Image: Sam Greenlee was the Chicagoan author of The Spook Who Sat by the Door (1969): a succès d’estime as well as an underground triumph as both a book and a film (although according to Sam the film was hijacked and basically stolen by a sharp acquaintance). Here: the original movie poster.
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The Third Coast: When Chicago Built the American Dream, by Thomas Dyja. David Drummond is narrator; Blackstone Audio, Inc. is publisher. Audible Audiobook – Unabridged https://www.amazon.com/Third-Coast-Chicago-Built-American/dp/B00C6B9FZM/ref=sr_1_1?keywords=Dyja+third+coast&qid=1577575459&s=audible&sr=1-1
Though today it can seem as if all American culture comes out of New York and Los Angeles, much of what defined the nation as it grew into a superpower was produced in Chicago. Before air travel overtook trains, nearly every coast-to-coast journey included a stop there, and this flow of people and commodities made it America’s central clearinghouse, laboratory, and factory. Between the end of World War II and 1960, Mies van der Rohe’s glass-and-steel architecture became the face of corporate America, Ray Kroc’s McDonald’s changed how people eat, Hugh Hefner unveiled Playboy, and the Chess brothers supercharged rock and roll with Chuck Berry. At the University of Chicago, the atom was split and Western civilization was packaged into the Great Books.
Yet even as Chicago led the way in creating mass-market culture, its artists pushed back in their own distinct voices. In literature, it was the outlaw novels of Nelson Algren (then carrying on a passionate affair with Simone de Beauvoir), the poems of Gwendolyn Brooks, and Studs Terkel’s oral histories. In music, it was the gospel of Mahalia Jackson, the urban blues of Muddy Waters and Howlin’ Wolf, and the trippy avant-garde jazz of Sun Ra. In performance, it was the intimacy of Kukla, Fran, and Ollie, the “Chicago School” of television, and the improvisational comedy troupe Second City whose famous alumni are now everywhere in American entertainment.
Despite this diversity, racial divisions informed virtually every aspect of life in Chicago. The chaos—both constructive and destructive—of this period was set into motion by the second migration north of African Americans during World War II. As whites either fled to the suburbs or violently opposed integration, urban planners tried to design away “blight” with projects that marred a generation of American cities. The election of Mayor Richard J. Daley in 1955 launched a frenzy of new building that came at a terrible cost: monolithic housing projects for the black community and a new kind of self-satisfied provincialism that sped up the end of Chicago’s role as America’s meeting place.
In luminous prose, the Chicago native Thomas Dyja re-creates the story of the city in its postwar prime and explains its profound impact on modern America.
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*Permissions: For an article about a film, the original theatrical advertisement poster is one of the most important images that could be included. Various posters and advertisements have been produced over the years to promote this film, however this is the original artwork, intended by United Artists for wide distribution.
It is believed the use of this image in the article The Spook Who Sat By The Door is covered by the “fair use” legal doctrine
