January, Chicago undertook another world tour, and the band was in Europe when they won a Grammy for Best Pop Vocal Performance by a Duo, Group or Chorus for "If You Leave Me Now." They also took Grammys for Best Arrangement Accompanying Vocals and Best Album Cover.

In September, Chicago XI was released, but the mounting tensions between Chicago and Guercio finally erupted. The split between group and manager had been a long time coming. Guercio had exerted a powerful control over the members of Chicago, especially in the early days, and as they became stars, it probably was inevitable that they would begin to chafe under his harsh leadership. "It started happening with the tenth record," says Parazaider. "He didn't want us to learn any of the production techniques. He'd go to sleep at nine o'clock, and we'd start producing the records ourselves.

"As I look back, I was much too hard on these guys," Guercio admits. "I felt a thoroughbred by committee is a goddamn mule. I totally manipulated them for my own ends as well as theirs, whether they understood them or not."

In the short term, little seemed changed. "Baby, What A Big Surprise" sailed into the Top 5, and Chicago XI was certified platinum the month after its release. But only a few months later, the band would be devastated by a terrible loss. On January 23, l978, Chicago guitarist and singer Terry Kath died from an accidental gunshot wound. "Terry Kath was a great talent" says Jim Guercio, who worked with him on a solo album that was never completed. "Hendrix idolized him. He was just totally committed to this band, and he could have been a monster (as a solo artist)." Kath's death devastated Chicago, and the band considered breaking up. A short time after Terry's death, "Take Me Back To Chicago," was released as a single.

If the band was going to continue, it would need a new guitarist, and auditions began in earnest in the spring of 1978. "We felt that we were being left behind by the new music," says Cetera, "and we thought we needed a young guitar player with long hair. We sat through I don't know how many guitar players, but I'm sure it was 30, 40, or 50 guitar players. Toward the end, Donnie Dacus showed up. He played a couple of songs right and with fire, and that's how he was in the group."

The band went to Miami's Criteria Studios with producer Phil Ramone, who had mixed many of their singles and television specials. "Hot Streets was a scary experience," says Pankow of the album even band members occasionally slip and called Chicago XII. "Guercio was no longer in the picture, and neither was Terry. But Phil Ramone believed in the band from the beginning. After recovering from the enormous tragedy of losing Terry, I think we did a damn good job." Perhaps the album's most notable song is the up-tempo "Alive Again," which was also the first single. "If you read between the lines, it's a tribute to Terry Kath's passing," says Pankow. "That's the first song we recorded subsequent to Terry's death. It's the band saying we're alive again, and Terry's looking down on us with a big smile."

To mark the new era, Chicago changed their album design. "Hot Streets", released in September 1978, was the first Chicago album on which a picture of the group was the dominant feature of the cover. "After the album came out, the record company did a survey," says Pankow, "and 90 percent of the people surveyed didn't give a shit about what we looked like, much to our chagrin. They wanted to see the logo. The music has always spoken for itself, and the logo has as well . It 's like Coca-Cola: When you see it, you know what it is," Hot Streets was certified platinum before the end of October, and produced two top 20 Singles in "Alive Again" and "No Tell Lover". "It got us over the letup," Parazaider says, "and we proved to ourselves we could go on and sell records."

The band went on the road to support the album and did a concert tour with a small orchestra conducted by Bill Conti, who had risen to fame as the Oscar-winning composer of the soundtrack to Sly Stallone's Rocky. Ultimately, Donnie Dacus didn't work out and left the band, though he remained through the 13th album. The personnel problem was compounded by a musical one: As the late '70s wore on, the sophisticated, jazz-rock, pop-oriented style of Chicago was being squeezed by disco on one side and punk/new wave on the other, each or them making the band seem unfashionable. Responding to pressure to change the sound, Chicago 13 , which was released in August 1979, contained the song "Street Player," which has a disco flavour. According to Parazaider, the album "hit the wall at 700,000 copies, a good sale for some, but very disappointing by Chicago's standards.

At this time, Chicago signed a new, multi-million dollar record contract with Columbia. "There was no way either party should have made that deal," says Lamm. "It created a lot of animosity at the company." After Chicago XIV suffered disappointing sales, Columbia bought the group out of the remainder of the contract and released "Greatest Hits, Volume II", which counted as the 15th album.

To replace Donate Dacus, Chicago had hired guitarist Chris Pinnick as a sideman. "Chris came closest to Terry's rhythmic approach," says Lamm. Laudir De Oliveira also departed the group at this point. In the fall of 1981, Chicago asked Bill Champlin, a noted Los Angeles session singer and musician, to join them. "They needed a little bit of guitar work," says Champlin, "and they needed somebody to sing Terry's stuff."

"Bill might come the closest to Terry's gutsy lead vocals," says Parazaider. Also a songwriter, he co-wrote "After The Love Has Gone," which was a hit for Earth, Wind & Fire and a Grammy R&B Song of the Year. He would win a second R&B Song of the Year Grammy for co-writing "Turn Your Love Around," which became a hit for George Benson just after he joined Chicago.

Champlin had worked closely with Canadian producer and songwriter David Foster, whose other clients had included Hall and Oates and the Average White Band. "A lot of people think Foster brought me into Chicago," Champlin notes, "and it's the other way around, I actually brought Foster into Chicago." Champlin knew Danny Seraphine, and Seraphine went to him for advice about Foster, who had been considered as a possible producer for the 14th album before the job went to Tom Dowd and was now being considered for the 16th album. "Danny called me and said, 'What do you think of David Foster as a producer?'," Champlin recalls. "I said, 'You'll probably end up rewriting a lot, but I think Foster would be great for you guys."

As Champlin had predicted, David Foster took a strong hand in the making of Chicago l6, co-writing eight of the album's ten songs, including "Hard To Say I'm Sorry," which became a worldwide Number 1 single when the album was released by Full Moon/Warner Brothers Records in June 1982. The album went into the Top Ten and sold a million copies.

"We had a resurgence then," remembers Parazaider. "I had a kid come up to me and say, "I have your first record, would you mind signing it?' This was somewhere in North Carolina. We were going on-stage, and I told her I would sign it after the show. And what she had was the Chicago 16 album. She had no idea about the others that came before it. The reality hit , we had gained another generation."

"It was a new career for us again," says Loughnane, "and I think also Warner Brothers liked being able to sell something that Columbia said wasn't going to be able to go. That kind of competition could only benefit us because they would work harder to make their company look better than the other company."

The next Chicago-Foster project, Chicago 17, released in May 1984, became the band's greatest seller. Such hits as "Stay The Night," "Hard Habit To Break," "You're The Inspiration," and "Along Comes A Woman" propelled the album past the six million mark and reaffirmed Chicago's status as one of America's top bands. They once again played sold-out concerts in North America and Asia.

But Chicago's renewed success pre-saged a new challenge when Peter Cetera, whose singing and songwriting on a series of romantic ballads had fuelled that popularity, decided to leave the group and launch a solo career after the 1985 summer tour. In an ironic twist, however, the beginning of his new solo act would lead to the successor who helped Chicago maintain and extend its success. "When Peter left, he stayed with Warner Bros., " explains Jason Scheff. "I had just signed a song publishing deal, and Michael Ostin at Warner Bros. called over to my publisher and said, "Do you have any songs for Peter's solo album and/or someone to collaborate with him for the album?' They said, 'Yeah, we just signed this new kid.' So, they sent the demos of the first three songs that I'd brought in, and the story that I have always heard is that Michael heard the voice and said, 'Wait a minute, this could be the guy we're looking for to replace Peter in Chicago.' I didn't know this was going on. I just got a phone call one day saying, 'We have heard your tape, and we think that you could be the guy to replace Cetera in Chicago. It was a pretty amazing phone call to get, at 23 years old ."

With Scheff in place, Chicago went into the studio with David Foster to make Chicago 18. The album emerged at the end of September 1986 as the band took to the road for a fall tour to introduce the new member. Chicago 18 proved to be a gold-selling success, and Scheff's acceptance by fans was cemented with the Top Ten status of the single "Will You Still Love Me?," on which he sang lead. It was the hit that finally convinced him that he belonged. "When I first joined the band, they put all of their confidence in me and never looked back," he says. "They invested in me as the future of the franchise. There were a lot of people who were sceptical. 'Will You Still Love Me?' was a big hit, and then I finally felt comfortable that I was in."

The next hurdle, Scheff notes, was to keep that success going. Working with producers Chas Sandford and Ron Nevison, Chicago recorded "19", released in June 1988. The album yielded three Top 10 hits, with "Look Away" becoming the fastest rising single in the band's history and hitting Number 1. It was, Loughnane notes, the first Chicago hit single in a long time not to be a ballad sung in a tenor voice; Bill Champlin sang lead. That should have broken the radio demand for ballads and allowed the band greater musical flexibility. Instead, says Loughnane, "People still didn't understand that that was Chicago! We would play that song live in concert, and you could see people going, 'what are they doing that song for? I didn't know they did this song. My God, that is them!' It didn't really translate to Chicago because of what had been."

"We had come to the tail end of this long great run that was really dominated by pop ballad songs," notes Scheff, "and coupled with that was the fact that two of the singles on l9 ("Look Away" and "I Don't Wanna Live Without Your Love") were not even written by us.

In the summer of 1989, the Beach Boys and Chicago joined force once again for a memorable tour. Also, two greatest hits albums were released simultaneously in the U.S., Greatest Hits 1982-89 (counted as the 20th album), and in Europe, "The Heart of Chicago", which contained hits from both the Columbia and Warner years. The band entered the current decade with another hit single, Jason Scheff's "What Kind Of Man Would I Be," originally released on 19 and included on the new hits collection. This gave Chicago hit records an four consecutive decades.

The group faced another personnel change in 199O, when they parted ways with drummer Danny Seraphine.

Chicago Twenty One was released in January 1991. Again, the group drew on Diane Warren for two songs, "Explain It To My Heart" and "Chasin' The Wind," and they were released as singles. But this time they did not become big hits. The album marked the beginning of a resurgence of the Chicago horns as a driving force and a return to the composers within the band as the principal source. In a sense, through the album, Chicago was rediscovering where its heart lay, and that effort transcended commercial considerations. As Lamm says, "We considered the possibility that perhaps it was better to succeed or fall on our own merits." The same year, Chicago was honoured with its own star on Hollywood's Walk of Fame.

In 1993, Chicago began to work on a new album with producer Peter Wolf, who insisted the band prepare all the material themselves and work in a manner similar to the way they worked in their early years. Parazaider recalls: "Peter Wolf said to me, 'I want you to bring over your bass clarinet, your clarinet, all your saxes all your flutes, everything. We're going to use everything the way you used to use it in the old days,' and that was a very exciting thing for us."

The result was the still unreleased album "The Stone of Sisyphus". "That was a record that had to be made," says Parazaider. "Especially after all the proddings by Warner Brothers, with the success of all of the ballads that we had, this band had to go back into doing a band approach, band concept album, where the band lives with the music from the get-go, we're all involved in it, from the writing to throwing in our suggestions to rehearsing the stuff or whatever, and that's what we did with Sisyphus." Parazaider is unequivocal about the importance of the album to Chicago. "I think at that point, if that record wasn't done, the band wouldn't be together in the form that we see it," he says, "because we were frustrated that we weren't doing what we wanted to do, cranking out things that Warner Brothers, wanted us to do that sold. You can't look a gifthorse in the mouth, a hit is a hit is a hit. But there was other stuff for us to say, and that's where Sisyphus comes in."

Band members felt strongly that this was one of their finest albums, but their enthusiasm was not shared by their record label. "Warner Brothers didn't get the record," says Parazaider. "In fact, they disliked it so much, they figured maybe we should part ways, which we did. But the master tapes weren't burnt, because we believe in it, and I know you'll see that somewhere along the way. This thing will get released." Some of the songs from the album are already beginning to show up on international greatest hits albums such as "The Very Best Of Chicago" in Europe.

Chicago moved on to a new project, embracing an idea put forward by record executive John Kalodner, and recording "Night & Day (Big Band)", released in May 1995 on Giant Records. The album features standards associated with Glenn Miller ("In The Mood") and Duke Ellington ("Don't Get Around Much Anymore", "Sophisticated Lady" and "Take The A Train"), among others.

The association with Ellington helped convince band members to try the project, since it seemed to pay back a musical debt to the Duke. Back in the early '70's, Ellington had asked to have Chicago appear on his TV special, Duke Ellington: We Love You Madly, along with such august company as Ella Fitzgerald, Sarah Vaughan, Ray Charles, Peggy Lee, and Count Basie. After the show, Parazaider and Pankow went to meet Ellington, who was near the end of his illustrious career. "I said, "Mr. Ellington, it really was an honour to be asked to be on your show," Parazaider recalls, "and he looked at Jimmy and me, and he said , 'On the contrary young men, the honour is all mine because you're the next Duke Ellington's.' Jimmy and I were gassed to meet him and that he said that. We were going away, and I said, 'Yeah , right, now if we can make another hit record to pay the rent we'll be happy,' not thinking about the long haul. When the idea for the big band album presented itself, at first it got a lukewarm reaction by the band. Then Jimmy and I remembered this, and I thought, maybe this is what we were supposed to do in the scheme of our musical life. So, that was one of the reasons that we warmed up to the idea of it."

"It was a great musical experience, and that's what it's all about, in my mind," Loughnane concludes. "I think it should have been more popular than it has become, but it's still a great piece of music as far as I'm concerned, and I'll take that to the grave with me. I know we put everything we had into it, and it came out sounding great."

In 1995 Chicago once again faced the task of finding a new guitarist. The band scheduled two days of auditions to hear a select group of prospects. As it turned out, however, the new group member would be one who crashed the party. "They had a pretty firm list of guys that they were going to listen to," recalls Keith Howland. "l actually heard that Chicago was looking for a guitar player on the first day of the auditions through a friend of mine who happened to be working in the building where they were being held." Howland contacted the band's management only to be told that the audition was closed. They must not have heard anybody who satisfied them, because Howland got a call from Scheff that night saying they had extended a third day just to hear him. I went down, and I was the only guy to play that day," he recalls. "I was so nervous it was ridiculous, I played through a bunch of tunes with them, did some a cappella background vocals with Bill, Jason, and Robert. We finished up, I was packing up my gear. They all went into the hallway and were talking. Bill came walking back in and said , 'Hey, you want a gig ?'

In 1995, Chicago secured rights to its catalogue of recordings originally made for Columbia between 1969 and 1980. That catalogue has now been reissued on the group's "Chicago Records" label, which also has released solo efforts by the band members as well as other projects. "We are Chicago Records, which means we can look for talent, we can look for other catalogs to put out on our record company," says Parazaider. "We've got some interesting things coming up."

The likely next Chicago recording to be released will be its "Ultimate Greatest Hits". Over the years, various hits compilations have come out, but none of the American ones has contained the band's hits from the '60's to the '90's. The Ultimate Greatest Hits will rectify that and also bring Chicago's story up to date. "It's something that I think we'll start working on come the fall after we get done with our summer touring," says Parazaider. "We're excited to put a greatest hits compilation together that's never been done before and also to go in and put a couple of new tunes down, which will be a statement of where we are now. We're talking about a Christmas release, or maybe the beginning of next year."

Today, decades after they gathered at Parazaider's apartment, the members of Chicago continue the legacy of music they inherited from their parents and their teachers and that they have brought to millions of fans. Recently, the band returned to their hometown to appear on The Tonight Show With Jay Leno.

People have always wondered about the name "Chicago." One simple sentence from the liner notes of the very first album eliminates any question as to their identity. "If you must call them something, speak of the city where all save one were born, where all of them were schooled and bred. Call them "Chicago"

Seven years ago today we lost our angel, Please visit here with your thoughts AND PRAYERS

This memorial website was created in the memory of our loved one, Dawn Sansone who was born in Illinois on January 02, 1978 and passed away on November 06, 2001 at the age of 23. We will remember her forever.
Those of you who knew Dawn, Knew she was full of life, A sweet and feisty little firecracker who's smile could warm an eskimo. She was taken away from us without warning and has left large holes in the hearts of all who had the chance to see the smile that came from her always. Life will never again be complete without her being a physical part, Her heart will beat among us who loved her forever and ever

Please visit her site and leave your thoughts and wishes....Thank you
http://dawnsansone.memory-of.com/