Chess Match: When Fleetwood Mac Spent a Day Recording with … – Newcity

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Peter Green, Otis Spann and John McVie during the legendary Fleetwood Mac Chess Blues session in Chicago, 1969/Photo: Jeff Lowenthal
Fleetwood Mac arrived in Chicago on New Year’s Day, 1969 and appeared that night with the Byrds and Muddy Waters at the Kinetic Playground in Uptown. On January 2, they opened for B.B. King at the Regal Theatre in Bronzeville. After that gig, they returned to the Kinetic Playground to play two more nights with Muddy.
There was no rest for these young British musicians.
First thing in the morning of January 4, Fleetwood Mac was booked for an impromptu session at Chess Records’ Ter-Mar Studio. Marshall Chess, son of Chess co-founder Leonard Chess, and Chess bandleader-bass player Willie Dixon put out a call for players. Many bluesmen were looking to pay some bills after a cold holiday season.
Buddy Guy during the legendary Fleetwood Mac Chess Blues session in Chicago, 1969/Photo: Jeff Lowenthal
The studio, at 320 East 21st Street on Chicago’s Near South Side, was filled with blues royalty: Otis Spann (Muddy Waters) on piano and vocals, a young Buddy Guy on guitar, David “Honeyboy” Edwards on guitar and vocals, Shakey Horton on harmonica, J.T. Brown (Howlin’ Wolf, Rabbit’s Foot Minstrels) on tenor sax and vocals, S.P. Leary (Muddy, Wolf) on drums, and Dixon on upright bass. They jammed with a Fleetwood Mac in its early, blues-oriented incarnation, years before the addition of Lindsey Buckingham and Stevie Nicks led them on their iconic late 1970s run. That day, the band consisted of Mick Fleetwood (drums) and John McVie (bass)—the namesakes, still with the band today—along with co-founder Peter Green (guitar, vocals), Jeremy Spencer (guitar, vocals) and Danny Kirwan (guitar, vocals).
They recorded eighteen tracks with no overdubs in one day, resulting in the album “Fleetwood Mac in Chicago.” It would be the first time contemporary rock musicians recorded in a studio with American blues musicians. In June 1964, The Rolling Stones had visited the previous Chess studio at 2120 South Michigan to record fourteen songs, but they did not use blues players.
The studio was named after Terry and Marshall Chess, the sons of founders Phil and Leonard. Marshall Chess was twenty-seven years old in 1969. “1969 was one of the most pivotal years of my life,” Marshall Chess says in a phone conversation from his upstate New York home. “It was my flowering. Then in the middle of the year, my father tells me he is selling the company. I couldn’t believe it. Then my father drops dead (October 1969) without a will. I never got my part of the sale.” Marshall Chess was in line to receive a million dollars as part of the Chess brothers’ sale to GRT (General Recorded Tape).
He continues, “That’s when I went with the Rolling Stones (in 1970, as the founder of Rolling Stones Records). It all started with that Fleetwood Mac blues album. That was the beginning of what I thought Chess was going to become. And then it got sold.”
Muddy Waters/Photo: Jeff Lowenthal
(Chess has, in recent years, launched a “Chess Records Tribute” YouTube station featuring more than two-hundred archival spots from Chess Records and Marshall’s later years with the hip-hop label Sugar Hill Records. One of the more recent Chess YouTube posts is Muddy Waters singing a Dr. Pepper jingle.)
Chicago photographer Jeff Lowenthal was in the Ter-Mar Studio in January 1969. He was known for photographs of jazz greats like Duke Ellington and Dexter Gordon. Lowenthal had taken portraits of Nelson Algren at the author’s Wicker Park home and comedian Lenny Bruce at the Gate of Horn. He had been freelancing for Chess Records. Marshall Chess had hired Loren Coleman, the company’s first-ever PR person. Coleman worked for the JUF News, a newspaper published by the Jewish United Fund, which is how Coleman knew Lowenthal.
And Lowenthal fired away with his Leica all day at the Fleetwood Mac blues session. He deployed about ten rolls of black-and-white film and three rolls of color.
Many of these candid images can be seen for the first time in “Fleetwood Mac in Chicago (The Legendary Chess Blues Session)” by Lowenthal and Robert Schaffner, which was released at the end of November. There are 165 photographs in the book. About a hundred thumbnail images appeared on the record sleeve of the double album, originally released on the Blue Horizon label in England. The record was subsequently released twice on Sire in the United States, with the second version containing only four images. The new book, which also includes fifty photographs that have never been published, features interviews with Buddy Guy, Cheap Trick’s Rick Nielsen and Aynsley Dunbar, drummer for Frank Zappa and Journey.
Jeff Lowenthal/Photo: Paul Natkin
Lowenthal, now eighty-four years old, lives in Oak Park. His negatives from the session have been stored in banker’s boxes for the past fifty years. He licensed nineteen images to the limited-edition Mick Fleetwood book “Love that Burns: A Chronicle of Fleetwood Mac, Volume 1, 1967-1974” (2017) and ten images to the third edition of Martin Celmins’ “Peter Green: The Authorized Biography.” “People know that I’m the only source for that particular group of pictures,” Lowenthal says over a Cuban sandwich at an Elmwood Park Cuban cafe. “Eventually they find me.”
Most people don’t know of Lowenthal’s historic catalog covering a sixty-year career. Acclaimed Chicago music photographer Paul Natkin says, “It’s what happens when a guy retires and doesn’t have any motivation to promote himself. My father (Robert Natkin, urban photographer and Chicago Housing Authority photographer) was the same. He did not believe the pictures he took were worth anything. It was beautiful but it was a job. He never looked at it as art. And it was. I equate Jeff with my father. They were from the same era. They would get paid five dollars, give the pictures to the client and they would go in a box on a shelf.”
When Fleetwood Mac arrived at their dreamland Chess studio on that January morning their producer Mike Vernon (Eric Clapton, John Mayall) realized he had neglected to bring a photographer. Marshall Chess called Lowenthal, who had little experience with rock musicians. “I didn’t know who Fleetwood Mac was,” Lowenthal says. “I had a girlfriend who did public relations. She had lunch with Jefferson Airplane. I said, ‘Who is that?’”
Lowenthal says that the day at Chess was a “good session” even though “they couldn’t get all the guys they wanted. Like Magic Sam. Michael (Vernon) didn’t know until years later that Buddy Guy was having difficulties with Chess. So he wouldn’t play any solos. But Willie Dixon was the factor that kept the sessions together. He took charge. He knew who the musicians were sleeping with that week and how much money they wanted to make. The blues guys came in to make money. They didn’t know who these kids were. But when they heard Peter Green, especially, it was like ‘Okay, this guy can play.’ Then they began to mesh and make good music. They were paying the blues guys off in cash in the toilet. I heard the story that I believe to be true that John McVie was on electric bass and trying to play one of these tunes with the blues guys. He can’t get it. So Willie Dixon (stand-up bass) says, ‘If you can’t do it, I’ll do it.’ That’s the kind of spark that happened.”
Peter Green and Shakey Horton during the legendary Fleetwood Mac Chess Blues session in Chicago, 1969/Photo: Jeff Lowenthal
Tracks included Peter Green’s swaggering “Watch Out,” Shakey Horton’s “Baby I Need Your Love,” Spann singing his composition “Hungry Country Girl” backed by Fleetwood Mac and a scorching cover of Elmore James’ “Madison Blues.” Lowenthal recalls, “The blues guys would cycle in. They’d do one song with three guys and another guy would show up and they’d talk about what his performance was going to be. I don’t remember breaks. Mike (producer Vernon) says they ordered food but I never saw it. Maybe it was in another room.” The go-to place for Chess at that time was the corned beef, homemade soup and chops from Mama Batt’s Restaurant, 22nd and Michigan.
Marshall Chess recalls, “In 1967, in England I met Chris Blackwell, who hadn’t even started Island Records. And there was this label in England called Blue Horizon, run by Mike Vernon (and his brother Richard and Neil Slaven).” Blue Horizon had recorded Howlin’ Wolf guitarist Hubert Sumlin and Christine Perfect who became Christine McVie and joined Fleetwood Mac in 1970.
“About the same time I met Seymour Stein, who eventually formed Sire Records,” Chess says. “Seymour was doing Blue Horizon in America before he started Sire. He started with King Records. We were similar. We were record guys in that first wave of the young guys. So they called me in Chicago and said, ‘Fleetwood Mac is this blues band in England with this great guitarist Peter Green. We’re on tour and we want to record in Chicago.’ Well, I had already done that with the Rolling Stones, but that was 2120 South Michigan. It was right up my alley. I wasn’t in the studio telling them what to play but they wanted me to get the Chess blues guys. I made the deals and what to pay them. They were doing it to make money. They kept asking me, ‘How long is this shit going to go on?’ We were there sixteen, eighteen hours. Everyone was trying to have a better life. The music became the vehicle.”
Jeff Lowenthal at Chess Studios/Photo: Berl Hyman
While freelancing for Chess, Lowenthal had worked at Ter-Mar many times with Howlin’ Wolf, Chuck Berry and Muddy Waters. He was familiar with the space. “There were three studios,” he says. “Fleetwood Mac was in the largest.”
Ter-Mar operated out of the former Revere Camera Company factory. “The studio was high-end,” Chess says. “One was a Ferrari (Ter-Mar), one was a Chevy (2120, the previous location). 2120 was designed by Jack Wiener (Chuck Berry’s engineer), who was brilliant. It was filled with springs. The height of the walls was just right. We were trying to make it so the record sounded the best on the radio. It was a magical studio. The Stones wanted to record there for many reasons. They got their name from a Muddy Waters song. They thought they could play at Chess and it would sound like a Chess record. Keith Richards and I discussed this years later. He’d laugh about the studio sound. They learned it was the playing.
“When we moved to 320 East 21st in 1966, it was a whole different concept. We were using strings. It was a giant room. We could do movie soundtracks there. Eight-track recording, then twelve, sixteen and twenty-four tracks. (Engineer) Malcom Chisholm did Studio B at 320. It was much more sophisticated. It was an industrial building with columns and weirdness. There was never anything like it. We should have documented it.” The Chess Records pressing, printing, packaging and shipping was all done in the eight-story building at 320. (The building is now a condominium complex.)
Lowenthal sees the light between the cracks. He says, “I didn’t think much about the studio. My concern was the color of the light. The Leica  was quiet. The worst thing you could do was interrupt a take. I worked close to them. And I knew Stu Black, the engineer, well because I shot my first recording session at a little studio Stu used to run called Hall Recording.”
Hall Recording was named after Black’s partner Bill Hall. Lowenthal’s first professional music gig was to photograph a popular mid-1940s era swing band of Black-Latina-Asian-Native American women led by Chicagoan Ernestine “Tiny” Davis, The International Sweethearts of Rhythm. The session was for Tek Records, a Chicago company run by a J. Walter Thompson advertising executive.
“That was my first session and her last,” he says. “I don’t know if the record was issued and I don’t find it in any discography. Tiny was a good player.” In the early 1950s Davis and her drummer Ruby Lucas opened their own Chicago club called Tiny & Ruby’s Gay Spot. And, ironically, in 1949 Davis recorded a hit single for Decca Records called “Draggin’ My Heart Around.”(In 1981, Fleetwood Mac’s Stevie Nicks and Tom Petty had a hit with “Stop Draggin’ My Heart Around.”)
Lowenthal is a humble man. “I tell people that my life, and maybe everybody’s life, is related to pool balls on a table,” he says. “You set them up and you hit them. They go in all different directions. If you’re an expert pool player maybe you know where they’re going to go. Maybe you don’t.”
Jeff Lowenthal was born in Chicago and raised at 657 West Buena on the North Side. His father, Edward, was a sales manager for a chemical company. His mother, Mildred, was a homemaker who had a master’s degree in piano from the Chicago Musical College. Her recital was with the Chicago Symphony Orchestra. (Jeff  Lowenthal himself was later married for eighteen years. His daughter Dana Rachel is a family therapist in Oak Park and his son Graham Edward trades stocks in Chicago.)
Saul Bellow/Photo: Jeff Lowenthal
In his early twenties, Lowenthal took pictures of future Nobel Prize-winner Saul Bellow, who was a family friend. One picture was used on the cover of Bellow’s 1970 novel “Mr. Sammler’s Planet” and another was used for the back jacket photo on the first printing of Bellow’s 1964 best-selling “Herzog.”
He visited the author’s apartment in Hyde Park. “The ‘Herzog’ reviews were so sensational that for the second printing they put reviews on the back cover,” Lowenthal recalls. “He loved the picture. He hated to be photographed. I came by in the morning. He asked if I had breakfast. I said, ‘No,’ and he said, ‘Here’s ten bucks. Go to the delicatessen across the street, get some salami and I’ll make you a fried salami sandwich.’ It was the first one I ever had. This was a guy who was one of my favorite authors and we have the sandwich together. He sat in the chair, I shot two rolls of him.”
Nelson Algren/Photo: Jeff Lowenthal
In the mid-1960s, Lowenthal had a Newsweek freelance assignment to shoot author Nelson Algren in Wicker Park. Algren was a tough guy to track down. “I couldn’t find him, so I thought I’d ask Saul,” Lowenthal says. “Saul had his number. And he said, ‘Don’t wear your heart on your sleeve when you see him.’ It was delightful. We talked about boxing. Nelson had an open copy of Esquire in front of him. There’s a Chemex coffee maker. He didn’t buy filters. He used paper towels. He’s by a window. It was all raggedy with paint peeling. We did a few pictures at the table. Then we went outside and I had him sit on the front steps of his building. I sent him a courtesy print. Those pictures aren’t seen much today. The one on the steps ended up on the back cover of (Algren’s 1965 book) “Notes From A Sea Diary: Hemingway All The Way.” I wrote the publisher and said I only sent it to Nelson as a favor, so they said to send them an invoice. They used it for two more books which was funny because (Algren photographer) Art Shay was very pissed off that they used my pictures. He followed Nelson everywhere, playing poker. He did get great stuff on Nelson.”
Otis Spann (Muddy Waters) during the legendary Fleetwood Mac Chess Blues session in Chicago, 1969/Photo: Jeff Lowenthal
Was there any difference between shooting Saul Bellow and Otis Spann?
Lowenthal takes a long pause. “That’s a good question. When you’re shooting Saul Bellow, I’m directing him a little bit. With Otis Spann, I’m just laying back and watching him do his thing. I can’t ask him to turn left or turn right. He was such an interesting-looking guy. He was so giving. He didn’t know me. I had seen him on the Muddy sessions. We talked about stuff when there were interruptions in doing the tunes.”
Marshall Chess says, “Jeff was like a fly on the wall. I was very impressed with that. I worked with (Swiss photographer-filmmaker) Robert Frank with the Rolling Stones. He is the father of realistic photography. Jeff is similar. He has the ability to become invisible in the studio. It’s a shame we had to leave, he would have done so much more with us.”
Lowenthal calls the late jazz clarinetist-saxophonist Franz Jackson his first amateur session—he took those pictures for himself and did not get paid—and the colorful Tiny Davis his first professional session. Under the encouragement of jazz disc jockey Dick Buckley, Lowenthal hosted a 1959 Saturday afternoon swing jazz show on WNIB-FM 97.1 (now WDRV) for about six months. “Until I made the mistake of saying a disparaging thing about Miles Davis,” he says. “The owner said I was done. I liked Miles, but I prefer Roy Eldridge. I like more power in my trumpet.”
During his brief on-air stint, Lowenthal got a postcard from a listener who said he should check out Jackson’s band at The Red Arrow nightclub in south suburban Stickney. Lowenthal took a bus from Chicago to Stickney. Jackson’s trombone player John Thomas drove Lowenthal back to Chicago. “The band was great,” he says. “He had Bob Shoffner on trumpet. He replaced Louis Armstrong in King Oliver’s band. Little Brother Montgomery was the piano player.” The then-radio host asked to interview Jackson live in the unfurnished penthouse WNIB studio at the old Midwest Hotel (formerly the Midwest Athletic Club) at 3800 West Madison. “It was a low-budget operation because nobody listened to FM in those days,” he says. “I had to get a converter for my AM radio to listen to FM. The owner of Replica Records was listening and Jackson snagged a fast deal.
“Franz hadn’t recorded in ten years,” he says. “I took pictures of the recording session. Franz later had a contract with Mercury which they did at Universal Studios (in Chicago). I’m photographing there and the editor of DownBeat was there. His photographer didn’t show up. They were doing a story on the session.” The editor asked for Lowenthal’s proofs and the young photographer ended up with a two-page photo spread in DownBeat. “It’s all different things,” he says. “If the DownBeat photographer had come. Or if Fleetwood Mac hadn’t had a recording session…”
Lowenthal was a Newsweek freelancer for ten years before serving in the U.S. Navy between 1964 and 1968. He became a Newsweek staffer in 1975 and remained until 1985. Lowenthal says that landing at Newsweek was another “pool ball” experience. He got to know Newsweek bureau chief Harry Homewood because the magazine was in the London House building at Michigan and Wacker where his father had an office. “Harry said he could submit my stuff to New York, but that I had to have a national publication,” Lowenthal says. “The way it fits with the pool ball is that because of DownBeat, I had the national publication. My first story for Newsweek was on Marshall Field, Jr. at the Sun-Times.” Homewood left Newsweek in 1962 to become the chief editorial writer for the Sun-Times where he remained until 1970. (He also wrote spy novels under his own name.)
Lenny Bruce/Photo: Jeff Lowenthal
Lowenthal remembers shooting comedian Lenny Bruce backstage in December 1962 at the Gate of Horn nightclub, 755 North Dearborn. Bruce was arrested on obscenity charges during his week-long residency. “You couldn’t ask Lenny to do anything,” he says. “One night we’re at the table with the public relations woman. I’m reading my spot meter. Lenny says, ‘Let me see that.’ The public relations girl says, ‘Do anything he wants.’ So I gave him the spot meter and he went on stage and did twenty minutes on it. Complete improvisation. I was there every night except the night he got arrested.” That night Lowenthal’s assignment was to shoot the Chicago Federation of Musicians union election.
In the summer of 1963, Lowenthal made pictures of Duke Ellington during the recording of the bandleader’s “My People” sessions at Universal Studios in Chicago. “My People” opened as part of the Century of Negro Progress Exposition in Chicago. Ellington wrote the music and words. He did the orchestration and directed the music. “My People” celebrated the positive achievements of Black people in American life and emerged at the same time as the August 1963 March on Washington.
The soundtrack was recorded in three days in August 1963 at Universal. “I liked the feeling there so much I came back to the rest of the sessions on my own,” Lowenthal says. “Billy Strayhorn was there. Louie Bellson (drums). I probably saw the show ten times at the Arie Crown Theater. (Longtime Ellington vocalist) Joya Sherrill was the featured singer. She’d start to work to me after a few days because I was always in the front row. It was all very sweet.”
Cairo, Illinois/Photo: Jeff Lowenthal
Lowenthal wanted to mentor other photographers. He wrote the 128-page book “Stage and Theater Photography” in 1965. The book includes a chapter titled “Portrait of the Artist as a Human Being,” where Lowenthal interviewed jazz pianist Oscar Peterson. “Stage and Theater Photography” became a bible for the Chicago rock-blues photographer Paul Natkin, who met Lowenthal in 1972. The book launched Natkin’s legendary career.
“I was working in a photo lab and Jeff came in to get film processed.” Natkin says. “He told me about his book on how to take pictures at concerts. That’s what I wanted to do. So I bought it. And I still have it. It was hard for me to shoot concerts at the beginning. The most important thing I learned is that when you’re sitting in the audience in the dark, the audience thinks it must be dark on stage. How can we shoot in the dark? The lights on stage make it as bright as outside.”
Lowenthal says, “When you’re photographing in a nightclub someone would always say, ‘Are you using (high-speed) Tri-X? Or they ask, ‘How powerful is your strobe?’ and I’d say ‘A billion-watt second,’ which is absurd. I got pissed off getting the same questions. No book told you how to shoot concerts. I had a lot of concert pictures. You don’t get in the way. That’s the first thing. What I say in the book is that the music takes precedence.”
Peter Green during the legendary Fleetwood Mac Chess Blues session in Chicago, 1969/Photo: Jeff Lowenthal
The “Fleetwood Mac in Chicago” book idea was born in the Chicago area. In late 2019 Fleetwood Mac historian Robert Schaffner posted a Lowenthal photo of Peter Green at Chess on his Green Facebook page. The picture was noticed by Bruce Thomas of Elvis Costello and the Attractions. Thomas is a Green fan. He posted, “Hi Robert. Anyone who has a picture of the greatest guitarist/musician as his cover photo is a friend of mine.” Schaffner’s son Drew suggested that his father write a letter to Green to tell him about the encounter but Green died in 2020 and Schaffner never wrote the letter.
“That letter sparked the idea for the book,” Schaffner says from his home in Kenosha, Wisconsin. Schaffner and Lowenthal moved forward with Green’s spirit. “I tried to keep most of the interviews local aside from the ‘famous’ people,” Schaffner says. “Because this story is about Chicago.”
Schaffner owns three different vinyl versions of what he calls “FMIC,” as well as the “Complete Blue Horizon Sessions” Mac-Chess project on CD with bonus tracks. Schaffner, sixty-seven, grew up on classical music but Fleetwood Mac became one of his first favorite rock bands. “Peter Green and Danny Kirwan speak to me,” he says. “Their phrasing and their emotions are unlike somebody like Eric Clapton. They knew how to play off each other. Peter gave Danny the spotlight when he very well could have taken the guitar parts to himself. The lyrics Peter did on some of his songs are bittersweet.”
Most people do not know that in 1968 Green wrote “Black Magic Woman” for Fleetwood Mac. A couple of years later “Black Magic Woman” became a monster hit for Santana.
“Peter’s songs were reflective of his life,” Schaffner continues. “‘Man of the World’ sums up his feelings about life at that point in time, very sad and reflective. And a hit song (1969). If the band was listening to what Peter was saying, perhaps he would have been ‘saved.’” In the 1970s and eighties Green battled mental illness and in 1977 was arrested for threatening his accountant with a shotgun. He reportedly told his accountant to stop sending money to him. Green died in July 2020 at the age of seventy-three.
Original Fleetwood Mac guitarist and pianist Jeremy Spencer had two American gigs in the summer of 2008; one in Wisconsin and the other on July 11, 2008 at FitzGerald’s in Berwyn. Lowenthal and Hamer Guitar co-founder Paul Hamer saw Spencer at FitzGerald’s. Hamer guitars were based on the extended Peter Green sound. Before the show Spencer asked Lowenthal about the photos. Lowenthal gave him some images that Hamer got framed—he owns the Frame Warehouse stores in Oak Park and Evanston.
“Of all the people in Mac who were most on cloud nine at Chess, it was probably Jeremy,” Schaffner says. “Because he got to play with J.T. (Brown on tenor sax). It was like a guitarist getting to jam with Hendrix.” Spencer was influenced by Elmore James and J.T. Brown played with James. “Like Mike Vernon says,” Schaffner continues, “I don’t think John McVie knew what was going on. And it was a Peter Green wish to play with his heroes at Chess.”
Sissy Spacek/Photo: Jeff Lowenthal
Lowenthal was introduced to Schaffner at the FitzGerald’s concert. Schaffner bugged the photographer to do the book four or five times. Lowenthal finally caved in on the condition that Schaffner find a solid publisher. “He’s a hell of a salesman,” Lowenthal says. “It took him three weeks to find a publisher. Some rejected it. They wanted to have 150 samples of my work. I said, ‘No, I’m not doing auditions at this point in my life.’”
“One of the reasons I pushed, pushed and pushed for Jeff was because quite frankly if he passed away those pictures probably would have ended up in the dumpster,” Schaffner says. “I’m so happy for Jeff.  You know what? If nothing else happens, I’m good.”

While bouncing through a two-hour conversation at the Cuban diner, Lowenthal occasionally stops to show his portfolio on his phone. He smiles a lot. There’s Sissy Spacek in 1976 in her hometown of Quitman, Texas after starring in the film “Carrie.” That was a Newsweek assignment. He beams again at one of the earliest pictures of jazz trumpeter Ira Sullivan, circa 1959. He keeps nine-hundred of his photographs on his phone. I ask Lowenthal if he ever thought he would be showing people his pictures on the phone at age eighty-four.
“I didn’t think I’d live to be eighty-four,” he answers.
Lowenthal leans over the restaurant table and picks up a print he made of Willie Dixon on bass and Peter Green on guitar during that distant day at Ter-Mar. He smiles and says, “I used to say I wanted to live long enough to complete the book. Of course now, I want to extend that a bit. It is so amazing to me. I look at the producer. I see the band. We’re all so young. We’re forever young.”
Evanston Space will host a book signing with music on February 12. Tickets and details are here.
Dave Hoekstra is a Chicago author, radio host and documentarian. His latest book “The Camper Book (A Celebration of a Moveable American Dream) is available on Chicago Review Press. He co-produced the documentary “The Staple Singers and the Civil Rights Movement,” nominated  for a 2001 Chicago/Midwest Emmy Award. Dave was a 2013 recipient of the Studs Terkel Community Media Award. His work can be found at davehoekstra.com.

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