Issue link: http://digital.copcomm.com/i/1332040
M A R A I N E Y | P E R S P E C T I V E 6 5 The basic, central action of the play and the film brings Gertrude "Ma" Rainey—an historical and celebrated blues singer—and her four backup musicians, to Hot Rhythm Records to record some of her songs, including "Black Bottom." Nothing else in the action of the piece is that simple to describe—as Jim Crow, generational injustices and grievances thrive. But the fact is the primacy of the drama does, simply, take place in a RECORDING STUDIO and a BASEMENT BAND ROOM. Though the script, adapted by Ruben Santiago-Hudson, was expanded to "open up" for film, there was no denying that most of the story would occupy these two rooms. Clearly, they would be built on stage. Aside from the speed required to analyze and accomplish these interiors, providing rich enough environments to essentially carry the entire film was at the forefront of my mind. Another pressing concern was the recording equipment itself. The machine that would literally capture (steal/monetize) Ma's voice was hugely important and specific, and would help inform the design of the studio booth, among other things. The first call I made on the project was to Pam Elyea at History for Hire to see what she knew— or hopefully already had in stock. Pam and her husband Jim were an indispensable source for Get On Up, a film on James Brown I designed full of their recording equipment from every era— except the 1920s. This was literally the dawn of the technology—acoustic and then electronic—and the specificity and intricacy of the equipment was singularly unique and beyond rare. Pam introduced me to Rob Christorella, the curator of National Audio Visual Conservation within the Library of Congress, who answered questions and helped unlock the basics for me to understand how it all worked. George and I had discussed the notion that the recording studio would have appropriated some sort of industrial space—probably an old factory. I liked the idea of layering one new industry into the space of an old one and finding the details of both. The concept of a former floor manager's office, raised above the workspace would serve well as a B. RECORDING STUDIO EXTERIOR.CONCEPT ILLUSTRATION BY JOANNA BUSH. C. RECORDING STUDIO EXTERIOR IN PROGRESS SHOWING MORROW COAL AND ICE BUILT IN EMPTY LOT TO CREATE THE ALLEY TO THE RECORDING STUDIO. D. CHICAGO, 1906. PAINTING BY ALSON SKINNER. B C D