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Take it from me, getting a music website off the ground is no simple song. Of course there are logistical factors—like signing up advertisers and sponsors, and convincing quality writers, web developers, filmmakers, etc., to work for free. But there is also the overarching task of explaining just what the hell we’re trying to do here—and explaining it in a way that doesn’t come off like Ozzy Osborne explaining Einstein’s Theory of Relativity. So that is my objective in this piece, to explain. But as it turns out, I am closer to Ozzy than Einstein intellectually, so I am forced to go at it with a single word:

Awareness.

Above all, the Chicago Music Project is about raising awareness within and about the Chicago music community. This goes for all facets of the community—fans, musicians, promoters, store owners, disco dicks, you name it. And for all forms of music—be it hip-hop, rock, folk, jazz, blues, country, metal, or any other thing that sounds good coming out of a speaker. It’s about getting the word out and letting people know what we could, should, and, in many cases, do have for returning Chicago to the musical powerhouse it once was. Everyone involved in this publication has this singular goal in mind, and it is the driving force behind everything we plan to do.

The music performed in Chicago is extremely diverse. Statistically speaking, it’s a fact that this city provides more venues for more kinds of music than any other city in the country, including New York and Los Angeles. Yet over the years, complacency and ignorance have managed to obscure this fact. In those other cities smaller venues are by-in-large favored over larger ones. But Chicagoans, it seems, have become increasingly content waiting for super-famous bands to swing into town to play Soldier Field or Lollapallooza or The House of Blues, all the while foregoing prime opportunities to see lesser-known yet kick-ass acts in more intimate (and definitely less-expensive) settings. Right now Chicagoans are more apt to fight traffic and shell out hundreds of dollars to see Dave Matthews with 50,000 of their closest friends, than go around the corner to spend $10 for an up-and-comer.

And it is precisely this neglect of the smaller venue (and the smaller band, in general) that has, for many years now, driven talented musicians out of and away from Chicago. Sure, they may cut their teeth here for a few years, but eventually, as they perceive fewer opportunities, they’ll seek more glorious pastures in places that offer more resources and exposure. They either forget or ignore the fact that there are numerous state-of-the-art studios in and around Chicago, as they will abandon a population that is affluent enough to turn their dreams into a tangible career. It is, in essence, the beginning of viscous cycle: bands see so many other bands relocating that they come to believe that they need to relocate, too. And with so much flight the talent pool becomes lessened, which begets worse music, and ultimately results in even diehard fans of smaller venues perhaps deciding to save their time and money for something better than the equivalent of an above-average karaoke show. Fortunately, it has not come to this just yet, but the writing is definitely on the wall. Only a tiny fraction of all music-related revenue generated in Chicago comes from small venues, while the larger venues account for something approaching the upper 90s.

So what can be done to stop this cycle while there is still plenty of talent in Chicago to avoid such a doomsday scenario? How can we help get people off their asses to appreciate what they have at their fingertips before it’s gone? Once again, it comes down to awareness.

We here at the CMP are not prophets. We do not claim to know what is good or what is shit. Of course our opinions will be pushed throughout the publication (primarily in the reviews section) , but what the CMP is really interested in is creating a central depot and forum where any musician, fan or industry professional can go to learn or speak out about what’s going on in Chicago music. In addition to the editorial aspects of the publication, we have incorporated in-house produced videos of everything from real concert footage to a day in the life of a Chicago band to studio sessions. We wish to present not just the finished product for the enjoyment of fans, but also incite into the creative process—a glimpse into what it takes to be a Chicago musician and the opportunities this city affords. There is a fashion section highlighting some of the trends and stores around the area (if you don’t think fashion has anything to do with music then all I can say is, “hello, welcome back from Mars.”), and we are laying the foundation for a what we envision as a highly-fluid classified section, allowing users to advertising anything from a used turntable to a crusty pair of Buddy Guy’s underwear to their services as a badass bassist.

And that’s just the start. This first issue, like the first take of a recording session, is part of a work in progress. Please let us know what you like, what you hate, what you will probably print out and wipe your ass with or what you might frame and give to your grandmother. We want to hear all that you have to say. Since after all, it’s all about awareness.

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