R. Kelly Studio Fiasco/ code violations

 R Kelly Studio space, 2nd floor, photo from 2015, before Kelly rented there.

R. Kelly Studio Fiasco/ code violations

by Susan Basko, esq.

R. Kelly has lots of legal troubles lately, including that he is being evicted from the studio he rents for over $22,000 per month.  According to the Chicago Reader, the studio is owned by Midwest Commercial Funding, LLC.  Chicago got an inspection order, went in and found 48 building code violations.  The building is also up for sale for nearly $4 million.  It's not likely a building being sold with a whole roster of major code violations can be sold for that much money.

The studio building is a warehouse near Union Park in Chicago.  This is an up and coming area with a lot of hip businesses, internet-based start-ups, cafes, etc.  The area is near the Lake Street el, is a few minutes from downtown, but is dicey.

R Kelly Studio building exterior

This is the exterior of the building, as shown in a realtor ad.  According to the realtors, the building was built in 1928.  The second floor is an open area 40 feet by 100 feet, with a 14 foot ceiling.

R Kelly studio 2nd floor, picture from 2015 before Kelly was a tenant.

Kelly was getting bad publicity after a scandalous news article by Jim DeRogatis was published, alleging that Kelly was running a sex cult and/or holding women captive.  The landlords moved to evict Kelly and were trying to sell the building. The City got this inspection order below.

Chicago building inspection order for the building housing R Kelly's studio

If you know anything about Chicago, you know the City uses building code violations to harass people or to gets its way, if they cannot find a more efficient route.  So, the City building inspector came into the studio and found 48 building code violations.  This is a building up for sale for almost $4 million -- so, either the price must be reduced to allow a buyer to repair the place, and/or it must be sold as is and someone has to fix it, or it must be sold as is for demolition. 

In 2010, an inspector found numerous code violations on the exterior of the building, but entry to the interior was refused.  This was before R Kelly was a tenant.  See the notation that in 2010, the building inspector was refused entry to the building.

The report includes the long list of  2019 alleged code violations, which are labeled as being from the Strategic Task Force, which sounds much more dire than just a building inspector.  The building owners are being required to remove plumbing and other work that was done without a permit.  They are required to hire an architect, come up with plans, get permits, and make a lot of structural repairs and improvements.  

Meanwhile, it looks like R. Kelly can take his money and go have a studio somewhere that does not have massive building code violations.  Scroll along the right edge of the report to view all of the alleged violations in detail.

R Kelly Studio Building Per... by on Scribd

Jussie Smollett -- What Went Uber Wrong with the Plan

Jussie Smollett - photo credit:
By Sister Circle Live 

Jussie Smollett -- What Went Uber Wrong with the Plan

by Susan Basko, esq.

Other writers: If you are going to "borrow" my writing or research, at least give me credit.  I do original research and -- heck, you ought to try that, too.

The latest twist in the Jussie Smollett street attack story is that he paid his two body-building friends, Chicagoans Nigerian brothers Abel and Ola Osundairo, $3500 to stage the mugging.  (Allegedly, someone emailed in to remind me to write allegedly.)

What went wrong with the plan?

1. The story seemed fishy from the beginning for a whole roster of reasons, including that Chicago is not MAGA country, but rather, is a sanctuary city and longtime Democratic stronghold.  Then there was the fact it was an icy cold Chicago night and people were not out strolling about.  Surveillance video had to be searched to find even two people out and about.  Then there was the oddball fact that Jussie Smollett still had his Subway sandwich after being attacked and tossed around.  Subway sandwiches are excellent, but in case of a violent tussle, are likely to be dropped and lost.  All in all, the story came rang up as not likely fully true.  

2. The attack took place - or was staged -- just below a street surveillance camera.  And then it turned out the camera was actually facing the opposite direction. This was the first big snag in the plan; the video evidence was nonexistent.

3. Chicago police located two potential attackers on surveillance video and then, according to at least one news report, used the Uber ride-sharing app to identify one of them.  Uber requires those who join its app to allow the company to have access to the phone's locations, pictures, files, phone calls, texts, contacts lists, etc.  All the CPD had to do was issue a subpoena or warrant to Uber and they could obtain not only the name of the man using the account, but his financial data, airline ticket jpgs and itineraries which were likely stored on the phone, photos, a location history, and tons of other information likely contained on the phone that the user had given Uber permission to access upon joining Uber.  Scary?  The permissions required are why I have not joined Uber; I was shocked when I recently read the permissions list.

Here are screen shots of the Uber app permissions that appeared on a version of the app that recently appeared.  The app gives written notice that "Updates to Uber may automatically add additional capabilities within each group."  In other words, these capabilities may be expanded each time an app update occurs.  Some apps update automatically, and others require a click or permission.  Very rarely would anyone seek out or read what permissions are being given to the app on an update.

This first screen full of permissions gives Uber permission to know the identity of the user, find accounts on the phone, add or remove accounts, read the contact card, read the person's contacts, and find the person's approximate and precise locations.

This second set of permissions gives the Uber app the abilitiy to receive text messages on the user's phone, read the user's text messages, and send text messages from the user's phone.  Uber is also given permission to directly call phone numbers, presumably using your phone or possibly using your phone contacts to make phone calls.  Uber is also given permission to modify or delete contents of the user's SD card.  The SD card is where you may have stored pictures, files, tickets and receipts, songs and videos, games, etc. 

This third set of permissions allows Uber to use the user's camera to take pictures and videos! It also allows Uber to obtain the user's WiFi connection information, which would show which WiFi systems have been available to your phone and which you have logged into.  This would be a way of tracking the Uber user's movements and activities, as well as a way to be able to find out more information, such as what was done on any of those WiFi systems.  Included in this set of permissions is that Uber can read the phone status and identity and the Device ID and phone call information.   You're just calling for a car ride, not joining the CIA, remember.

This fourth set of Uber app permissions overlaps with the third screen.  Here, Uber lists as "Other" a set of "New" permissions.  Uber can: Draw over other apps (I am not sure exactly what this means, but it does not sound good), prevent phone from sleeping, connect and disconnect from WiFi, read Google service configuration, control vibration, pair with bluetooth devices, change your audio settings, use accounts on the device (sounds like it can buy things on your Amazon account? or what?), view network connections, and have full network access.

Basically, when you give Uber all these permissions, you are employing Uber to spy on you, your contacts, your locations, phone calls, your audio, and all your files.

It sounds like with the two Nigerian-Chicagoan brothers, the Chicago Police Department were able to track them via the Uber app.  One day, the men in the grainy photo were unidentified and barely recognizable.  Soon thereafter, Chicago police knew their names, their address, knew when they had flown to Nigeria and when they were coming back.  Police were waiting at O'Hare Airport for them upon their return.

What's the upshot here?  Does Uber need all this information and all these capabilities to arrange for someone to give you a ride?  Likely, it needs some of these capabilities.  Having some of these permissions probably makes Uber riders and drivers safer or at least they can be held accountable easier if they do something bad.  After all, with Uber, you are getting into a car with an unlicensed stranger and that driver is allowing random people off the street into their car.  The Uber app permissions make both the driver and riders more known and less random.   The knowability probably makes the whole enterprise a bit safer for all involved.

The downside is you are giving Uber the right to act as a surveillance machine upon the intimate details of your life that are contained in your phone.  Upon considering this list of permissions, I could not get myself to click, "I accept."   I decided that if I cannot walk or take a bus or train, I will call a taxi or a friend, if one is nearby.  Many times, I am in places where taxis are scarce.  My lack of Uber has meant such things as walking with groceries in the rain or walking a distance to where I knew there was a cab stand.  It's not convenient and I long to use a ride sharing service, if one were respectful of my privacy.

What is the legality of police using information gathered by the Uber app, when the Uber user has given the app permission to gather all that information?  If the police serve a subpoena or warrant upon Uber, it seems likely the Uber user has no standing to object to the subpoena and would probably not even be given notice of the subpoena.  Might the police require Uber to commandeer the phone and, for example, require Uber to give the location of the phone, and likely of the phone owner, since most people carry their phones with them?  Might police require Uber to use the phone camera to show the people or the place where they are located?  Might police require Uber to use the phone as a listening device?  Or would Uber be required to only give the information it would have otherwise obtained in the normal course of its business operations?

Conversely, are there privacy laws that prohibit an app from gathering excess information?  Right now, as far as I know, the legal standard is that the app must get permission from the users to gather or use information.  However, app permissions are always a take-it-or-leave-it proposition -- either you agree to allow the app to do what it does or you do not use the app.  A user cannot opt in or out of the various permissions.  And, as seen above, the app can automatically add on more capabilities with each update.

All these are legal questions that have yet to be explored, as far as I know.   Right now, awareness is the key.  If you are agreeing to turn your phone into a complete surveillance device that can be used against you, then at least be aware you are doing that.

Recording and Producing: Interview with Joe Connors at Paragon

  Recording and Producing: Interview with Joe Connors at Paragon

Interview by Susan Basko, Esq.

Today's blog guest is Joseph Christian Connors, known to most as Joe Connors. Joe is the Chief Engineer at Paragon Studios in Chicago. He is also a Producer and Composer. Joe attended the University of Montana in Missoula, studying Music Composition and Linguistics. He speaks English, Brazilian Portuguese, and Russian. He plays upright bass, cello, piano, and other instruments. Joe is a Gemini, and has that Gemini vibe of clear-thinking dreaminess.

Since 2007, Joe has worked as a Recording Engineer and Producer at Paragon Studios in Chicago. Paragon is an interesting place with a colorful history. The studio has had various incarnations in different locations. Today it is located in Chicago's Fulton Market District, just northwest of the Loop, an area of loading docks and warehouse type buildings that have mostly been turned into fancy loft apartments and overpriced bistros. Indeed, a sandwich counter type restaurant down the street sells an order of French Fries for $8.

The building in which Paragon resides is still rather warehouse district spooky. It has one of those incognito entries where you get buzzed in and take a freight elevator up to the studio. Upon entering, you are in a massive living room area, with old couches and Persian rugs. There are old organs, a grand piano, an aluminum standing bass (from a ship, I am told), lots of items that look like they would do well on the Antiques Road Show.

The studio is a warren of rooms and spaces, large and small. There is a huge recording room, with enough space to spread out. There is a vocals room with a purple Indian print fabric on the wall. There is a soundproofed drum room. There are other smaller studio rooms, a kitchen, space for classes, a fix-it shop, a room that might one day be used to shoot video. And on and on. Interesting people -- men mostly -- are here and there, recording a session, teaching a class, playing a guitar, talking, sipping tea in the kitchen. Everywhere is a hush, an intensity. I love this place and these people.

In the darkened control room for the big studio, standing in softly glowing light is The Board. A sign on the wall says this board was used to record Pink Floyd's The Wall. The Board is Joe's altar of music -- the place where he creates aural offerings for the gods of music. And most days and nights, Joe is at The Board, creating delightful sounds.

I have some questions for Joe. He says it is hard to talk about himself, yet he does a remarkable job:

You have the board used for Pink Floyd's The Wall. It is your baby and no one is allowed to dis the board. Tell me about it.

It is a beautiful thing. The sound is incredible. I just found out that Dark Horse Studios in Nashville has two of these boards as their main consoles. This is impressive because the “sound” of Country Music has always meant, to me at least, while still being rock, having that really clean sound.

Our Trident TSM is, well, clean would not be the word. More like electric! The board needs lots of TLC due to the all- analog design. We go in monthly and clean IC chips, replace bad capacitors, clean and lube up faders and pots. I think the board was used mainly as a tracking console in the studio before ours. Someone had disconnected the stereo buss. It was fun trying to find that without a schematic.

Your background is in music rather than in tech. Tell me how this enriches your skills as a producer.

The only reason I got this job in the first place is the fact that I did not go to school for audio engineering. Then, in my beginning internship when my “mentor” decided to disappear after me being here only for a month and a half or so, I was left having to learn the hard way about how everything worked. Running sessions and not knowing what I was doing… but I had no choice.

The reason I bring this up is that while my background is in music composition, if I would not have had that “thrown into the fire” type experience, I don’t think I would ever be able to know what a snare should really sound like. The owner of Paragon, Mr. Ned Engelhart, would come in and say “That’s not the way a fucking snare should sound!!” In other words, I learned by making mistakes.

On my first two real projects, I was also a producer. I can relate to a lot of different musical styles, because I always found myself out of my element. For instance, I was pretty much hardcore into prog rock and metal, until I moved to the Southern states when I was 15 and found that my peers did not listen to my style of music. So, I got a dose of jam band and jazz in high school.

Then, I met some kids and started up a hip-hop band. We toured around a bit. Then, I moved again to go to college in Montana. I got really into classical music there. Heavy into classical!! Then, I joined a punky/bluegrass band. So, I’m sure you can see where I’m going with this and how it could “enrich” my already mad crazy producer skillz…. I jest -- but this industry is essentially music-based, so my background is perfect for the job.

When I am at Paragon, I feel like I am in a Monastery of Music -- all these quietly passionate music men lurking about. What is it like devoting this portion of your life to this place?

It is exactly that. A crazy, mad devotion to this place. This entity. When I first came here, I was blown away. It was like this studio was, and still is, a big ball of potential energy. Ever heard of the Fulton Market Vortex?

Anyway, in reality, it is a serious sacrifice given how much it takes to create a stable and get past the initial lack of monetary compensation. We have some really talented musicians and producers that rent productions rooms here now. Their dynamic, it seems, is perfect.

MTV was just here shooting video for Max-a-million. He just did a remake of a couple of The Drifters songs with the original members. Max technically works out of 40 Hz Productions with Terry “Trademark” Martin, but they have a production room in our facility, so I consider them family.

Other studios brag about their facility or their equipment. The main thing you seem to have going is deep creativity. Please talk about the drums in the staircase and other recording adventures.

We have a large space. It’s easy to get ideas about how cool it would be to record the drums in the bathroom or Studio C, which is all concrete and meant more for video work. So then it is just taking control and saying “Okay, lets run the cables to the stairwell and track some drums.”

It’s really quite nice, the reverb in our stairwell. We are on the forth floor of a meat distribution company. The third floor is wide open and the stairwell is quiet for the most part. We’ll throw the drums on the second landing and have a mic overhead and another one about 2 floors up. Huge drum sound. I like to double track the drums but you better be able to play to a click track!! We have a few rooms that can act as cool “effects” for drums or others as well.

We have been lucky to have some excellent musicians working here, be they interns or employees. When writing for clients, I like to get as many versions on the song as possible. “Lets do it rock. Now lets do it like Dave Mathews. Now how about the way MGMT would play.” It adds to the dynamic of the song when you have multiple options.

You teach some classes. What and for whom?

We teach for the Recording Connection in LA. It has served both parties well, I believe. We get free labor and an authentic bond between student and teacher and the student gets an excellent education based on real world applications. This industry is a lot about what you make of it. We give the students a chance to stick on board and work out of our studio. They also get the knowledge it takes to take their career anywhere in the world.

Tell me about interns at the studio.

Without interns, there would be no studio!! Lol, once again I jest, but at the same time I’m dead serious. There is only so much a single person can do before time starts becoming an issue.

Interns come and go. It seems that if you have the drive and abilities, then we have the space. Paragon has been around for a long time. We are not going anywhere anytime soon. We have a new label and a publishing company is in the works. The reason we are able to do this is through interns. Research can be time consuming. Starting these endeavors is excellent on-the-job training for our interns. The opportunity to carry through and become employees is an option and also is welcomed. We are growing and good talent is always appreciated.

Tell me about collaborating on musical compositions there with clients.

I love it.

Influences. Musical and otherwise. What are yours?

My influences really are across the board. Younger years, my dad listened to a lot of Pink Floyd, Beatles and Frank Zappa. My Mother was into Joni Mitchell, Suzanne Vega and Bonnie Raitt.

I got this game as a kid called something like “the game of great composers.” I remember taking the cd and listening to it over and over again. Never did play the actual game. It had Bach, Mozart, Debussy, etc. Seriously, I would sit by the speaker and listen for hours and hours. I have lots of odd, but interesting, stories about music as a child. For another time maybe.

I think, though, that the moment of truth was when I was in a musical, playing bass, and one of the actors gave me a lift home. He was driving my favorite car of all time and listening to this haunting music. I fell in love. I found out it was Danny Elfman. The man had a Danny Elfman cd. Well, a few months later I received a package in the mail. Turns out it was from this guy and it contained “Music for a Darkened Theater” by Mr Elfman himself. Just a compilation of all his movie scores, but it changed my life. Too much to say on influences, so one day I’ll write a book, haha.

Tell me about world energy forces and how those relate to music production.

Oh boy… You are asking for it now. Energy is a seriously powerful thing. God… is energy. You are energy. Music is energy. It’s what life is. When I meet people, I usually get a vibe. I know whether or not we will be friends, lovers or enemies, for the most part at least.

The clients that I write music for get a bit of my energy and influence, as to be expected. But it really is a beautiful thing. Music is intimate. I usually will not rest until I know that the music I write will be able to be felt as well as heard.

What is your favorite meal?

Mmmmm. Osso Bucco with polenta is an all time favorite and so is Eggplant Parmesan. I like healthy food.

Can music improve the world? If so, what are some examples- real, theoretical, hypothetical, or dreamlike?

Music brings people together. It always has and always will. That is one of its powers. It helps out you as an individual also. So just by saying that, we have answered the question in a nutshell at least!

What is your favorite microphone and why?

Every mic has its place.

This is a dream. You are dancing. It is very freeing, cleansing. What is the music?

Anything that grooves.

Thank you, Joe!

Photo Credits: Top to bottom: Joe at The Board: Shannon Anastasia Page. Joe at the Board and Trevor Hougardy: Shannon Anastasia Page. Vocals Room: Sue Basko. Joe standing at The Board: Lindsey Major. Joe at piano: Shannon Anastasia Page. Joe and Bob Picha do a mic set-up in the main recording room: Ryan Diemer. Joe doing complex mic set-up: Lindsey Major. Black and white - Joe Connors, Trevor Hougardy, John Marino: unsure who took picture. Joe in brown hoodie at The Board: Ryan Diemer. Joe on aluminum bass: Shannon Anastasia Page. Joe conquers French Toast: Shannon Anastasia Page.

Paragon Studio Trident Audio Board Refurbished

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Terry "Trademark" Martin and 40 Hz Productions: Beats, Samples, and Recording

Terry "Trademark" Martin and 40 Hz Productions:

Beats, Samples, and Recording

by Sue Basko, esq.

Terry "Trademark" Martin runs 40 Hz Productions as a joint effort with Max-a-Million and Morris Mills. 40 Hz Productions is a boutique or mini-recording studio, tucked into a room in the much larger Paragon Studios in Chicago's Fulton Market District, just northwest of the downtown Loop area. The trio are known for making dance pop or rap dance music, creating beats and samples, and for loving pancakes -- but that is a slightly different topic.

If you want to create music and you're not quite fully formed on your songs, Terry can help pull it together by creating beats, coaching vocals, and polishing a recording with instrumentals.

Terry has been so kind to answer my probing questions:

What's the name of your production and recording company and who is involved?

40 Hz Productions is myself, Max-A-Million, and Morris Mills.

Your studio is small but sweet. What do you have in there?

I have an Apple iMac running Pro-Tools 9 with all kinds of industry standard plug-ins. My main music production tools would be the Roland Fantom G6 and Akai MPC 2500. For recording, I use an Avalon channel strip with high quality condenser microphones.

You make beats and samples. Tell me about this process.

I create my samples from old records, drum machines, synthesizers, and any sounds I can capture with my iPhone. That way when I have an idea, I'll have a collection of sounds to play with and mold them into a beat.

How about making beats and samples to order, for a client?

I'm constantly adding new material to my library but I can also create custom tracks for clients. Give me the idea and I'll paint the picture.

Did you attend school for recording?

Yes, I'm a Full Sail University graduate of 2003. I studied recording arts there.

What are some of your favorite projects that you've worked on?

Anything with Max-A-Million is a pleasure. He's my music mentor and we always have a great time in the studio. Recording the Legendary Drifters was also a wonderful project to be part of.

If someone comes to you and sort of vaguely wants to record some songs, but they are not sure what, can you help them out?

Most definitely. I believe I can take someone's ideas and help them create their masterpiece.

Can you create music?

Yes, I compose and produce all kinds of music.

Do you play any instruments?

Yes. I play guitar, bass, keyboard, and drums.

What led up to where you are today?

A love for music. Creating and helping others create.

Let's talk about that pancake song. It's clever. How did it come about?

Thanks. I like pancakes. One night it just came out lol.

Can you see making songs for commercial sponsors? Writing songs to order?

Totally. I would love to do that. Stuff like that just comes naturally to me.

Times are tough financially. Got any deals going?

$100 for 4 hours of recording/mixing time.

What are your life goals?

To create the best music I can.

What are your favorite mind-expanders?

I find inspiration in film, traveling, and art. That's when I get out of the studio of course.

Terry TradeMark Martin

40 Hz Productions

(708) 415-1119

Terry@40HzProductions.com

www.facebook.com/40HzProductions

Street Performing in Chicago with Patrick Tinninghow to get a Chicago street performer license

Street Performing in Chicago: with Patrick Tinning

How to Get a Chicago Street Performer License

by Sue Basko, esq.

JUNE 18, 2014 NEWS FLASH! UPDATED STREET PERFORMER LAW AND INFORMATION: http://suebasko.blogspot.com/2014/06/chicago-street-performers-new-law.html

IMPORTANT NOTE: The Chicago Street performer's permit is not valid on CTA (Chicago Transit Authority) property. For that you need a CTA performer's permit. The CTA performer's permit is not valid on Chicago streets. You can be ticketed and fined for not having the correct permit. For information on the CTA performance rules and permits, please click here.

Street performing is known in some places as busking. Street performing is a way for the performers to make cash and experience the thrill of playing to an up-close, highly interactive audience. In many locations, the audience is tourists, and they usually love the good performers and take photos of them. Street performers are a vital part of the city landscape, especially in areas frequented by shoppers, people out on the town, and visitors. One way to find out if your act is of interest to people is to put it out there in public. Street performing also helps hone your ability to respond to audience reactions.

I've seen singers, musicians, mimes, acrobats, jugglers, a puppet show with a little stage pulled by a bicycle. I've seen dog and monkey acts. I've seen breakdancers and lots of kids banging drums on plastic paint buckets.

One of my favorites is the Bubble Man on the Santa Monica promenade. This act only works in the dark. The Bubble Man blows a bubble and then somehow blows cigarette smoke into the bubble. Then he shines a flashlight at the bubble. The smoke makes the bubble appear to be a solid silver ball, floating in the air. Children love to chase the bubbles, grab them, and watch them evaporate.

Click to watch videos of some Street Performers in action.

LICENSES and RULES: Most cities and locations require the street performer to have a license or permit. Most places make you apply for this in person, and charge a fee for it. There are also laws and rules in each location. For the most part, these rules are about WHERE, WHEN, AND HOW LOUD a street performer can perform.

CHICAGO: Today's post is about CHICAGO. I'll cover other locations as time goes on. Below, I give the details, but here is the summary -- to be a street performer in Chicago:

1) You must apply for a license in person at City Hall. You must bring a Driver's License or other official photo I.D.

2) The license costs $100, good for 2 years. (call the number below and ask the exact price -- there is some confusion on whether it is $100 for 2 years or $200 for 2 years) Any Chicago bills must be paid up, such as parking tickets and water bills.

3) You must follow laws that say where and when you can perform and how much noise you can make. If you violate the laws, you can get a $300 ticket. If a police officer tells you to move, you have to move at least 2 blocks away.

4) SORRY -- No street performing is allowed in Millennium Park. It is allowed in Grant Park (but not near the Petrillo Music Shell when there is a concert), Lincoln Park, and across the street from Millennium Park - but you cannot make noise during Millennium Park concerts. Read the law below. There are also restrictions on where you can play during special events -- and there are many special events in downtown Chicago. So pay attention to the rules!

5) Street Performance Hours are Sunday through Thursday 10 am - 8 pm; Friday and Saturday 10 am - 10 pm. 8 pm is an early end time in the Summer. But that's the rule.

6) You can't make too much noise. If you make too much noise, you can be fined, lose your street performer license, and/or have to do community service. Noise allowances are defined in the law. What I've seen over the years is that the most trouble is caused by boomboxes played too loud, amplifiers played too loud, and people banging on drums or buckets. If you do these things, you will likely run into trouble sooner or later.

Another problem is performers staying in the same location too long or coming back to the same place day after day. The people working or living near those locations do not want to hear the same noises hour after hour or day upon day. If you switch locations every hour, you are less likely to have trouble.

QUIET ZONES: The streets around a hospital and around a school during school hours are Quiet Zones. Street performers and musicians cannot perform in these areas. The relevant parts of the law are below.

Today's special guest is PATRICK TINNING, of the Chicago band, THE HOPS. Patrick was a schoolteacher in a bilingual education program, got laid off, and decided to hone his performing skills by taking it to the streets. He has some insight to share with us. After Patrick shares his thoughts, I will tell how to get the license and the rules you must follow.

WORDS FROM PATRICK TINNING: The picture is from the CTA blue line stop at O’Hare. There's a good amount of traffic there. You really gotta work the people though. Standing would have been an advantage because I would have been able to get in people's way a little but I didn't have my guitar strap so I had to sit.

I've seen two man street performers (guitar player, singer) where the singer is able to extend his hand to people and they seemed to do well. I've done OK. On days where I've had a decent pull (more than $20), I usually hide the bills in the neck of the guitar case so people don't get brave and try to reach in and get grabby. I put a sign with The Hops stickers that says TAKE A STICKER, but when I've done that I think people don't want to reach near the case because they don't want to look like they're trying to take money.

I don't use an amp, although I've seen a guy use one. I just think it looks like you don't really need the money if you've got all this equipment. I have used my little amp once, and I did horrible that day. I think for that very reason... I brought my tambourine a few times and kicked it while I played. People liked that. It was tough to do, and play and sing, but it does add another level of rhythm and beat to the music.

Going along with the looking like you have money thing, I'd say never wear a tie. I know that seems obvious, but I did once this summer cause I went with a girl, and that was the only day I ever got stiffed completely. Usually I wear torn jeans, my camo pants, and a sign that says, "I'm not lazy I'm just misunderstood."

Beatles songs are always good to do. Christmas carols are good during the season. "Love Rollercoaster" has really done well for me. I've had people dancing to that one, that was really fun. And I started a sing along once when I did Hank Williams' "Hey Good Lookin". Of the originals, our song "The Walk" always gets money. As soon as I start that song, the change just starts dropping in the bucket. It's a funny tune about walking, which is what people do when you're street performing.

The guitar case has been the best thing to collect money. I've used a bucket and people miss badly.

They miss with the case too, but not as frequently.

Peace and Harmony,

Patrick

THANK YOU PATRICK -- AND NOW TO THE BASICS ON HOW TO GET THE LICENSE AND THE LAWS YOU WILL HAVE TO FOLLOW:

CHICAGO STREET PERFORMER LICENSE: To be a street performer in Chicago, you need a license.

HOW TO GET THE LICENSE:

1) You must go IN PERSON during Monday-Friday business hours to:

Chicago City Hall, 121 North LaSalle Street, Room 800

Since this takes some time, show up at 3 pm at the latest.

2) Fill out the form they give you -- the exact questions are below. Much of this pertains to Peddlers. Just ignore those parts - they are the parts in grey below. A peddler is a person that sells things on the street. That is also an interesting business and one you may want to get into. People sell flowers on the streets, glowing necklaces and glo sticks at night events, etc. But this post is about Street Performers.

CLICK THIS LINK WHERE YOU CAN PRINT UP AND FILL OUT

THE EXACT FORM YOU WILL NEED. BRING IT WITH YOU

TO CHICAGO CITY HALL TO APPLY.

CITY OF CHICAGO

Peddler / Performer

____ ____ ____ ____ ____ ____

Account Number (DBA USE ONLY)

Individual Information

Type of License Peddler Food Peddler Street Performer

Owner Information

First Name Middle

Last Name Jr./Sr.

Residential Address

Street Number N/S/E/W Street Name Ave, St, etc.

NOTE: This address

needs to match the

owner’s photo ID

City State Zip Code

Date of Birth

Social Security Number

Contact Phone

Contact Fax

Contact Email

Peddling Information (for peddlers only)

An Illinois Business Tax number is REQUIRED before a Peddler’s license may be issued*

Illinois Business Tax

* If you do not have one, you must obtain an Illinois Business Tax (IBT) Number from the Illinois Department of Revenue located at

100 W. Randolph Street, Lower Level, or online at www.revenue.state.il.us

Products to be Sold

List the items you plan

to sell as a peddler in

the City of Chicago

PROHIBITED FOOD ITEMS:

Bottled water, candy, chips, soda/pop, liquor, all other consumable food items except for

uncut, uncooked fruits and vegetables (cooked fruit and/or vegetables are not allowed)

ITEMS THAT MAY NOT BE PEDDLED IF THEY ARE PREVIOUSLY OWNED (USED):

Audio-video equipment, cameras, computer hardware, jewelry made of precious metal or

stone, articles made of precious metal, precious stones or gems, sporting or athletic gear

or equipment, bicycles, watches or currency

Prohibited Items

This is a list of some

items that may NOT

be sold by a Peddler

on the Public Way in

the City of Chicago

OTHER PROHIBITED ITEMS:

Tires, weapons, tickets, tobacco, weapons (including any pistol, revolver or other firearm,

dagger, stiletto, billie, derringer, bowie knife, dirk, stun gun or taser), and any illegal or

hazardous material or substance

PEDDLERS AND STREET PERFORMERS MUST APPLY IN PERSON AT THE ADDRESS LISTED BELOW:

CITY OF CHICAGO Department of Business Affairs and Consumer Protection: Business Assistance Center

City Hall, Room 800 121 N. LaSalle Street, Chicago, IL 60602

(312) 74-GOBIZ (744-6249)

3) PAY THE FEE. The current fee is $100/ year. Patrick paid $200 for 2 years -- and I am not sure if that was by choice, of if the applicant is required to pay for 2 years. You may want to call and ask.

4) LAW AND RULES: Once you have your Chicago Street Performer license, these are the laws and rules you have to follow:

YOU SHOULD READ THROUGH THIS LAW AT LEAST ONCE BEFORE

YOU HEAD OUT TO BEGIN YOUR NEW CAREER AS A STREET PERFORMER:

CHAPTER 4-268 
STREET PERFORMERS

4-268-010 Definitions.

4-268-020 Permit – Required.

4-268-030 Permit – Conditions.

4-268-040 Permit – Display.

4-268-050 Rules and regulations.

4-268-060 Acceptance of contributions.

4-268-070 Violation – Penalty.

4-268-080 Special events.

4-268-090 Constitutionality.

4-268-010 Definitions.

The following terms are defined for the purpose of this chapter as follows:

(a) “Perform” means and includes, but is not limited to, the following activities: acting, singing, playing musical instruments, pantomime, juggling, magic, dancing and reciting.

(b) “Performer” means an individual to whom a permit was issued pursuant to the provisions of this chapter.

(c) “Public area” means and includes sidewalks, parkways, playgrounds and all other public ways located in the City of Chicago, except transit platforms and stations operated by the Chicago Transit Authority or the Metropolitan Transportation Authority.

(b) “Special event” means any special event conducted by the city of Chicago, including events conducted by permission of the Chicago Park District in parks or other facilities operated by the park district.

(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 4-21-99, p. 92524, § 1)

4-268-020 Permit – Required.

No person may perform in a public area without having obtained a permit issued under Section 4-268-030 of this chapter.

(Added Coun. J. 12-9-92, p. 25465)

4-268-030 Permit – Conditions.

(a) A permit shall be issued by the commissioner of the department of business affairs and consumer protection to each applicant therefor in exchange for a completed application and a fee of $75.00 as set forth in Section 4-5-010.

(b) A completed application for a permit shall contain the applicant’s name, address and telephone number and shall be signed by the applicant.

(c) [Reserved.]

(d) A permit shall contain the name and permit number or department of business affairs and consumer protection account number of the permit holder, a clear picture of the permit holder, and the year in which it is issued. The permit shall be in a form that can be displayed.

(e) A permit shall be nontransferable.

(f) Upon issuing a permit, the commissioner of the department of business affairs and consumer protection shall also issue to the performer a printed copy of this chapter.

(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 7-27-05, p. 53211, § 1; Amend Coun. J. 2-8-06, p. 70052, § 1; Amend Coun. J. 11-15-06, p. 92532, § 1; Amend Coun. J. 11-19-08, p. 47220, Art. V, § 5)

4-268-040 Permit – Display.

A performer shall carry and display a permit on his or person at all times while performing in a public area, and shall wear the permit in a manner that is clearly visible to the public.

(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 2-8-06, p. 70052, § 1)

4-268-050 Rules and regulations.

(a) A performance may take place in any public area, but only between the hours of 10:00 a.m. and 8:00 p.m. on Sundays through Thursdays and 10:00 a.m. and 10:00 p.m. on Fridays and Saturdays.

(b) A performer may not block the passage of the public through a public area. If a sufficient crowd gathers to see or hear a performer such that the passage of the public through a public area is blocked, a police officer may disperse that portion of the crowd that is blocking the passage of the public, or may order the performer to cease performing at that location until the conditions causing the congestion have abated.

(c) A performer may not perform on the public way so as to obstruct access to private property, except with the prior consent of the owner or manager of the property.

(d) (1) A performer shall comply in all respects with the relevant portions of the noise and vibration control provisions of the Chicago Environmental Noise Ordinance, Article XXI of Chapter 11-4 of the Municipal Code, and all other applicable code provisions, which prohibit a street performer from generating any sound by any means so that the sound is louder than an average conversational level at a distance of 100 feet or more, measured either horizontally or vertically from the point of generation. Failure to comply with these noise control limitations shall constitute a violation of this section and shall subject the violator to the penalties set forth in subsection (e) of this section.

Any performer whose performance in the area bounded by Lake Michigan on the east, Oak Street on the north, Congress Parkway on the south and LaSalle Street and Wacker Drive on the west (including both sides of the named boundary streets), has exceeded the noise limitations set forth in Section 11-4-2800, and restated in this subsection (d)(1), and who is given notice thereof and requested to move by a police officer or department of environment personnel, shall move the location of his or her performance at least two city blocks from the location where the noise violation occurred. Failure to obey such a request to move is a violation of this section.

(d) (2) It shall be a separate violation of this section for a street performer to generate any sound by any means so that the sound is louder than an average conversational level at a distance of 200 feet or more, measured either horizontally or vertically from the point of generation. Failure to comply with these noise control limitations shall subject the violator to the penalties set forth in subsection (e) of this section.

(e) Anyone found guilty of two violations of subsection (d)(1) of this section within one calendar year, and anyone found guilty of one violation of subsection (d)(2) of this section, shall have his or her street performer’s permit revoked by the department of business affairs and consumer protection for a period of one calendar year. Permit revocations shall be conducted in accordance with procedures established by the department of business affairs and consumer protection. In addition to permit revocation and the fine provided for in Section 4-268-070, a person violating subsection (d) of this section may also be required to perform up to 24 hours of community service.

(f) All street performers are prohibited from performing in the highly congested area on both sides of Michigan Avenue, bounded by East Delaware Place on the north and East Superior Street on the south.

(g) No performer shall, while performing on the public way (1) along that portion of Jackson Boulevard that lies between Columbus Drive and Lake Shore Drive at any time during which a concert is being performed in the Petrillo Music Shell, or (2) along that portion of Randolph Street that lies between Columbus Drive and Michigan Avenue, and along that portion of Columbus Drive that lies between Michigan Avenue and Monroe Street, at any time during which a concert is being performed in the Jay Pritzker Pavilion, emit noise that is audible to a person with normal hearing more than 20 feet away.

(h) No performance by a performer shall be allowed at any time in Millennium Park, or on any sidewalk that abuts Millennium Park, as that term is defined in section 10-36-140.

(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 7-21-99, p. 9473; Amend Coun. J. 7-27-05, p. 53211, § 1; Amend Coun. J. 2-8-06, p. 70052, § 1; Amend Coun. J. 7-26-06, p. 81473, § 3; Amend Coun. J. 5-9-07, p. 104052, § 6; Amend Coun. J. 11-19-08, p. 47220, Art. V, § 5; Amend Coun. J. 6-3-09, p. 63975, § 1)

4-268-060 Acceptance of contributions.

A performer who performs and accepts contributions under the provisions of this chapter shall not be committing disorderly conduct under Section 8-4-010 of the Municipal Code of Chicago by virtue of those acts.

(Added Coun. J. 12-9-92, p. 25465)

4-268-070 Violation – Penalty.

Any person who violates any of the provisions of this chapter, including but not limited to the noise control limitations which are set forth in Section 4-268-050, or who knowingly furnishes false information on the permit application, shall be subject to a fine of $300.00 for the first offense and $500 thereafter for any subsequent violations. Except as otherwise specifically provided, anyone found guilty of three violations of any of the provisions of this chapter within one calendar year shall have his or her street performer’s permit revoked by the department of business affairs and consumer protection for a period of one calendar year. Permit revocations shall be conducted in accordance with procedures established by the department of business affairs and consumer protection.

(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 2-8-06, p. 70052, § 1; Amend Coun. J. 7-26-06, p. 81473, § 3; Amend Coun. J. 11-19-08, p. 47220, Art. V, § 5; Amend Coun. J. 6-3-09, p. 63975, § 1)

4-268-080 Special events.

The mayor, by and through the commissioner of the department of cultural affairs, or the executive director of the mayor’s office of special events, shall have the authority to promulgate reasonable rules and regulations governing the time, place manner and duration of all performances permitted under this chapter which occur during the course of a special event, including during the set up and clean up.

Such regulations shall include establishing specified areas within, or reasonably near the perimeter of, the grounds of a special event to which performers shall be limited, and such other restrictions as are reasonably necessary to ensure attendees’ enjoyment of planned events, protection of unique public art and landscapes, and public safety and welfare. Copies of such regulations shall be published and made available both in advance of and at the location of the special event.

(Added Coun. J. 12-9-92, p. 25465; Amend Coun. J. 4-21-99, p. 92524, § 2; Amend Coun. J. 2-8-06, p. 70052, § 1)

4-268-090 Constitutionality.

If any provision, clause, sentence, paragraph, section or part of this chapter shall, for any reason, be adjudged by a court of competent jurisdiction to be unconstitutional or invalid, said judgment shall not affect, impair or invalidate the remainder of this chapter. It is hereby declared to be the legislative intent of the council that this chapter would have been adopted had such unconstitutional or invalid provision, clause, sentence, paragraph, section or part thereof not been included.

Quiet Zones:

Quiet Zones Laws:

10-8-010 Establishment.

There is hereby created and established a zone of quiet in all territory embraced within the block upon which abuts the premises of any hospital owned, controlled or operated by the federal, state, county or city governments or any licensed hospital or home.

10-8-060 School zones of quiet.

There are hereby created and established zones of quiet during school hours in all public ways surrounding every block within which is located a building used, controlled, leased or operated for free common school education in the city.

It shall be the duty of the commissioner of transportation to place, or cause to be placed, on lampposts or some other conspicuous place, as near to each of the corners as practicable of every such block wherein such zone of quiet is established, as provided in this section, signs or placards displaying the words, “Notice Zone Of Quiet”.

10-8-070 Unnecessary noises.

The making, causing or permitting to be made of any unnecessary noise of any kind whatsoever, or the playing of itinerant musicians, or the making of noises for the purpose of advertising any goods, wares or merchandise, or of attracting the attention or inviting the patronage of any person to any business, or the playing of itinerant musicians upon the public ways within any zone of quiet established in accordance with this chapter, is hereby declared to be a nuisance, and is hereby prohibited.

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