Category Archives: Chicago

The Entrance to an Era: Chicago’s Metropolitan Tower (1924) and the Rise of Modern Michigan Avenue.    

Feature Image: Main Entrance, Metropolitan Tower (1924), 310 South Michigan Avenue, Chicago, was designed by Graham, Anderson, Probst & White. December 2015. 4.89 mb DSC_0963 (1). Author’s photograph.

Metropolitan Tower’s main entrance is more than an architectural detail: it is a surviving gateway to one of Chicago’s most significant early skyscrapers, a building that embodied the ambitions, craftsmanship, and corporate prestige of the 1920s while reflecting the evolution of Michigan Avenue and modern Chicago.

Located at 310 South Michigan Avenue on the southwest corner of Jackson Boulevard, Metropolitan Tower originally served as corporate headquarters for S.W. Straus and Co., a banking and investment firm. The building was erected in 1924 by Graham, Anderson, Probst & White in their signature classical style. The architectural firm was one of the largest in the first half of the twentieth century and went on to build Chicago’s Civic Opera Building in 1929. Founded in 1912, the firm was the successor to D. H. Burnham & Co. by way of partner, Ernest R. Graham (1868-1936), and Burnham’s sons, Hubert and Daniel Jr. Five years later the Burnhams left to form their own firm (Burnham Brothers) and Graham partnered with others of the firm’s members: William Peirce Anderson (1870-1924), Edward Mathias Probst (1870-1942), and Howard Judson White (1870-1936). No expense was spared for the Straus Building’s interior, though of the original lobby’s opulence all that remains are the elaborate bronze elevator doors. The entrance’s coffered bronze doors by Italian sculptor Leo Lentelli (1879-1961) were destroyed. see – Saliga, Pauline A., editor, The Sky’s The Limit A Century of Chicago Skyscrapers, Rizzoli New York, 1990, p. 117.

The Metropolitan Tower was built in 1924 as the headquarters of S.W. Straus & Co. and designed by Graham, Anderson, Probst & White, successors to the Burnham architectural tradition.

Ernest R. Graham (1868-1936).

William Peirce Anderson (1870-1924).

Edward Mathias Probst (1870-1942).

Howard Judson White (1870-1936).

The elaborate entrance and lobby originally featured exceptional decorative work, including bronze doors created by sculptor Leo Lentelli, although many original elements have been lost.

Leo Lentelli (1879-1961). The Italian sculptor created the original main entrance doors for Metropolitan Tower that were later destroyed. Public Domain.

The 30-floor classical-style Straus Building was renamed over the years for other of its famous inhabitants including Continental National Insurance Co. and Britannica Center for Encyclopedia Britannica. Metropolitan Tower was the first building in Chicago that took advantage of the new 1923 zoning ordinance for skyscrapers that allowed buildings taller than 260 feet (30 or more floors) with the necessary setbacks. Metropolitan Tower’s required setbacks begin at the 21st floor on which sits a nine-story tower until there is a second setback and then the final two stories. Crowned by a stepped pyramid and possessed of a powerful beacon that opened in 1924, the building is Chicago’s first Michigan Avenue skyscraper.

Metropolitan Tower was the first skyscraper on Michigan Avenue and one of the earliest buildings to take advantage of Chicago’s new 1923 zoning regulations permitting greater height through setbacks. Its distinctive stepped crown, beacon, and symbolic ornamentation made it a recognizable feature of the Chicago skyline.

Built in 1924, Metropolitan Tower was Michigan Avenue’s first skyscraper. PHOTO: “Metropolitan Tower, Chicago in May 2016” by MusikAnimal is licensed under CC BY-SA 4.0.

Unused for years, the building’s 1,500-pound carillon bells were restored in 1979 for Pope John Paul II’s visit to Chicago. Just steps from Metropolitan Tower, the papal visit included an outdoor mass in Grant Park on October 5, 1979, which attracted over one million attendees, the largest gathering ever in Grant Park history up to that time. see – CBS Chicago Vault: Pope John Paul II enthralls Chicagoans on 1979 visit – CBS Chicago – retrieved March 18, 2026.

At one time, the thirtieth floor was the Straus Tower Observatory, which was open to the public for viewing the city in all four directions. see – Home | Metropolitan Tower – retrieved February 24, 2026. Home to the Continental National Insurance Company soon after it was built, this iconic skyscraper is located within Chicago’s Landmark Historic Michigan Boulevard District. The glass “beehive” supported by four bison figures at the top of the building held the blue light of a four-direction beacon. The ensemble, symbolizing industry, strength, and thrift, saw its beacon, signifying global reach, permanently shut down in 1934 following the financial failure of the S.W. Straus and Company during the Great Depression. The building was converted to residential condominiums in 2007. see – Metropolitan Tower | Powered by Baird & Warner– retrieved February 24, 2026; AIA Guide to Chicago, 2nd Edition, Alice Sinkevitch, Harcourt, Inc., Orlando, 2004, page 42.

The building was constructed in a classical style and represented the high quality and prestige associated with major Chicago commercial architecture of the 1920s. Over time, the building adapted to changing uses and occupants, including Encyclopedia Britannica and residential condominiums, demonstrating its continued relevance and preservation.

Beginning of the end of a life of violent crime: the story of John Dillinger’s first hideout in Chicago at 3512 North Halsted on March 3, 1934, to his being killed at the Biograph Theater on July 22, 1934, by the FBI.

FEATURE IMAGE:  On March 3, 1934, John Dillinger (left in a mug shot) used the second floor of this three-flat building on Chicago’s north side as his first hide out after he and another criminal, murderer Henry Youngblood, drove directly here from a jail in Crown Point, Indiana following their break-out. In January 1934 Dillinger had been extradited to Indiana from Arizona. Public domain. Author’s photograph. May 2014.

In the Great Depression many banks had failed wiping out entire savings of millions of ordinary Americans. Banks that stayed open saw their primary business becoming foreclosures on ordinary American’s homes, farms, and businesses. And the economy was not improving. Bank robberies were viewed by some as a sort of just retribution in desperate times or even sometimes more favorably since bank robberies could involve the destruction of bank records, including mortgages, so that the bank could not as easily foreclose. There was a myth of the glamorous getaway involving handsome celebrity robbers. Such was the story of John Dillinger (1903-1934) with his gangs including Harry “Pete” Pierpont, Lester “Baby Face Nelson” Gillis, John “Red” Hamilton, and Homer Van Meter and their girlfriends. John Dillinger, declared Public Enemy No. 1 by the FBI in June 1934, epitomized the early 1930’s Depression-era bank robber in America as he terrorized the Midwest following his release from jail from September 1933 until July 1934.  In this period other robbers included “Pretty Boy” Floyd, “Machine Gun” Kelly, and Bonnie and Clyde who died in a hail of gunfire in May 1934 as these territorial and nomadic robbers’ crime sprees were splashed across newspaper headlines that the public consumed like that week’s latest movie serial. 

FBI photograph of the Biograph Theater in 1934 shortly after the shooting of Public Enemy No.1, John Dillinger. Public Domain

New federal anticrime laws targeted interstate criminals that made bank robbery, the transport of stolen goods or the flight of a felon over state lines, a federal crime and came under the jurisdiction of the FBI. That is where this three-flat in Chicago enters criminal and criminal law history. About midway between Lake Michigan and Wrigley Field in Chicago sits John Dillinger’s Hideout, a red brick three-flat at 3512 N. Halsted in the Uptown neighborhood. After his Indiana jail break on Saturday, March 3, 1934, John Dillinger, with murderer Henry Youngblood, headed directly to Chicago and hid out for one night in this building. Dillinger stayed on the second floor of an apartment owned by Frances “Patsy” Frechette, the half-sister of Dillinger’s girlfriend, Evelyn “Billie” Frechette (1907-1969). This break out gave FBI chief J. Edgar Hoover his first big chance to apply federal anticrime laws after Dillinger broke out of the “escape-proof” jail in Crown Point, Indiana, having used a fake gun, stole Sheriff Lillian Holley’s car and drove the 50 miles or so across state lines to this building in Chicago, Illinois. Dillinger violated the Dyer Act and put himself in the jurisdictional sights of the FBI. On March 7, 1934, Hoover mounted a special operation to capture Dillinger, dead or alive, that would come to a successful, and bloody, conclusion on the evening of July 22, 1934, outside the Biograph Theater, about a mile and half straight south from this site. On a swelteringly hot night, Dillinger went to the air-conditioned movies and, having been set up there by the “Woman in Red,” would find himself hours later chilling in a morgue.

John Dillinger mug shot. Public domain.

Dillinger started early in a life of crime so that when he was 21 years old, he was serving what would be a nine-year sentence in an Indiana prison for robbery. Originally from Mooresville, Indiana, near Indianapolis, Dillinger and Chicago were paired for much of his adult criminal life. He joined the US Navy in Chicago in 1923 to escape an auto theft rap in Indiana. But 6 months later Dillinger gave up the ship, the USS Utah, and was dishonorably discharged. He was behind bars for that nine-year sentence for robbery starting in fall of 1924. When he was paroled in 1933, the ex-con turned to a life of violence as a bank robber. During his final 10-month crime spree Dillinger and his gang killed at least 10 people including a sheriff during one of their three jail breaks, and wounded seven more.

John Dillinger (left) with navy buds. Public domain.

To go from this hideout on March 3, 1934, to Dillinger’s death on July 22, 1934, was nearly half of Dillinger’s final 10-month episodic crime spree. In late January 1934 Dillinger and Billie and most of his gang was in Tucson, Arizona, with Dillinger checking escape routes to Mexico. Some of the gang was on the lam from a bank robbery in East Chicago, Indiana. Caught by local police, Dillinger was extradited by airplane to Indiana via Chicago and jailed in Crown Point, Indiana. It was there that he first hired Louis P. Piquett, a Chicago attorney known for close ties to the Chicago mob. Billie Frechette visited Dillinger at Crown Point in mid-February 1934. But, on March 3, 1934, Dillinger broke out of the jail and remained free until his death in late July 1934 at the hands of law enforcement.

3512 North Halsted, Chicago. Author’s photograph. May 2014.

There are many hideouts for Dillinger and his gang as they were highly peripatetic. But this hideout is significant since it is the first hideout for Dillinger on his final way to capture and death as Public Enemy No. 1 but also an American folk anti-hero. Dillinger arrived at the apartment of Patsy Frechette to hide out and reunite with Billie after crossing the state line in the stolen sheriff’s car. Dillinger was here for a significant rendezvous and transition though for too short a time for any law enforcement raid occurring at this specific address during his stay. The hideout is just steps – a literal 3-minute walk – from the long-established (1872) 42nd Precinct “Town Hall” police station.  Instead, the FBI’s first major violent confrontation with the Dillinger gang following his escape took place weeks later at the Little Bohemia Lodge in northern Wisconsin in April 1934.

The next day, March 4, 1934, Dillinger set out for Minneapolis with Billie and rented an apartment (the Indiana sheriff’s stolen car was ditched in Edgewater) at Lincoln Court Apartments, Unit 303, at 95 Lexington Parkway in St Paul. On March 6, 1934, escaped con man Dillinger driving a 1934 Packard robbed a bank in Sioux Falls, North Dakota with gang members Homer Van Meter, Eddie Green, Tommy Carroll, and Baby Face Nelson. In the robbery a policeman was wounded and the gang took almost $50,000 ($1.2 million in 2026). One week later, on March 13, 1934, Dillinger, driving a Buick, robbed a bank in Mason City, Iowa, with the same gang members plus John Hamilton. Taking $52,000 in cash ($1.25 million today), a bystander was wounded as was Dillinger and Hamilton who returned to St. Paul for medical attention. That same day (March 14, 1934), Henry Youngblood, the murderer who escaped prison with Dillinger less than two weeks before, was shot and killed by law enforcement in Michigan. A deputy sheriff was killed in the capture.

1934 Green Packard. “1934 Packard” by Rennett Stowe is licensed under CC BY 2.0.

Two days later, March 16, 1934, Dillinger and Billie return to Chicago. Days later he and Billie are back in St. Paul living together in the apartment under an alias (rent is $60 a month – about $1440 today). The criminal bank robber Dillinger drove to Ohio to see if he could spring from jail his mentor and partner Harry Pierpoint who had an impending death sentence but Pierpont, on October 17, 1934, was executed in the electric chair. On March 30, 1934, Dillinger was back in St. Paul with Billie and his gang members with girlfriends. At the same time, the FBI was tipped off as to Dillinger’s whereabouts and when three agents arrived at the apartment to investigate on March 31, 1934, Dillinger and Billie escaped though Dillinger was wounded in the leg. He sought medical attention across town in Minneapolis where he recovered during the next week though Eddie Green was shot and mortally wounded. The FBI, hot on Dillinger’s trail, raided the house of Dillinger’s half-brother Hubert in Indianapolis after Dillinger and Billie bought a car there with hot money and listed Hubert’s address as theirs. On Monday, April 9, 1934, Dillinger and Billie were back in Chicago where Billie was arrested at 416 North State as Dillinger escaped. Billie was held on a $60,000 bond ($1.44 million today) in response to the pair’s fleeing that shootout with law enforcement in St. Paul, Minnesota. Her trial in May 1934 resulted in a conviction. By Friday, April 13, 1934, Dillinger with Homer Van Meter had robbed a police supply station in Warsaw, Indiana, and stole firearms (Dillinger was partial to .38 revolvers throughout his career) and bulletproof vests.

Billie Frechette (1907-1969) was born on a Menominee Indian Reservation in Wisconsin. After her arrest she was tried and convicted of violating a federal law of harboring a criminal and served a two-year prison sentence without parole in a federal pen in Milan, Michigan. Public domain.

FBI wanted poster for Billie Frechette. Public Domain.

The next day Dillinger and Van Meter were in Cedar Rapids, Iowa where they broke into a tourist camp and stayed in a cabin for a few days. Dillinger then drove to Sault Ste. Marie, Michigan with John Hamilton. Meanwhile Homer Van Meter, Marie Comforti, and Pat Reilly arrived at Little Bohemia Lodge in Manitowish, Wisconsin where that evening of Friday, April 20, 1934, Dillinger, Hamilton, and others arrived for a three-day paid stay. The lodge was owned and built in 1929 by a Dillinger friend. The proprietor’s wife, hoping to secure the FBI’s $10,000 reward for Dillinger’s capture (about $250,000 today), tipped off law enforcement on many fronts after an elaborate feint of trust/ mistrust among the lodge’s owners and Dillinger’s gang. The G-men immediately chartered two airplanes full of agents from St. Paul and Chicago to Rhinelander Airport. Agents in communities surrounding the lodge were summoned to assist in the raid. There were complications: the weather was bad (snow and ice), and the agents on arrival found they had only one car when they needed 6 or 7. Meanwhile Dillinger announced he changed plans and was leaving the Lodge early.  After renting cars agents arrived by nightfall of April 22, 1934, and surrounded the lodge on foot. The agents were protected by bulletproof vests and armed with machine guns, revolvers, and tear gas.

Little Bohemia Lodge where the FBI bungled the capture of Dillinger on April 22, 1934, and killed an innocent guest. It was a human and public relations disaster for the newly minted federal law enforcement group. Built in 1929, bullet holes can still be seen from that night in the northern Wisconsin lodge building today. “Little Bohemia Lodge” by nanaze is licensed under CC BY-NC-SA 2.0.

Inside the Lodge, it was Sunday night and the bar was busy with patrons. John Morris and Eugene Boiseneau, two young CCC workers, and a gas station attendant named John Hoffman had just finished their Sunday dinner and were about to leave. The snow in the night obscured everyone’s vision and when they approached the exit of the lodge they were ordered to halt by the FBI who thought they were Dillinger and his gang. The FBI soon opened fire. Their bullets pierced the car’s steel and hit its three occupants – wounding Morris and Hoffman and killing Boiseneau.

Mug shot of Lester Gillis, aka “Baby Face” Nelson. On July 22, 1934, Dillinger was ambushed and killed by FBI agents outside the Biograph Theater in Lincoln Park, Chicago. The next day the FBI announced that “Pretty Boy” Floyd was now Public Enemy No. 1. On October 22, 1934, Floyd was killed in a shootout with agents including Melvin Purvis. Subsequently, J. Edgar Hoover announced that Nelson was now Public Enemy No. 1.  Unlike Dillinger who could be polite, the owners of the Little Bohemia Lodge thought Nelson was a “psychopath.” He died from gunshot wounds sustained in a fierce shootout with FBI agents on November 27, 1934, near Barrington, Illinois, though he managed to kill both agents. Fleeing, Nelson died in a safe house in Wilmette, Illinois. Public domain.

This gunfire alerted Dillinger inside the lodge playing cards to law enforcement’s presence. Agents then surrounded the Little Bohemia Lodge and opened fire with a hailstorm of bullets believing Dillinger and his gang inside. But Dillinger, Homer Van Meter, John Red Hamilton and Tommy Carroll escaped as did Baby Face Nelson who killed one agent and left the proprietor and wife with their other guests to suffer the carnage. The FBI left emptyhanded but for some of the gang’s girlfriends who surrendered without incident.

Head of the FBI case in Chicago to get Dillinger and his gang dead or alive was Melvin Purvis. Public domain.

Later that day (April 23, 1934), Dillinger, Van Meter and Hamilton engaged in a gun battle with police in Hastings, Minnesota, near St. Paul. When Hamilton was wounded Dillinger drove back to Chicago but failed to get him medical attention so that, a few days later, Hamilton died in Aurora, Illinois, and was buried by Dillinger and others in a gravel pit near Oswego, Illinois. The getaway car Dillinger stole in Wisconsin that night after escaping the lodge was found blood stained in Chicago at 3333 North Leavitt on May 2, 1934. The raid, led by FBI chief in Chicago Melvin Purvis (1903-1960), who liked publicity, was heavily criticized in the press for the agents’ brutal methods and stupidity and was one of the worst public relations fiascos in FBI history.

John “Red’ Hamilton. Mug shot. Public domain.

With the FBI in hot pursuit of Dillinger and his gang, episodes of violence occurred between law enforcement and gang members and other criminals throughout the Chicago area where people were killed. Dillinger, who had become an internationally known superstar criminal, had been thinking about getting plastic surgery to conceal his identity. His legal counsel, Louis P. Piquett, put Dillinger in touch with an off-the-books operating room by way of James Probasco, another of Piquett’s clients. The surgery price was high and almost all profit for Probasco: $80,000 cash (about $2 million today). Probasco recruited Dr. William Loeser, a German immigrant who fled to Mexico to escape serving time for violating the Harrison Anti-Narcotic Act of 1914 and developed a procedure to remove fingerprints. He was assisted by Dr. Harold Cassidy. Dillinger moved into Probasco’s home on Chicago’s north Crawford Road (now Pulaski Road) on May 27, 1934. The surgery took place the next day, with Dillinger opting to receive a general anesthetic. But a glitch in its application (Dillinger was swallowing his own tongue) made him choose a local anesthetic. For the next several hours, the doctors removed a mole from his forehead, dimple from his cheek, and changed the shape of his face and erased seams in his cheeks. They employed Loeser’s acid method to burn off Dillinger’s fingerprints.

Tavern owner James Probasco’s house at 2509 N. Crawford Road in Chicago where Dillinger underwent plastic surgery on May 28, 1934. Public domain.

The surgery, however, was more cosmetic than plastic so that Dillinger was still completely recognizable and his fingerprints remained after he recovered. James Probasco, four days after Dillinger’s death, on July 26, 1934, was brought under questioning for this episode by the FBI at the Bankers’ Building in downtown Chicago. Mysteriously, a window was open and Probasco leapt to his death falling onto the pavement. Attorney Louis Piquett went on trial for harboring a fugitive (Dillinger) but was found not guilty. In 1936, Piquett was retried for the same charge regarding Homer van Meter. Found guilty he served two years in prison, was fined $10,000, and disbarred in Illinois. In 1950, Piquett was pardoned by President Truman. Dr. Loeser was sentenced to one day in prison but had to serve 18 months for the Harrison narcotics case from which he fled. Dr. Cassidy received probation, served honorably in the army medical corps in World War II, but in 1946 had a breakdown and committed suicide.

“All My Life I wanted to be a bank robber. Carry a gun and wear a mask. Now that it’s happened, I guess I’m just the best bank robber they ever had. And I am sure happy.” – John Dillinger. On the alley wall in Chicago near the Biograph Theater where the bank robber was captured, dead, by law enforcement.

On June 22, 1934, the same day Dillinger was officially named Public Enemy No. 1, the high-profile criminal celebrated his 31st birthday with his new girlfriend, 26-year-old Polly Hamilton (1908-1969) at the French Casino nightclub in The Rainbo [sic] Building, 4812-4836 North Clark Street, in Chicago’s Uptown. A former employee and friend of brothel madam Anna Sage (1889-1947), Polly Hamilton met Dillinger at a Chicago nightclub in early June 1934 when she was working as a waitress and prostitute.

Polly Hamilton. Fair use.

The Rainbo, like many entertainment venues, struggled during the Great Depression. For a few months in 1934, the second year of the Century of Progress exposition in Chicago, the Rainbo Casino reopened as the “French Casino” (the building was demolished in 2003). A few days later (June 26, 1934), as Dillinger was watching the Chicago Cubs beat the Brooklyn Dodgers in Wrigley Field, his gang members, as informants increasingly came forward, were being squeezed around the city and in the Midwest by law enforcement, whether by being killed, or captured and tried. On June 30, 1934, Dillinger, driving a Hudson, with Van Meter, Baby Face Nelson and John Paul Chase pulled off their last bank heist in South Bend, Indiana, stealing $30,000 (over $700,000 today). One police officer was killed in the melée as a bank cashier, vice president, a bystander and a motorist, as well as Van Meter, were wounded. 

Wanted poster: John Dillinger, published by U.S. Department of Justice. Public domain. Special Collections at Wofford College “[Recto] Wanted poster: John Dillinger, published by U.S. Department of Justice” by Special Collections at Wofford College is licensed under CC BY-NC-ND 2.0.

In July Dillinger began the month discussing Billie’s appeal, going to the movies, and attending the Chicago Century of Progress. On July 22, 1934, Anna Sage (the “Woman in Red”) contacted FBI head Melvin Purvis at 5:30 p.m. to inform him that Dillinger and their mutual friend, Polly Hamilton would be going to the movies that evening either at the Biograph Theater at 2433 N. Lincoln Avenue in Lincoln Park or at the palatial Marbro Theatre at 4110 W. Madison Street in West Garfield Park (the theater was demolished in 1964 and in 2026 its site remains an empty parking lot).

Anna Sage, “the woman in red” who set up John Dillinger to be shot outside the Biograph Theater in Chicago on July 22, 1934. Public domain. 

At 8.15 p.m. Dillinger arrived at the Biograph Theater wearing a straw hat, white shirt, gray tie, white canvas shoes and gray trousers with Sage and Polly. When they entered the Biograph Theater to see “Manhattan Melodrama” with Clark Gable, 15 federal agents (according to the next day’s headline in the Altoona Tribune), including five East Chicago officers, descended on the area and staked it out. A little after 10:30 p.m. when the show emptied out, Sage, who was dressed in a bright orange-red dress, alerted officers to Dillinger’s identity in the crowd. Ambushed and shot without warning, Dillinger was killed instantly when two shots hit the face, one bullet exiting beneath the right eye. Witnesses described Dillinger being shot at very close range. The event caused a spectacle, with many onlookers dipping handkerchiefs and scraps of newspaper in his blood.

Dillinger’s body after the shooting was transported to Alexian Brothers Hospital at West Belden and North Racine Avenues (above). It then went to the Cook County morgue at West Polk and South Wood streets where large crowds gathered. There, an impromptu public display of the body took place, where thousands of the general public shambled by. A plaster death mask was made of the dead criminal at the morgue.  See – Medical – Hospitals – Chicago History In Postcards – retrieved Jan. 24, 2026. Fair Use.

Dillinger’s remains were taken back to Mooresville, Indiana by Dillinger’s father, half-brother, and their undertaker who came to fetch it out from the crowds. In Indiana, Dillinger was identified by his sister and then buried on July 25, 1934, in Crown Hill Cemetery in Indianapolis. Anna and Polly had escaped Dillinger’s capture unharmed and relocated temporarily to Detroit. Sage collected the $5,000 reward (about $120,000 today) from the FBI but, two years later, was deported to Romania due to her conviction for operating a brothel where she died on April 25, 1947. Polly Hamilton moved back to Chicago under an assumed name, married, and died in 1969.

SOURCES

John Dillinger: Bank Robber or Robin Hood? – Crime Library – retrieved Jan. 22, 2026

Uptown Update: Notorious Uptown – retrieved Jan 22 2026

23rd District Police Station, Weather Underground Target, … | Flickr – retrieved Jan 22, 2026.

Vintage Chicago Tribune: John Dillinger’s final days — and the ‘Lady in red’ who helped trap him – Chicago Sports Today – retrieved Jan. 22, 2026.

History – LITTLE BOHEMIA LODGE – retrieved Jan. 23, 2026.

April 1934 – Dillinger LLC – retrieved Jan. 23, 2026.

The Chicago Crime Scenes Project: Dillinger’s Plastic Surgery on Pulaski Rd. (or Crawford Ave.?) – retrieved Jan. 23, 2026.

The Digital Research Library of Illinois History Journal™ : The Rainbo Building’s History, 4812-4836 North Clark Street, Chicago (Uptown Community), Illinois. – retrieved Jan. 23, 2026.

John Dillinger | Notable People Buried at Crown Hill Cemetery | Crown Hill Foundation | Indianapolis – retrieved Jan. 23, 2026.

Edyth Gertrude “Polly” Hamilton Black (1908-1969) – Find a Grave Memorial – retrieved Jan. 24, 2026.

http://www.historictwincities.com/2019/12/05/lincoln-court-apartments-st-paul/ – retrieved Jan. 25, 2026.

National Shrine of St. Jude: The Chicago Church That Helped Inspire Danny Thomas to Found St. Jude Children’s Research Hospital.

FEATURE Image: The many prayer intentions received at the National Shrine of St. Jude in Chicago are placed at the patron of hopeless cases’ devotional altar in the main sanctuary. These petitions are remembered at the National Shrine’s Masses and devotional prayers throughout the years. June 2018 80% 7.76mb DSC_9191. Author’s photograph.

Chicago’s National Shrine of St. Jude is more than a local religious landmark. It is a place where faith, devotion, and personal transformation intersect, most famously in the life of Danny Thomas, whose prayers to St. Jude here helped inspire a career that ultimately led to the founding of St. Jude Children’s Research Hospital. The shrine stands as a living testament to the powerful role that religious faith and pilgrimage can play in individual lives and broader humanitarian endeavors.

The National Shrine of St. Jude at 3208 E. 91st Street on Chicago’s far southeast side at Our Lady of Guadalupe parish church was canonically established in 1929.  Its official decree was promulgated on November 15, 1929, by Chicago Cardinal Archbishop George Mundelein (1872-1939). June 2018 88% 7.72mb DSC_9173. Author’s photograph.

The pastor of the church at the time was Fr. James Tort, a Claretian missionary, who had a deep personal devotion to St. Jude, patron of hopeless cases and those that are almost despaired of. The saint, not to be confused with the traitor, Judas Iscariot, is honored by the church universally as the saint who brings visible and speedy help in most dire circumstances. A portrait of the founder of the Claretians, Spanish priest and bishop, St. Anthony Mary Claret (1807-1870), is one of the artworks that greet visitors into the main sanctuary. The image of Our Lady of Guadalupe is over the main altar. The devotional altar to St. Jude is right of the main altar. The altar to St. Jude contains a major relic of the saint: a piece of his bone. June 2018 84% 7.78 DSC_9177. Author’s photograph.

The shrine contains a major relic of St. Jude and serves as an active center of prayer and pilgrimage.

The shrine altar to St. Jude (right). In the darkest days of the Great Depression, Father Tort petitioned St. Jude with a request to help complete the parish church building for the people. In gratitude for the granting of this great favor. Fr. Tort promised to never cease to honor the saint, a true blood relative of Jesus and Mary, by dedicating a shrine altar to him in the church and to do all in his power to spread devotion to him. June 2018 2.29mb DSC_9186 (1). Author’s photograph.

This is one of the stained-glass windows in Chicago’s St. Jude Shrine. It depicts Jude preaching in Persia. Tradition holds that Saint Jude preached the Gospel in Judea, Samaria, Idumaea, Syria, Mesopotamia and Libya. He is also said to have visited Beirut. In addition to being patron of hopeless cases, Jude is patron of vegetarians. That Jude is portrayed holding an image of Jesus Christ has an interesting origin. During Jesus’s public ministry, a king had an incurable condition and was dying in Edessa. He sent a letter asking for Jesus to come. Instead of going himself, Jesus sent Jude. As Jude set out on this journey, Jesus pressed a cloth against His face, and when he gave it back to Jude, it had the Lord’s image on it. When St. Jude then went to the dying king in Edessa, and the king looked at the cloth with Christ’s miraculous impression, he was immediately healed. June 2018 6.47mbDSC_9184 (4). Author’s photograph.

Danny Thomas, struggling to establish himself in show business, learned of the shrine while in Chicago and prayed to St. Jude for assistance. Soon afterward, Thomas received the career opportunity that launched him to national fame as a comedian, television star, and entertainer.

In 1940 when entertainer Danny Thomas (1912-1991) came to Chicago to do radio commercials, he found early success doing stand-up comedy in nightclubs. When work was finished, often around dawn, Thomas went to 6 a.m. Mass at St. Clement Church. There Thomas learned about Chicago’s National Shrine of St. Jude on the far southeast side. A couple of years earlier, Thomas, starting out in show business in Detroit— and with his first child, Marlo Thomas, on the way— had dedicated himself to St. Jude as the patron of hopeless cases. Soon after visiting and praying at the Chicago shrine, Thomas was offered a stand-up comedy job in New York City at La Martinique at 57 West 57th Street. This job launched his entertainment career into the big time. Following World War II, Thomas was performing for $3,750 a week at New York’s Roxy Theater just off Times Square and was performing in nightclubs across the country as well as offered film roles. In 1953 he starred in his own television show, Make Room for Daddy (later, The Danny Thomas Show). The sitcom ran for 11 consecutive seasons and became more popular with each year. By 1957 it was the no.2 show on television and, when the sitcom ended in 1964, it was in the top ten. PHOTO: “Danny thomas kayrouz” by Hany raymond rahme is licensed under CC BY-SA 4.0.

Remembering his promise to give back if he succeeded, Thomas founded St. Jude Children’s Research Hospital in Memphis in 1962, creating one of the world’s most respected pediatric medical institutions.

Remembering St. Jude from his early days in Detroit and Chicago—and promising if he made it big he’d give back somehow— Danny Thomas in 1962 founded the St. Jude Children’s Research Hospital in Memphis, Tennessee. In 2020, St. Jude’s has expanded to eight affiliate hospitals across the United States. In 1996 one of its doctors in St. Jude’s Immunology Department was a co-recipient of the Nobel Prize in Physiology. The prize was for key discoveries on how the immune system works to kill virus-infected cells. PHOTO: “Have you heard of @StJude Children’s Research Hospital? Named for the patron saint of lost causes Danny Thomas founded St. Jude because he believed that ‘no child should die in the dawn of life.’ I’m homored to be invited to spend the next two days with t” by Leticia Barr @TechSavvyMama is licensed under CC BY-NC-ND 2.0.

The National Shrine of St. Jude in Chicago was canonically established in 1929 and became one of the most important centers of devotion to St. Jude in the United States.

Altar of St. Jude, The National Shrine of St. Jude in Chicago. St. Jude Thaddeus was one of Jesus’ 12 apostles and. legend has it, that it was Jude who was the groom at the wedding feast of Cana where Jesus performed his first miracle of turning water into wine (John, chapter 2). Matthew states that Jude was one of the “brothers” of Jesus usually interpreted as a blood cousin. St. Jude, pray for us! June 2018 73% 7.89mb DSC_9182. Author’s photograph.

From Silent Films to Condos: The Life and Death of Chicago’s Village Art Theatre (1916-2007).

FEATURE Image: February 2018. Village “Art” Theatre, 1548-50 N. Clark Street, Chicago, Illinois 60610. The use of masks had been used in theatre since ancient times. They were usually tied to their dramatic source material and the inherent psychology of the characters. The Landmark Designation Report for the Village Theatre described this polychrome character head with musical instruments as “singing” in honor of the neighboring Germania Club, a German social club with its origins in men’s choral music. The head also wears a Baroque-style “wig” of oak leaves and acorns. In Germany, oak trees are revered, and acorns are a symbol of good luck. A decorative keystone on the theater’s round-arched window also has an acorn ornament. 88% 7.94mb DSC_4799 Author’s photograph.

The Village Art Theatre was more than a neighborhood movie house. It embodied Chicago’s early film culture, immigrant heritage, and evolving urban identity for over a century. Although the building itself was demolished in 2018, the survival of its historic façade highlights both the possibilities and limitations of preserving architectural memory amid redevelopment.

Historical Origins & Opening

Designed by architect Adolphe Woerner (born Stuttgart, Germany 1851- 1926), the Village (Art) Theatre opened as the Germania Theatre on July 29, 1916 and closed in its 91st year in March 2007. The building was erected by German-born Frank Schoeninger exclusively as a movie theater for $75,000 (about $2.2 million in 2025) and leased for an annual $7,000 rent (about $205,000 today) to Herman L. Gumbiner (Germany, 1879- 1952, Santa Monica, Calif.) in a 10-year contract with his company, The Villas Amusement Company (later Gumbiner Theatrical Enterprises).

The Rise of Neighborhood Movie Houses

By 1910, buildings erected solely for the purpose to showcase motion pictures were becoming increasingly popular as the appetite to consume the latest silent motion pictures out of Hollywood was booming everywhere. These neighborhood movie houses, larger than dingy storefront nickelodeons and yet smaller than flamboyantly ornate vaudeville theatres, had movie “palace” touches while fitted conveniently into Chicago’s many local commercial strips.

Scale, Survival, and Target Audience

Nearly all of these first-generation movie theaters in Chicago have been demolished or remodeled for other purposes including those larger-scale theaters developed by major theater operators such as Balaban and Katz, Lubliner and Trinz, and the Marks Brothers. While those palatial theatres could hold between 2,000 and 4,000 movie-goers the Village Theatre, one of the last and best first generation movie houses to survive for so long, originally held 1,000 spectators. Originally named the Germania Theater because it was next door to the Germania Club, it looked to attract affluent club members to its flicks.

The theater reflected the strong German-American presence in the neighborhood through its decorative symbols and association with the neighboring Germania Club.

The Germania Theatre was built in 1916 on Frank Schoeninger’s open land pictured above between the Germania Club (completed in 1889) and his tavern and hotel on the corner of Clark Street and North Avenue. In 1986 the Germania Club, citing the dwindling numbers of members, finally disbanded. Public Domain.

Herman Gumbinger and Expansion to Los Angeles

Herman Gumbinger was a major film exhibitor who was busy in Chicago building his independent theatre chain in the 1910’s, with several new movie house projects and acquisitions throughout the city’s northside primarily. After building Chicago’s first independent movie house chain in the teens, Gumbinger relocated to Los Angeles, California, in 1921 where he built the famous Los Angeles Theatre in the Broadway Historic Theatre District of Downtown L.A. Erected at a cost of over $1.5 million ($31 million today) and designed by renowned movie theatre architect S. Charles Lee (1899-1990) Gumbinger’s theatre premiered Charlie Chaplin’s City Lights. Gumbinger Theatrical Enterprises finally dissolved in 1943.

Herman Gumbinger (1879-1956), c. 1924, built Chicago’s first independent movie chain, including what became the Village Art Theatre. By the end of the 1920s, Chicago had more than thirty of these movie palace theaters. Among its holdings, Herman Gubinger and his brothers operated the New Blaine which was renamed and is today the Music Box Theatre. Public Domain.

Neighborhood Context and Architectural Design

The Germania was one of the first-generation movie theatres built at the intersection of three Chicago neighborhoods – Gold Coast to the south and east, Old Town to the north and west and Lincoln Park to the north. An architectural mix of styles including Classical Revival (triangle pediments, pilasters and cornice with dentils fashioned in terra cotta) and Renaissance Revival (rusticated exterior and round-arched windows with keystones), the movie house also incorporated Germanic symbolism in its details reflecting the area’s then prominent ethnic group.

WWI Impact and a Century of Name Changes

During World War One, in a wave of anti-German sentiment, The Germania Club renamed itself the Lincoln Club. It changed its name back in 1921. The Germania Theatre changed its name to the Parkside and never looked back. In 1931 until 1962 it was known as the Gold Coast theatre. Meanwhile, prohibition closed down Frank Schoeninger’s tavern and he left for Wisconsin. In the 1960’s the theatre was updated and renamed the Globe Theatre. In 1967 the building was renamed the Village Theatre after it survived being demolished by the nearby Sandburg Village development.

Sandburg Village is a Chicago urban renewal project consisting of eight high-rise buildings, a mid-rise building and 60 townhomes and artists’ lofts. The development was first occupied In 1963 and completed in 1971. In the early 1960’s the Village Theatre was to be incorporated into the project until its landowner refused to sell. PHOTO: “20190323 08 Carl Sandburg Village (49490506022)” by David Wilson from Oak Park, Illinois, USA is licensed under CC BY 2.0.

February 2018. The Village Theatre in the last days before its demolition. Its marquee from the 1960’s has been removed. The Village Theatre sat across the street from Latin School of Chicago at North and Clark Streets in Gold Coast/Old Town. In its Landmark Designation Report, the Village Theatre façade is described as having “a symmetrical arrangement, with a central theater entrance and separate entrances to the upstairs offices at opposite ends of the building. Each upper-story entrance has a deeply-recessed alcove lined with brick and white, carved-wood panels. A limestone slab step, inset with hexagonal tiles, is inside each alcove. Each alcove is framed with white terra cotta and brick pilasters on a base of gray terra cotta, made to imitate granite. The pilasters are topped with a triangular, white terra-cotta pediment.” 70% 7.93 mb DSC_4797. Author’s photograph.

Architectural Features and Exterior Appearance

The original two-story façade of red pressed brick and white beige glazed terra cotta decoration competed with a sizeable modern marquee that was removed before its demolition in 2018.

Personal Memories and Moviegoing Experiences

Since after college I was living in Chicago in the 1980s and 1990s, I saw several films at the Village Theatre before it became a multi-plex in 1991 such as House of Games, Fatal Attraction, Wall Street (1987), The Unbearable Lightness of Being (1988), Russia House (1990). In early 1991 the interior of the theater was divided into four screens, and I didn’t stop going to movies there–JFK (1991), Michael Collins (1996), The Red Violin (1999) and more– but not as frequently. Anyway, I moved essentially out of neighborhood in 1995 and sold my condo soon afterwards. The Village Art Theatre in Chicago officially closed as a movie venue in March 2007.

The theater underwent several name changes, including Parkside, Gold Coast, Globe, and finally Village Theatre, adapting to changing audiences and neighborhoods.

Demolition and Modern Condominium Redevelopment

In April 2018, the Village Theatre and neighboring buildings along North Avenue were completely demolished to make way for construction of a condominium building. The ornate Clark Street frontage was stabilized as everything else crumbled to dust around it. The façade was repurposed to serve as the entrance for the new condo development known as Fifteen Fifty on the Park with units priced at opening at $1.625 to $5.85 million.

Beginning in 1969, it became associated with art-house cinema through screenings connected to the Chicago International Film Festival, leading to its “Village Art Theatre” identity. Its run as a core festival venue ended following the October 1989 run.

The Village Theatre took the moniker Village Art Theatre after The Chicago International Film Festival used the Village Theatre as a venue to screen “art house” films starting in 1969. In early 1991, the historic 900-seat single auditorium was completely gutted and divided into four smaller screens. This structural partition broke up the grand theater space, ending its era as a primary, large-format host for the main international film festival tracks. October 2004. PHOTO: “Village Art Theatre” by BWChicago is licensed under CC BY-NC 2.0.

The Village Theatre had at least three distinctive marquees during its history. The first was the original vertical Germania sign, removed almost as soon as it was installed because of anti-German sentiment during World War I. It was followed by a horizontal awning-style marquee, similar to that of Chicago’s Biograph Theater at 2433 N. Lincoln Avenue, installed during the theater’s years as the Gold Coast. The third was the dramatic prow-shaped marquee shown here, paired with steel-and-glass doors and believed to date from the mid-1960s renovations undertaken when the movie house operated as the Globe. PHOTO: “Germania (Parkside, Gold Coast, Globe, Village) Theatre, Chicago, IL” by BWChicago is licensed under CC BY-NC 2.0.

Demolished in 2018 for a luxury condominium development, the building’s ornate façade was retained and incorporated into the new project. October 2018. Author’s collection.

The rear of the 102-year-old Village Theatre before its impending destruction in 2018.  PHOTO: “Germania (Parkside, Gold Coast, Globe, Village) Theatre, Chicago, IL” by BWChicago is licensed under CC BY-NC 2.0.

The Village Art Theatre was one of Chicago’s earliest purpose-built neighborhood movie palaces, constructed during the rapid growth of motion-picture exhibition. The building’s history captures its full arc as an architectural, cultural, and neighborhood landmark, ending with the forever tension between preservation and redevelopment.

This explanatory article may be periodically updated.

SOURCES:

https://www.chicago.gov/content/dam/city/depts/zlup/Historic_Preservation/Publications/Village_Theatre.pdf – retrieved May 3, 2025.

https://chicago.curbed.com/2019/2/28/18233421/condo-construction-village-theater-fifteen-fifty-park – retrieved May 3, 2025.

https://www.urbanremainschicago.com/news-and-events/2018/06/03/chicagos-historic-village-theater-reduced-to-facedectomy-after-auditorium-demolished?fbclid=IwAR1IIsjQszVYuZ2mMhNy5QD1LHLP4UcAW-SmxegKhc2xZ2BeTLJUAng4YmY – retrieved May 3, 2025.

https://cinematreasures.org/theaters/409 – retrieved May 3, 2025.

https://www.findagrave.com/memorial/107764067/adolf-woerner – retrieved May 3, 2025.

https://buildingupchicago.com/tag/avoda-group/ – retrieved May 3, 2025.

https://www.friedrich-verlag.de/friedrich-plus/sekundarstufe/schultheater/theatertheorie/maskerade-im-theater-und-im-alltag-3524 – retrieved May 3, 2025.

https://www.findagrave.com/memorial/23567141/herman_louis-gumbiner# – retrieved May 3, 2025.

https://www.chicagohistory.org/germania-club/ – retrieved May 5, 2025.

Bessie Coleman, First Black Woman Licensed Aviator and Pioneering Civil Rights Figure, Born on This Day in 1892

FEATURE image: Contemporary poster of American aviator Bessie Coleman (1892-1926) along Bessie Coleman Street in the Gateway Gardens district at Frankfurt Airport in Germany. PHOTO CREDIT: DSC06136 Frankfurt Flughafen Gateway Gardens Bessie-Coleman-Straße” by X-angel is licensed under CC BY-SA 4.0.

Early Life in Texas

Bessie Coleman, the first licensed Black female aviator, was born on January 26, 1892, in Texas. Her father, who was American Indian, left the family for Oklahoma when she was seven. Bessie stayed in Texas with her mother while her older siblings moved away. In the deeply segregated America of the late 19th and early 20th centuries, racism shaped nearly every aspect of life. Even so, Bessie’s mother encouraged her to excel in school, where Bessie became an avid reader.

Education and Early Work

At 18, Bessie attended what is now Langston University for one semester but lacked the funds to continue. She returned home to work alongside her mother, who labored as a maid and sharecropper.

At 23, ambitious and restless, Bessie moved to Chicago to live with her brothers. She worked menial jobs — manicurist, restaurant server — but found the city’s atmosphere freer than the Jim Crow South.

A New Possibility: France

During World War I, her brothers served in France and returned with stories of a society where women and Black people were treated with more dignity than in the United States. They told her that in France, women even flew airplanes — a revelation that electrified her.

In America, flying was largely a pastime for wealthy white men. Still, Bessie applied to U.S. flight schools and was rejected everywhere.

Support from Robert Abbott

Enter Robert Abbott, the influential Black Chicago newspaper owner of the Chicago Defender. Impressed by her determination, he urged her to go to France to earn her license. The French accepted her application, and Bessie crossed the Atlantic to begin training.

Training in a Dangerous Era

Flying in the 1910s was perilous. Open cockpits had no seat belts, aircraft were fragile, and accidents were common. Despite the risks, Bessie excelled. She became the first Black and American Indian woman to earn a pilot’s license.

She returned to the United States determined to build a career — but she lacked money and access.

Barnstorming Dreams and Barriers

To earn enough to buy her own plane and inspire other women and people of color, Bessie sought work as a stunt pilot. But once again, American flight schools refused to train a Black woman, even one already licensed.

Her dream would require the same persistence that had carried her from Texas to Chicago to France — and back again.

Bessie Coleman’s photo on her first pilot’s license, issued June 15, 1921. Public Domain.

Returning to France for Advanced Training

Bessie returned to France to get the specialized aviation training she still couldn’t access in the United States. Her determination — and the barriers she faced — had not gone unnoticed back home. By the time she returned to America for the second time, now a licensed pilot and trained stunt performer, the press greeted her with mostly positive attention.

1922: A Breakthrough Year

It was 1922, and Bessie was ready to take off. Her longtime supporter Robert Abbott arranged her first major air show in New York City, which immediately set reporters buzzing. Back in Chicago, her adopted home, Bessie began performing in more and more air shows, each one building her reputation.

A Rising Star of the Air Shows

To be a stunt pilot required absolute fearlessness, and Bessie’s daring routines — her figure eights, her loop‑the‑loops — made her a sensation across the country. She wanted to maintain and eventually own her own plane, but she didn’t yet have the money. So she borrowed whatever aircraft she could, determined to keep flying and to keep proving what a Black woman pilot could do.

“Queen Bess” Takes the Roaring Twenties by Storm

While some women performed wing‑walking stunts, none piloted the plane and performed aerial maneuvers the way Bessie did. Her skill, charisma, and courage made her a cultural phenomenon. Americans began calling her “Queen Bess” and “Brave Bess,” names that captured her place in the imagination of the roaring 1920s.

Bessie Coleman and airplane, 1922. Public Domain.

Aviation as Activism

As she was determined to do so, Bessie Coleman was making a difference in the nation. Of all these remarkable things in the air Bessie was known for, none was more significant than what she also achieved on the ground. Bessie Coleman told show promoters and managers that she would not perform at any show whose audience or performers were segregated by race or anything else. “Brave Bess” insisted that for all shows she performed in, there had to be just one gate for all people to walk through. At the time this was a profoundly radical request, particularly south of the Mason-Dixon line.

Speaking, Teaching, and Inspiring

Beyond stunt flying, Bessie lectured at schools and churches, urging young people — especially Black children — to pursue aviation. She saw flight not only as a career but as a path to dignity, opportunity, and pride.

Setbacks and Recovery

Still hoping to buy her own airplane, Bessie finally purchased one in 1923. But during a test flight, she crashed, breaking her leg and several ribs. She spent a year recovering in Chicago, grounded but not defeated.

A Return to the Skies

By 1926, Bessie was ready to fly again. She had no funds for a new aircraft, but a wealthy businessman donated a used plane. It was far from ideal — rickety, temperamental — and she hired a mechanic, William Wills, to get it into working shape.

Wills flew the plane from Texas to Florida for her next show, but along the way he had to make several emergency landings as the engine repeatedly failed. After repairs in Florida, he and Bessie took the plane up for a test flight on April 30, 1926, the day before the show.

The Fatal Flight

They tested the plane as Bessie hunted for locations for her stunts. During the practice run, Bessie leaned out of the open cockpit — without a seatbelt, standard for stunt pilots — to scout locations for her aerial maneuvers. Something went wrong mechanically. The plane lurched, and Bessie fell to her death. Moments later, the aircraft crashed, killing Wills as well. Bessie was 34. Wills was 24.

A Nation Mourns

By the time of her third memorial service in Chicago, more than 20,000 people had paid their respects. At the Chicago service alone, 15,000 mourners gathered as journalist Ida B. Wells read an essay honoring Bessie’s courage and legacy. Bessie Coleman was laid to rest at Lincoln Cemetery in Blue Island, among many of Chicago’s Black notables.

A Legacy That Took Flight

In 1929, Black engineer and aviator William J. Powell founded the Bessie Coleman Aero Club in Los Angeles, training Black men and women to fly. By the 1930s, groups of Black female stunt pilots — including the Blackbirds — carried her inspiration into the sky.

In 1940, Bessie’s early champion, millionaire newspaper publisher Robert Abbott, was also buried in Lincoln Cemetery, not far from the woman whose dreams he helped launch.

Bessie Coleman, first Black and American Indian licensed aviator, two days before her 31st birthday, January 24, 1923. Public Domain.

SOURCES:

Bessie Coleman Bold Pilot Who Gave Women Wings, Martha London, 2021, Capstone Press, North Mankato, MN.

Brave Bessie Flying Free, Lillian M. Fisher, 1995, Hendrick Long, Houston, TX.

My Street Photography: STREET 4.

FEATURE Image: August 2024. Oakbrook, IL. 5.83 mb 7758 (1).

July 2016. Chicago. 5.76mb DSC_0899 (1)
August 2021. Chicago 97% 7.95mb_9292*
October 2026. 3.53mb DSC_2363 (2)
July 2024 97% 7.84 mb 9514
August 2024 4.98mb 7849 (1)
August 2024 87% 7.71mb 7908 (1)
August 2024 99% 6.46 mb 7804
August 2024 99% 7.12 mb 7896 (1)
August 2024 6.05 mb_7809 (1)
August 2024 6.48mb_7906*
August 2024. Chicago. 5.48 mb_1548 (1)
August 2021. Chicago. 96% 7.89mb 9506
August 2021. Chicago. 77% 7.75 mb _9556
August 2021. Chicago 6.58mb _9308 (1)*
September 2024. 4.51mb _8148 (1)
September 2024. Oakbrook, Illinois. 79% 7.85mb _8081
September 2024. Oakbrook, Illinois. 7.36 mb _8078 (1)
September 2024. Oakbrook, Illinois. 6.05mb_8159 (1)
September 2024. Oakbrook, Illinois. 5.29mb_8140 (1)
September 2024. Oakbrook, Illinois. 99% 7.37 mb_8105 (1)
September 2024. 6.84mb_8152
July 2016. Chicago 7.66mb DSCN3256 (1)
August 2017. Chicago. 5.67 mb DSC_1732
August 2017. Chicago. 99% 7.63mb DSC_1849
August 2017. Chicago. 99% 6.52 mb DSC_1799 (1)
August 2017. Chicago. 6.37mb DSC_1843
August 2017. Chicago. 5.44mb DSC_1648
August 2017. Chicago. 7.54 mb DSC_1730
August 2017. Chicago. 76% 7.82mb DSC_1906
August 2017. Downers Grove IL 7.83mb DSC_2152 (1)
October 2017. Chicago. 3.90 mb DSC_2683
May 2018. Downers Grove, Illinois. 99% 7.33mb DSC_6594
May 2025. 99% 6.88mb DSC_8607 (1) (1)
May 2025 6.42mb DSC_1095
June 2025. 7.56mb DSC_1671
June 2025. 4.95 mb DSC_2240 (1)
July 2025. 4.48 mb DSC_2755 (1)
July 2025. 94% 7.82mb DSC_3468
July 2025. 2.62mb DSC_3469
July 2025. 7.30mb DSC_3586
July 2022 5.59mb DSC_6595
June 2025. 99% 7.77mb DSC_1610
June 2025. 74% 7.86mb DSC_1603
September 2024. 2.54 mb DSC_8103 (1)
September 2024 .91% 7.91mb DSC_8155
September 2024. 6.16mb DSC_8114 (1)
September 2024. 5.95mb DSC_8088
September 2024. 4.26mb DSC_8163
September 2024. 3.08mb DSC_8112
September 2024. 4.90mb DSC_8153
September 2024.. 99% 7.71mb DSC_8083
August 2024. 3.34 mb DSC_7782*
August 2024. 97% 7.85 mb DSC_7933
August 2024. 97% 7.93mb DSC_8016
August 2024. Damen station (CTA Green Line), Chicago. 7.64mb DSC_1437
August 2024. 4.87mb DSC_1306
September 2025. 96% 7.83 mb DSC_9298
September 2025. 99% 6.14mb DSC_9278 (2)
September 2019. Chicago. 80% .89mb DSC_4934
September 2019. Chicago. 4.69mb DSC_4893 (1) – Copy
May 2021. Chicago. 99% 6.83 mb DSC_7288
August 2021. Chicago. 99% 7.18mb DSC_9988
August 2021. Chicago. 3.64mb DSC_6775 (1)
May 2024. 7.89mb DSC_6764 (2)
August 2021. 99% 7.61mb DSC_6674
August 2015. 2.77mb DSC_0908 (1)
September2017. Chicago. 2.02 mb DSC_2240 (1)
December 2025. Chicago. 99% 7.41mb DSC_9821
December 2025. Chicago. 5.33 mb DSC_9802 (2)
December 2025. Chicago. 6.79mb DSC_9784 (1)
December 2025. Chicago. 90% 7.94mb DSC_9829
December 2025. Chicago 91% 7.84 mb DSC_9973 (1)
July 2016. Chicago. 3.54mb DSC_0954 (1)
July 2016. Chicago. 7.62mb DSC_0913 (3)
July 2016. Chicago. 3.47mb DSC_0078 (1)
December 2025. 6.41mb DSC_0312 (1)
December 2025. 6.05mb DSC_9972 (1)
July 2016. Chicago. 2.57mb DSC_0994 (2)
July 2016. Chicago. 3.61mb DSC_0903 (1)
April 2013. Chicago (Pilsen). 3.12mb 101_9727 (1)
March 2013. Chicago (Back of the Yards). 1.96mb101B7565 (1)
August 2016. Chicago. 3.67 mb DSC_0573 (1)
August 2016. Chicago (Pilsen). 6.09mb Chicago DSC_0646 (1)
August 2016. Chicago (Pilsen). 6.35 mb Chicago DSC_0630 (3)
September 2016. Melrose Park, IL 3.51mb DSC_0199
September 2016. Elmhurst IL 4.85mb DSC_0250
September 2016. 5.25 mb DSC_0236
September 2016. Chicago 2.22mb DSC_0711 (1)
September 2016. Chicago. 2.76mb DSC_0702 (1)
September 2016. Chicago. 2.76mb DSC_0702 (1)
September 2016. Chicago. 2.26mb DSC_0353 (5)
September 2016. Chicago. 2.92mb DSC_0364 (1)
September 2016. Chicago. 4.85mb DSC_0722 (1)
September 2016. Chicago. 2.23mb DSC_0751 (2)
September 2016. Chicago. 3.60mb DSC_0753 (2)
October 2016. Chicago. 1.87mb DSC_0883
June 2025. Westmont, IL. 7.00 mb DSC_1688 (1)
June 2021. 6.30 mb DSC_7558 (3)

“Morning bread delivery waiting outside Berto’s, the storefront still closed but already in motion for the day.”

August 2021. Chicago. 4.81mb DSC_9459 (2)
August 2021. Chicago. 6.58mb DSC_6635 (3)
August 2021. Chicago. 4.45mb DSC_6701.

“Press crews converge as the speaker briefs the cameras, the choreography of local news unfolding in real time.”

August 2021. Chicago. 3.38mb DSC_6642 (1).

“Billboard light spills over the crosswalk as the pair cuts through the frame, a flash of blue shoes and city rhythm.”

August 2021. Chicago. 3.52 mb DSC_6811

My Architecture & Design Photography: DANKMAR ADLER (1844-1900). Ebenezer Missionary Baptist Church (Isaiah Temple) (1899), 4501 S. Vincennes Avenue; Chicago, Illinois. (6 Photos).

FEATURE Image: Signage of Ebenezer Missionary Baptist Church, Chicago. The church is known as “the birthplace of Gospel music” since Thomas A. Dorsey (1899-1993) started his first modern gospel choir here in 1931. Author’s photograph, 10/2016 6.06 mb

Built as one of Chicago’s early Reform Judaism synagogue in 1898, the Classical Revival style golden brick and stone building is the last one designed by Dankmar Adler (1844-1900). The building with its form distinctive to other Adler buildings as well as its fine acoustics, was purchased by Ebenezer Church in 1921.
In the heart of the Bronzeville neighborhood on Chicago’s Southside, Ebenezer Missionary Baptist Church was formed in 1902. During the Great Migration, African-Americans made Ebenezer their church home in the early 1920’s.
Ebenezer developed a reputation as a center for gospel music. Under the direction of Theodore R. Frye, Roberta Martin and, the “Father of Gospel Music,” Thomas A. Dorsey (1899-1993), the church’s groundbreaking gospel choir introduced a blend of Christian praise and blues at Ebenezer that established the careers of the “Mother of Gospel,” Sallie Martin (1895-1988), Mahalia Jackson (1911-1972) and Dinah Washington (1924-1963) who was inducted into the Rock ‘n Roll Hall of Fame in 1993.
I’ll Tell It Wherever I Go – Sallie Martin. Sallie Martin helped popularize the songs of Thomas A. Dorsey. Martin also worked with Cora Martin-Moore (1927-2005), Dinah Washington and Brother Joe May (1912-1972), the “Thunderbolt of the Midwest,” when Sallie Martin formed the Sallie Martin Singers. Sallie Martin was inducted into the Gospel Music Hall of Fame in 1991.
Sanctuary. During the 30-year pastorate of Rev. Frank K. Sims, distinguished guests of the church included Rev. Dr. Martin Luther King, Jr. (1929-1968), Ralph Metcalfe (1910-1978), Adam Clayton Powell (1908-1972) and Mahalia Jackson.
“A voice like this comes only once in a millennium,” so said Dr. King about Mahalia Jackson. During the Chicago Freedom Movement in 1966, Mahalia Jackson, who lived in Chicago, joined her friend Rev. Martin Luther King Jr., when he was visited a church to preach a sermon about justice and equality. Like Dr. King, Mahalia Jackson was a devout Christian and Civil Rights activist. At the August 28, 1963 March on Washington, she sang “How I Got Over” and was on the Lincoln Memorial platform behind King while he was pronouncing his “I Have a Dream” speech.
In 1966 a banquet honoring Dr. Frank Kentworth Sims on the 7th anniversary of his pastorate of Ebenezer Missionary Baptist Church featured Nobel Peace Prize recipient the Rev. Dr. Martin Luther King, Jr. as the guest speaker and Mahalia Jackson as guest vocalist.
Though there were literally as many church choirs as there were churches, Dinah Washington (1924-1963), then Ruth Jones, made a name for herself as a teenage gospel singer in Chicago. In 1940 Ruth gave a recital that included “Precious Lord Take My Hand,” one of Thomas A. Dorsey’s most popular songs. The music for this version of the Christian prayer, “The Lord’s Prayer,” was written by Albert Hay Malotte (1895-1964) in 1935. It was released in 2010 on the compilation album, The Fabulous Miss D! (The Keynote, Decca & Mercury Singles 1943–1953), which traces the first decade of Dinah Washington’s recording career on 78s and 45s, starting with her stint with Lionel Hampton (1908-2002) and continuing through the early years of her solo career.

SOURCES:

Alice Sinkevitch, AIA Guide to Chicago, 2nd Edition, Harcourt, Inc., Orlando, 2004, p. 417.

chipublib.org/fa-ebenezer-missionary-baptist-church-archives/

My Architecture & Design Photography: LOUIS H. SULLIVAN (1856-1924). Holy Trinity Orthodox Cathedral (1903), 1121 N. Leavitt; Chicago, Illinois. (13 Photos).

FEATURE Image: Chicago. Holy Trinity Orthodox Cathedral. The walls of the church building are load-bearing brick covered with stucco. The bell tower and octagonal belfry, dome, and roof are made of wood with metal trim and latticework. 7/2015 2.80 mb

Chicago. Holy Trinity Orthodox Cathedral. 7/2015 6.48 mb

Louis H. Sullivan designed the bell tower (above and below) with its ornamentation and eaves and soffits for Holy Trinity Orthodox Cathedral in Chicago’s Ukrainian Village.

Chicago. Holy Trinity Orthodox Cathedral. 10/2016 4.16 mb
Chicago. Holy Trinity Orthodox Cathedral. 7/2015 6.24 mb

Louis H. Sullivan designed the portal canopy (above) and its ornamentation such as the fretwork. Sullivan also designed the window frames (example below).

Chicago. Holy Trinity Orthodox Cathedral. 7/2015 5.53 mb
Chicago. Holy Trinity Orthodox Cathedral. 10/2016 5.84 mb

Holy Trinity Cathedral was built on a limited budget. It is a small building at 47 x 98 feet situated on an east-west axis. The main body of the church is square with extensions and an octagonal dome above. The picturesque country-church entrance has a metal and wood canopy whose design and ornamentation were created by the architect, Louis H. Sullivan (1856-1924). Dedicated in 1903, the church was designated a cathedral in 1923.

Chicago. Holy Trinity Orthodox Cathedral. 7/2015 5.64 mb
Chicago. Holy Trinity Orthodox Cathedral. 10/2016 4.08 mb
Chicago. Holy Trinity Orthodox Cathedral. 10/2016 4.41 mb

The parishioners that built this church were rural people who had emigrated from southern Russia near the Ukraine as well as the area of the Carpathian Mountains.

Chicago. Holy Trinity Orthodox Cathedral. 10/2016 5.18 mb 99%
Chicago. Holy Trinity Orthodox Cathedral. 10/2016 6.95 mb

The Eastern Orthodox central plan creates an interior where the congregation stands in a square space topped by an octagonal dome. For Easter services and the like, the cathedral is filled to capacity with parishioners and others spilling out the front door with its decorative canopy onto the public sidewalk.

Chicago. Holy Trinity Orthodox Cathedral. 10/2016 8.26 mb
Chicago. Holy Trinity Orthodox Cathedral. 10/2016 6.27 mb

The stenciled artwork (above) is not by Louis H. Sullivan.

Chicago. Holy Trinity Orthodox Cathedral. 7/2015 2.80 mb

The church building was completed for around $27,000 in 1903 (approximately $1 million in 2022) with Sullivan donating half his commission to the church project.

SOURCES:

Chicago Churches and Synagogues: An Architectural Pilgrimage, George Lane, S.J., and Algimantas Kezys, Loyola University Press, Chicago, 1981, p. 106-107.

Alice Sinkevitch, AIA Guide to Chicago, 2nd Edition, Harcourt, Inc., Orlando, 2004, p. 260.

My Architecture & Design Photography: COBB & FROST. The Cobden (1892), 418-424 W. Belden Avenue, Chicago, Illinois. (2 Photos & Illustrations).

The Cobden, 1892, 418-424 W. Belden Ave., Chicago, IL. 6/2014

The Cobden is a Richardsonian-Romanesque flats-above-storefront building that has anchored the northwest corner of busy Clark Street and residential Belden Avenue since 1892. It was designed by architect Charles Sumner Frost (1856 –1931) of the firm of Henry Ives Cobb (1859-1931) and Frost.

Born in Maine and trained as an architect in Boston, Frost moved to Chicago in 1882. When The Cobden was built, Frost was 36 years old and at the beginning of a new stage in his early mid-career. Cobb and Frost designed and began construction of the Potter Palmer mansion (1882-1885) at 1350 N. Lake Shore Drive (demolished in 1951). The Cobden, two miles to the north in Lincoln Park by Lake Michigan, was built in a burgeoning residential area at 418-424 Belden Avenue.

The Cobden is greatly influenced by the Richardsonian-Romanesque style which was prevalent among young architects in the 1880’s and 1890’s before the onset of the Beaux-Arts revival. Adapted to a residential-commercial street in a middle class neighborhood outside Downtown Chicago, The Cobden shows the characteristics associated with the Richardsonian Romanesque style. These include clear, strong picturesque massing, round-headed arches, clusters of short squat columns, recessed entrances, richly varied rustication, blank stretches of walling contrasting with bands of windows, and cylindrical towers with conical caps embedded in the walling.

The Cobden, in its bays and a prominent central gable that breaks above the roofline, presented an attractive architectural variety on Belden Avenue.

In 1897 Charles S. Frost married Mary Hughitt, the daughter of New York railroad tycoon Marvin Hughitt (1837-1928), the president of the Chicago and North Western Railroad. When the partnership of Cobb and Frost ended in 1898, Frost partnered with Mary’s sister’s husband, Alfred Hoyt Granger (1867-1939). Granger came to Chicago also from Boston (he was born in Ohio) and designed The Art Institute Building on Michigan Avenue in 1893. Frost and Granger were known for their designs of train stations and terminals such as the LaSalle Street Station in 1903. In the first decade of the 20th century, Frost and Granger designed over 100 buildings for the Chicago and North Western Railroad, including the massive Renaissance-Revival style Chicago and North Western Terminal which opened in 1912 (and demolished in 1984 to make way for the Ogilvie Transportation Center in Downtown Chicago).

When the Frost and Granger partnership ended by 1912, Frost began to work independently and designed in 1916 the Navy Pier Auditorium. Following his father-in-law’s death in 1928, Frost retired from his architectural practice at the end of the same year. After designing hundreds of public, commercial, and residential buildings, mainly in Chicago, Charles S. Frost died in 1931 at 75 years old.

Charles S. Frost in 1920.

SOURCES:

Alice Sinkevitch, AIA Guide to Chicago, 2nd Edition, Harcourt, Inc., Orlando, 2004, p. 196.

The National Cyclopaedia of American Biography, Volume XVII, 1920, pp. 336–337.

My Street Photography: STREET 3 (100 Photos).

FEATURE Image: November 2017. Michigan-based Saints basketball team visiting in downtown Chicago.

August 2021.
July 2016. Chicago.
September 2015. Chicago. Michigan Avenue.
July 2019. Oakbrook, IL.
November 2017. Chicago.
June 2022. Chicago. 948 kb 30%
July 2018. Downers Grove, Illinois.
February 2013. 1.70mb 101_6378 (1)

The Logan Theatre at 2646 N. Milwaukee in Chicago opened in November 1915 as The Paramount Theatre. It was operated by Lubliner & Trinz that started operating movie theaters in Chicago around 1914. At their peak, Lubliner & Trinz operated about nineteen theaters and leased or built about 36 theaters until 1934. The Paramount had seating for 988 in orchestra level and was equipped with a Weickhardt organ, based in Milwaukee, Wisconsin. It was renamed the Logan Theatre in 1929 when it was taken over by Essaness, a Chicago-based movie theater chain. The company owned and operated 33 theaters in the Chicago area, including the Pantheon and Biograph theaters. see – Lubliner & Trinz Theater History – The Clark Theater ; Logan Theatre in Chicago, IL – Cinema Treasures – retrieved January 18, 2026.

February 2013. 2.48mb 101_6324 (1)
October 2017. Chicago. 315kb 20%
December 2017 Chicago Downtown. 3.79 mb
May 2014. Chicago. Michigan Avenue.
July 2016. Chicago.
July 2016. Chicago.
July 2016. Chicago.
July 2015, Chicago.
September 2016. Chicago. Navy Pier.
October 2016. Chicago. West Loop/East Garfield Park.
September 2016. Chicago. Millennium Park. (20)
September 2016. Chicago (Grand Boulevard/Bronzeville).  Mount Pisgah Missionary Baptist Church, 4600 S. King Drive. Built by German Jewish immigrants whose synagogue was founded in 1861, the neo-Classical building was home to Chicago Sinai Congregation from 1912 until the 1940s. The church moved into the building in 1961. With a commitment to social justice, the church played an instrumental role in bringing Dr. Martin Luther King Jr.’s Southern Christian Leadership Conference to Chicago in the 1960’s.
September 2015. Chicago. Navy Pier.
May 2019. Downers Grove, IL.
June 2020. Downers Grove, IL.
June 2018. Milwaukee, WI.
June 2014. Chicago.
July 2019 Oakbrook, IL.
July 2019 Oakbrook, IL.
May 2016. Chicago. Magnificent Mile.
June 2014. Chicago. North Rush Street.
August 2017. Chicago.
September 2015. Chicago. 30%
September 2015. Chicago.
August 2017. Chicago. Old Town.
August 2017. Chicago. Downtown.
August 2017. Chicago. Downtown.
September 2015. Chicago. Downtown.
August 2015. Chicago. (40)
September 2015. Chicago.1.88 mb
June 2016. Wilmette, IL.
June 2019. Oakbrook, IL.
October 2017 Chicago. 6.39 mb
October 2017. Chicago. 3.93 mb
December 2017. Chicago. 5.87 mb
July 2016. Chicago. 3.86 mb (50)
October 2016. Chicago. Ukrainian Village. 332 kb 27%
September 2015. Chicago. 5.02 mb
January 2016. Chicago. 4.74 mb
July 2016. Chicago. 2.60 mb
August 2021. Chicago. 6.75 mb
October 2021. Chicago. 3.99mb
December 2015. Chicago. 1.52 mb 35%
October 2015. Chicago. 6.53 mb (70)
October 2015. Chicago. 1.21 mb 35%
October 2015. Chicago. 1.18 mb 35%
October 2015. Chicago. 7.81 mb
October 2015. Chicago. 6.25 mb
May 2021. Chicago. 7.82 mb
June 2022. Chicago. 4.13 mb
July 2016. Chicago. 2.23 mb
October 2015. Chicago. 5.59 mb
July 2021. Wheaton, IL. 3.92mb
May 2013 4.06mb
October 2015. Chicago. 5.90 mb
July 2022. Chicago. 4.17 mb
September 2015. Chicago. 25%
August 2016. Chicago. 5.07 mb
May 2024. Chicago. 5.82 mb
May 2024 Chicago. 99% 7.12 mb
May 2024. Chicago. 5.75 mb
June 2018 852 kb
October 2015. Chicago (Garfield Park). 6.80 mb N1733 (1) (2)
August 2016. Chicago. 6.21 mb DSC_0507
August 2016. Chicago (Logan Square). 6.63 mb DSC_0482 (1)
August 2016. Chicago (Pilsen). 3.91mb DSC_0684
February 2018. Goodman Theatre, Chicago. Opened in 1922 by New York theatrical producer Sam H. Harris and brothers Archie and Edgar Selwyn, the Harris and Selwyn Theatres were the Chicago home to some of the most famous plays and performers of the Broadway stage. 4.25mb DSC_0897
January 2016. Chicago Lawn (Marquette Park). 7.99mb DSCN2030
February 2013. Chicago (Logan Square). 2.85mb101_6385 (1)
April 2013. Chicago (Pilsen). 3.58mb 102_0007 (1)
April 2013. Chicago (Pilsen). 4.48mb 102_0042 (1)
August 2015. Chicago (Edgewater). 2.76mb DSC_0042 (2)
August 2015. Chicago. 2.01 mb DSC_0576 (2)
August 2015. 3.87mb DSC_0732 (1)
June 2014. Chicago. 3.65mb DSC_0407 (1)
May 2015. Chicago. 3.67mb DSC_0454 (1)
August 2015. Chicago.1.85mb DSC_0958 (1)
August 2015. Chicago. 4.32mb DSC_0955 (1)
August 2015. Chicago. 7.03mb DSC_0950 (1)
August 2015. Chicago. 2.08mb DSC_0526 (3)
August 2015. Chicago. 5.71 mb DSC_0479 (1)
September 2015. Chicago 3.35mb DSCN1222 (1)
October 2015. Chicago. 2.87mb tDSCN1443 (1)
October 2015. Chicago. 4.62mb DSC_0117 (2)
October 2015. Chicago. 5.81 mb DSCN1680 (1)
November 2015. Chicago. DSC_0060 (1)
November 2025. Chicago. 2.75mb DSC_0425 (1)
December 2015. Chicago. 12 S. Michigan. 4.11mb DSC_0696 (1)

The Chicago Athletic Association (CAA) was a historic men’s club and athletic team based in Chicago, Illinois, formed in 1890 and closed in 2007. The 1893 building was designed by prolific architect Henry Ives Cobb (1859-1931). Transformed into the Chicago Athletic Association Hotel, it opened as a boutique hotel, welcoming the public and preserving its rich history.

December 2015. Chicago. 1.91mb DSC_0689 (1)

Van Buren Street Station is a commuter rail station in downtown Chicago that serves the Metra Electric Line to University Park, Blue Island, and South Chicago neighborhood and the South Shore Line to Gary and South Bend, Indiana.

December 2015. Chicago. Millennium Park. 4.01mb DSC_0701 (1)
December 2015. Chicago. 3.62mb DSC_0867 (3)
December 2015. Chicago. 5.71mb DSC_0970
December 2015. Chicago. 2.82mb DSC_0994 (2)
January 2016. Chicago (Marquette Park). 5.28mb DSCN1998 (2)
May 2016. Chicago (Old Town). 6.03mb DSCN2369 (1)
June 2016. Wilmette IL. 6.07mb DSCN3158 (1)
July 2016. 5.5mb DSCN3275 (1)