National Register of Historic Places Nomination Form

For

The Burgess-Osborne Memorial Auditorium 1701 Wabash Avenue Mattoon, Illinois

Prepared by

Stephen A. Thompson Intrepid Consulting Services, Inc.

August 2017 Executive Summary

The following document is the National Register of Historic Places (NRHP) nomination form submitted to the Illinois State Historic Preservation Officer on 04 August 2017 for the 1953 Burgess-Osborne Memorial Auditorium (the Burgess) located at 1701 Wabash Avenue, Mattoon, Illinois. This NRHP document addresses the social and architectural significance of the Burgess and is an expansion of a 2013 Coles County Landmark document generated for local landmark designation of the Burgess. A related social sub-context addressed in detail is the role the Burgess played in the local 1950s and 1960s pop music culture, with emphasis on the teen dances/concerts held at the facility and the bands that played there.

The research of the associated contexts and the preparation of the nomination form were undertaken by Stephen A. Thompson of Intrepid Consulting Services, Inc. Carolyn Cloyd and Joyce St. Michael, members of the Coles County Historic Preservation Advisory Council, assisted with research and preparation of the National Register documentation. The Coles County Historic Preservation Advisory Council is an historic preservation advisory body under the Coles County Regional Planning & Development Commission, which reports to the Coles County Board.

After thorough research and evaluation it has been determined that the Burgess is eligible for listing on the NRHP in that it:

1. Is locally significant under NRHP Criterion A, “…events that have made a significant contribution to the broad patterns of our history.”

2. Is locally significant under NRHP Criterion C, architectural resources which, “… embody distinctive characteristics of a type, period or method of construction…,” for its association with the Modern Movement’s Mid-century Modern architectural style.

3. Retains a high percentage of its original, physical integrity.

Until anticipated validation by the Illinois Historic Sites Advisory Council, the Illinois State Historic Preservation Officer and the National Park Service’s Keeper of the National Register, the designation opinions conveyed within this documentation are the subjective opinion of primary preparer Stephen A. Thompson. Any errors and omissions are also the responsibility of the same.

Stephen A. Thompson 04 August 2017

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United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State

United States Department of the Interior National Park Service

National Register of Historic Places Registration Form

This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in National Register Bulletin, How to Complete the National Register of Historic Places Registration Form. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional certification comments, entries, and narrative items on continuation sheets if needed (NPS Form 10-900a).

1. Name of Property historic name Burgess-Osborne Memorial Auditorium other names/site number The Burgess Name of Multiple Property Listing N/A (Enter "N/A" if property is not part of a multiple property listing)

2. Location street & number 1701 Wabash Avenue not for publication city or town Mattoon vicinity state Illinois county Coles zip code 61938

3. State/Federal Agency Certification

As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this nomination request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property meets does not meet the National Register Criteria. I recommend that this property be considered significant at the following level(s) of significance: national statewide local Applicable National Register Criteria: A B C D

Signature of certifying official/Title: Deputy State Historic Preservation Officer Date Illinois Historic Preservation Agency State or Federal agency/bureau or Tribal Government

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United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State

In my opinion, the property meets does not meet the National Register criteria.

Signature of commenting official Date

Title State or Federal agency/bureau or Tribal Government

4. National Park Service Certification I hereby certify that this property is:

entered in the National Register determined eligible for the National Register

determined not eligible for the National Register removed from the National Register

other (explain:)

Signature of the Keeper Date of Action

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United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State

5. Classification

Ownership of Property Category of Property Number of Resources within Property (Check as many boxes as apply.) (Check only one box.) (Do not include previously listed resources in the count.)

Contributing Noncontributing private X building(s) 1 buildings X public - Local district site public - State site structure public - Federal structure object object 1 Total

Number of contributing resources previously listed in the National Register

N/A

6. Function or Use Historic Functions Current Functions (Enter categories from instructions.) (Enter categories from instructions.) RECREATION AND CULTURE/auditorium RECREATION AND CULTURE/auditorium SOCIAL/meeting hall SOCIAL/meeting hall

7. Description

Architectural Classification Materials (Enter categories from instructions.) (Enter categories from instructions.)

MODERN MOVEMENT/Mid-century Modern foundation: CONCRETE

walls: BRICK

roof: ASPHALT & RUBBER EPDM

other: STONE/Crab Orchard Sandstone

STONE/Limestone

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United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State

Narrative Description (Describe the historic and current physical appearance and condition of the property. Describe contributing and noncontributing resources if applicable. Begin with a summary paragraph that briefly describes the general characteristics of the property, such as its location, type, style, method of construction, setting, size, and significant features. Indicate whether the property has historic integrity).

Summary Paragraph

The City of Mattoon-owned Burgess-Osborne Memorial Auditorium is located on the southwest corner of the intersection of Wabash Avenue and 17th Street in Mattoon. Its location is on the southern periphery of the Central Mattoon Business/Commercial District and exists in a current setting of mixed residential, municipal and recreational assets. This resource incorporates both asymmetrical and symmetrical planning and projects design, materials and construction attributes common for multi-use, community center buildings during the mid-20th century. The Burgess-Osborne Memorial Auditorium is an excellent example of public, Modern Movement, Mid-century Modern architectural style incorporating design features such as flat and slant roofs, a large stone branding pylon and a traditional stage enclosure. Materials used in construction are chiefly masonry in nature and include brick, Crab Orchard sandstone, Indiana limestone and concrete. The Burgess-Osborne Memorial Auditorium retains a high percentage of its original design and materials integrity. ______

Narrative Description

Site and Setting

The Burgess-Osborne Memorial Auditorium complex is located within three city lots on the southwest corner of the intersection of 17th Street and Wabash Avenue in Mattoon, Illinois on the southern periphery of the original Mattoon business/commercial district. The Burgess-Osborne resource consists of the auditorium building and a head-in/parallel, 20-space parking lot on the building’s west side. The surrounding setting is comprised primarily of single/multiple-family residences, apartment complexes, an English landscape garden and commercial/municipal buildings.

The Burgess-Osborne Memorial Auditorium building exhibits the characteristics of the 20th century, Mid- century Modern architectural style. Stylistically, the principal, north, elevation projects a residential impression akin to the Contemporary residential style popular during the post-World War II era. This design approach may be the result of an effort to compatibly integrate the auditorium building with the surrounding residential properties that dominated adjacent streetscapes in the 1950s. The most elaborate architectural detailing associated with the building is on the north and east elevations. When constructed, the building was sited next to a two-story residence to the west and an alley to the south and it appears architectural detailing on these elevations was reduced because of their tertiary nature.

Exterior

The plan of the approximately 120’ x 90’ building consists of three distinct elements; main entrance/office spaces in the northern reaches, the auditorium space in the center and the stage space at the southern end. The main entrance/office portion of the plan is asymmetrical with setback and projecting walls being prominent. The approximately 65’ x 48’ rectangular auditorium and the perpendicularly attached 20’ x 70’ rectangular stage portions of the plan are symmetrical with slight fenestration and materials design differences.

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United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State

The building rests on a poured concrete foundation and the exterior is faced with buff brick, red/pink/orange Crab Orchard sandstone and wood board and batten materials. Recessed, pink brick infill is evident on the east and west elevation where original clearstory aluminum window units were removed as part of a 1980s HVAC upgrade project. Horizontal brick corbelling bands are present on all elevations and a limestone watercourse exists on the north elevation of the building. Redwood fascia and soffit materials are present on the main entrance/office space and auditorium sections, with fascia associated with the auditorium exhibiting geometric detailing. Windows are aluminum, square/rectilinear/ribbon types. Most of the original aluminum windows were replaced by more energy efficient aluminum units in the 1980s. Sills for the windows are either brick or limestone. Exterior doors are wood, aluminum framed or steel security models.

Flat, slant and gabled roofs cover the interior spaces, with flat and slant EPDM covered designs above the main entrance/office section, an asphalt covered, medium-pitched gabled structure above the auditorium and a flat EPDM covered type over the stage area. Brick chimneys are present above the west elevation utility room and the southeast corner of the stage area. Roof flashing and some original gutters and downspouts are copper. Replacement guttering and downspouts are brown anodized aluminum.

The exterior of the building is illuminated by recessed lighting within the entrance lobby roof, circular-shaded fixtures above the auditorium and stage exits and a metal halide lamp at the rear of the building. HVAC chillers and aluminum ductwork are situated in the space by the stage load in/load out doors adjacent to the alley on the south elevation. The building is landscaped with mature Sycamore trees along 17th Street and perennial shrubs in rock planting beds on the north and east elevations of the building. A concrete ADA curb cut is present within Wabash Avenue right-of-way features perpendicular to the main entrance. A cast iron flagpole is located to the east of the main entrance.

North Elevation

The primary entrance/office space is on the north elevation of the building. It is in this part of the plan that the asymmetrical detailing of the resource is most evident. The exterior walls of office, restroom and utility spaces either side of the main entrance are either setback or project forward of the main entrance axis. The office spaces and forward furnace/HVAC room also project outside of the linear boundaries of the auditorium and stage portion of the plan.

Adjacent to the main entrance on the west is a signage pylon which is the most prominent exterior feature of the building. The pylon, which extends to the height of the auditorium roof gable, is of a tapered, rectangular shape, faced with Crab Orchard sandstone and capped with Indiana limestone blocks upon which the identifier BURGESS-OSBORNE MEMORIAL AUDITORIUM is carved in V-notched lettering on the east and west elevations. The Crab Orchard stone also faces the exterior walls on the east side of the main entrance’s dual, aluminum-framed, glass entrance doors. The main entrance opening also contains oversized aluminum side and transom lights. Setback on the east side of the main entrance is a wall faced with board and batten covering containing four, square, aluminum windows. This setback is adjacent to a concrete sidewalk leading to the east office projection’s wooden entrance door. The utility room projecting from the west office space is only accessible through an exterior steel door and possess the only round fenestration opening within the building, a glass-blocked glazed window with a limestone surround. All other windows throughout this part of the building plan are rectangular, aluminum ribbon types.

The north elevation best exposes the variety of roof designs associated with the building as the flat and slant designs over the main entrance/office and gable over the auditorium are very prevalent. It is from this view that 6

United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State the geometric patterns in the Redwood fascia and the exposed gable rafters behind the fascia are displayed. The exposed wood rafters, wood roof covering and wood trim fascia also combine as soffit elements of the auditorium roof on the east and west elevations.

East Elevation

The east elevation of the building best projects the form of all three plan areas and displays the architectural design and materials related elements better than any other view. The flat roofed office space projection on the north abuts the northern portion of the auditorium and speaks to the asymmetrical part of the plan. The transition to the auditorium and stage portions of the plan allows for the interpretation of the symmetrical element of the overall plan. Because of the materials incorporated on the east façade, e.g. buff brick, pink brick infill, limestone door and window surrounds/sills, Crab Orchard sandstone wall covering, dark blue board and batten veneer and dark brown window frames and doors, the east elevation allows for visual depth that makes the building appear to be of larger scale than it actually is. Besides the diversity of materials, the horizontal corbeling band design is striking on this elevation. Same can be said about the corbeling on the elevated north façade of the perpendicular stage portion of the plan, which doesn’t stand out unless viewed diagonally from the east or west. Also apparent from this view is the limestone coping topping the parapet of the stage component.

Operationally, the most distinctive features of the stage section of the east elevation are two square windows providing illumination to the stage section furnace/HVAC room and a wooden, three panel exterior door providing access to the furnace/HVAC room and the stage itself. Both the door and windows possess limestone surrounds and translucent glazing.

South Elevation

The south elevation of the building is in reality the south façade of the stage section of the building plan, although the projections associated with the main entrance/office part of the plan are apparent if viewed at an appropriate standoff distance. This façade maintains the architectural design theme of the building with the most conspicuous feature being the brick corbeling that forms a quoin pattern on the eastern perimeter. The height of the stage roof parapet is also most evident from the south elevation view of the building.

This façade has very little architectural detailing and those feature that are present are linked to the operational aspects of the building, with the only permanent design elements being the double, oversized, five panel, wooden, load-in/out doors for the stage, a small, aluminum, double hung window associated with stage restroom and the aluminum, gutter/downspout stage roof drainage system. Utility hookups and mechanical systems elements are present on this elevation with the gas meter positioned on the southeast corner at grade level, the electrical feed located west of the stage load in/out doors and the HVAC chiller unit offset at grade west of the stage doors. Aluminum HVAC ductwork runs up the face of the west stage door and enters the building through a wooden transom area above that feature. In addition to the original light fixture above the stage doors, there exists an original security light fixture in the upper reaches of the western corner of the façade.

West Elevation

The west elevation of the building, especially the stage and auditorium sections of the plan, displays only minimal architectural detailing most often associated with secondary or tertiary facades of buildings. There is no brick corbeling or integration of Crab Orchard sandstone/Indiana limestone evident on the other elevations 7

United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State of the building. The stage roof parapet is topped by terra cotta tiles as opposed to limestone and the sills of the auditorium windows are brick as opposed to limestone sills present on the window openings on the north and east elevations. The use of limestone sills and water course, as well as brick corbeling is resumed on the west wall of the office section at the northern end of the façade.

Fenestration features on this elevation include two square, double hung, dressing room windows on the stage section; two double steel access doors, two sets of fixed ribbon windows, and recessed, pink brick clearstory window infill areas on the auditorium face; a door opening (wooden, three panel door) and fixed rectangular window opening associated with the projecting furnace/HVAC room and standard ribbon window opening in the west wall of the northern office space.

Interior

Main Entrance/Office Area

The main entrance lobby features a green and black terrazzo finished floor, lightly stained walnut wall paneling/doors/trim and a raised drywall covered ceiling sloping at the angle of the above slant roof. The paneling and drywall intersection is transitioned by a strip of decorative molding. A small, dropped, decorative lighting fixture illuminates the lobby area. Four walnut paneled doors with hydraulic operators provide access from the lobby to the auditorium.

To the east and west of the main entrance lobby are the office spaces and restrooms associated with the building. Illumination in these spaces is provided by ceiling mounted florescent fixtures. West of the lobby are two rooms with drop ceilings and paneled in what appears to be wood of a Brazilian Cherry variety. The concrete floor of the northern space is covered with red, low knap carpeting, while the southern space is covered with rolled vinyl material.

To the east of the lobby is a corridor accessing the facility restrooms and additional office space. The restroom corridor walls are concrete blocks to a height of four feet with drywall material above to the intersection with a drywall ceiling. Water fountains are mounted on the north corridor wall. The corridor floor is covered with square vinyl tiles. Restrooms are accessed through walnut veneered doors. Walls in the restroom are concrete block/drywall and the floors are covered with typical vinyl tiles. The carpeted office space to the east of the corridor has drywall walls/ceiling and a wooden exterior access door.

Auditorium

The auditorium consists of an approximately 65’ x 48’ rectangular assembly area with dual, aluminum egress doors with horizontal push locking bars and hydraulic operators located in the northwest, southwest and southeast corners. On the south wall to the left of the stage there exists a typical, smooth-faced, wooden door providing access to the southeast furnace/HVAC room and the backstage areas. In the northeast section, there exists former office space approximately 20’ x 15’ that has been repurposed as a cloakroom and chair/table storage area. The walls in these spaces are concrete block painted an off-white tint. The roof of the auditorium is supported by five, precast-concrete, gabled arches painted in a dark blue hue. Seven wooden, common purlins rest perpendicularly on the arches on each gable side. The ceiling of the auditorium is deeply stained 1” x 6” redwood or walnut members laid perpendicularly to the purlins. Mounted below the ceiling are sixteen large, circular fluorescent light fixtures. Four original incandescent light fixtures

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United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State are present on each gable side. At the gable peak on the rear auditorium wall exists an approximately 4’ x 4’ ventilator fan unit. The auditorium and cloakroom possess a vinyl tile covered concrete floor.

Stage

The stage space is an approximately 70’ x 20’ area. A furnace/HVAC room is present in the eastern reaches at grade level. A stairwell riser adjacent to the furnace/HVAC room accesses the stage floor. A restroom is present in the rear stage right area. Two dressing rooms are present in the stage left area. Two four-foot wide, five-panel, wooden, swing doors, which facilitate performance equipment load in/out, are present at stage rear. The stage floor boards are pine finished with a high gloss varnish. An angled foot lamp well with a stacked, ¼ round fascia board is present at the front of the stage. A three-strip, incandescent light grid and one strip of colored spotlights are present above the stage. The stage ceiling consists of unfinished 1” x 6” redwood or walnut boards. HVAC ductwork is mounted on the stage ceiling and above the Furnace/HVAC room. Stage lighting and building electrical control panels are mounted on the wall at stage left. One fixed acoustical curtain is present above the stage. Draw acoustical curtains are located at stage left and stage right.

From the auditorium, the stage presents a 12’ x 28’ arched opening with a proscenium bordered by concrete block piers and a precast concrete arch. At the peak of the arch is a logo of an American eagle fronted by a red, white and blue shield with a scroll containing the text E PLURIBUS UNUM above the eagle’s head. A wooden stairwell riser providing direct auditorium access to the stage exists at stage right. Below the stage floor are a series small swing doors opening to the original chair and table storage areas.

Integrity and Modifications

The Burgess-Osborne Memorial Auditorium is in superb physical condition and exhibits evidence of a well- maintained facility. The facility retains a high degree of original historic integrity in plan and materials. The only significant modifications to the original building appears to be the removal of the auditorium clearstory ribbon window units, replacement of some original aluminum windows and the sectioning off of an eastern office space to create a cloak room. The clearstory elimination and aluminum window replacement were possibly a result of the incorporation of the modern HVAC units in the 1980s. The walling off of the office space for the cloakroom is linked to damage caused to this area of the building in 2015 when a car breached the board and batten wall section on the east elevation and destroyed interior masonry and stud walls.

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United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State

8. Statement of Significance

Applicable National Register Criteria Areas of Significance (Mark "x" in one or more boxes for the criteria qualifying the property (Enter categories from instructions.) for National Register listing.) ARCHITECTURE X A Property is associated with events that have made a ENTERTAINMENT/RECREATION significant contribution to the broad patterns of our history. SOCIAL HISTORY B Property is associated with the lives of persons significant in our past.

X C Property embodies the distinctive characteristics of a type, period, or method of construction or represents the work of a master, or possesses high Period of Significance artistic values, or represents a significant and distinguishable entity whose components lack 1953 - 1967 individual distinction.

D Property has yielded, or is likely to yield, information important in prehistory or history. Significant Dates 1953

Criteria Considerations (Mark "x" in all the boxes that apply.) Significant Person

(Complete only if Criterion B is marked above.) Property is:

A Owned by a religious institution or used for religious purposes. Cultural Affiliation (if applicable) B removed from its original location.

C a birthplace or grave.

D a cemetery. Architect/Builder E a reconstructed building, object, or structure. Oliver W. Stiegemeyer

F a commemorative property. Hart & Reilly General Contractors

G less than 50 years old or achieving significance within the past 50 years.

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United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State

______Statement of Significance Summary Paragraph (Provide a summary paragraph that includes level of significance, applicable criteria, justification for the period of significance, and any applicable criteria considerations).

The Burgess-Osborne Memorial Auditorium is eligible for listing on the National Register of Historic Places locally under Criterion A, Events/social history and entertainment/recreation, for its association with the history, social welfare and lifeways, as well as the development and practice of leisure activities for Mattoon, Illinois and its surrounding reaches. The Burgess-Osborne Memorial Auditorium has served as a community center and entertainment venue throughout its existence. Through its programmatic utilization and ensuing affects, the Burgess-Osborne has enhanced the lives of countless members of Mattoon and regional society.

The Burgess-Osborne Memorial Auditorium is eligible for listing on the National Register of Historic Places locally under Criterion C, Architecture, for its association with the American Movement’s Mid-century Modern architectural style. The Burgess-Osborne Memorial Auditorium displays its fundamental association with the Mid-century Modern style through its asymmetrical plan, roof pitches, dominant entrance pylon and masonry texturing/corbeling projections. The Burgess-Osborne Memorial Auditorium is the only public building in Mattoon possessing Mid-century Modern characteristics and one of less than a half dozen non-residential Mid- century Modern resources within the City of Mattoon’s corporate boundaries.

The period of significance for this property is 1953 to 1967. ______

Narrative Statement of Significance (Provide at least one paragraph for each area of significance.)

Community/Civic Centers and Municipal Auditoriums

The formal community center concept has European (Danish) origins dating back to at least 1880. The concept in the U.S. has existed as far back as the colonial period but generally through the use of disparate community properties such as meeting halls, churches and theaters which served a primary use and constituency separate from the general public.1

Traditionally, community centers throughout the U.S. are singular public locations where local residents gather for group activities, celebrations, dissemination/discussion of public information, the production/observance of local entertainment and other recreational pursuits. The ownership of these properties varies, but the most prevalent forms of proprietorship are government and private not-for-profit. Philanthropic individuals and organizations are often connected to the development and management of dedicated community center facilities. Early U.S. community centers such as the Lamar Community Center in St. Croix Falls, Wisconsin, a 1905 Craftsman style schoolhouse, are buildings which were repurposed as opposed to being demolished. The 1928 Classical Revival, Milliken Memorial Community House in Elkton, Kentucky is an example of a community events center constructed through philanthropy and is considered the first privately donated community house in the U.S.2

Although the U.S. community centers of the early 20th century often programmatically target specific activities such as public meetings and events, mid to late 20th century often assumed a multi-use plan, as well as the

1 “Community Centre,” Wikipedia, last modified 21 May 2017, https://en.wikipedia.org/wiki/Community_centre#cite_note-1. 2 “Milliken Memorial Community House,” Wikipedia, last modified 25 November 2016, https://en.wikipedia.org/wiki/Milliken_Memorial_Community_House. 11

United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State designation civic center. Civic centers are constructed to serve the multi-use concept by incorporating a variety of spaces including auditoriums, meeting rooms, formal reception areas, theatrical performance stages and utilitarian spaces dedicated to artistic endeavors. Civic center design often includes daily operational spaces for different levels of government. Well-funded civic centers, such as the 1960, Modern Movement, Frank Lloyd Wright designed Marin County, California Civic Center, are often elaborate in design. Regional civic centers, such as the ones in Decatur and Sullivan Illinois, adhere to the multi-use concept. Programmatic utilization seemingly becomes more diverse the smaller the communities are.

A common variant of the community/civic center are municipal auditoriums which are frequently designed to serve principally as convention, performance and spectator sport venues. Largely located in mid to large metro areas, municipal auditoriums adhere to the multi-use concept, but generally have commercial revenue aspects linked to their conceptualization. Mid- 20th century examples of these types of facilities include the 1935 Art Deco/Art Moderne styled Kansas City Municipal Auditorium and the 1962, domed, Mid-Century Modern styled Nashville Municipal Auditorium.

Mattoon, Illinois Context

The City of Mattoon is located in Coles County 185 miles south of Chicago, Illinois and 135 miles southwest of Indianapolis, Indiana on the level topography of east central Illinois.

The terrain in which Mattoon is located was Kickapoo Indian hunting ground prior to the arrival of Anglo settlers in the area. A large Kickapoo village existed southeast of Mattoon in the Seven Hills area south of the current Coles County Memorial Airport. This area, as well as all other Illinois land claimed by the Kickapoo, was relinquished to the federal government as a result of the Treaty of Edwardsville in 1819.3 After resolution of the Kickapoo land claims, Anglo immigrants from Kentucky, Tennessee and Virginia were drawn to the Coles County area as part of the Upland South migration associated with the settlement of the Northwest Territories. Pioneer settlements in the vicinity of present day Mattoon included Richmond, Paradise and Wabash Point.4

The catalyst for the formal establishment of Mattoon was the mid-19th century U.S rail transport system development boom. In June 1855, two newly constructed rail lines, the Illinois Central and the Terre Haute & Alton, crossed in western Coles County in what would become the center of Mattoon. Although the Terre Haute & Alton line would not continue westerly construction for another year and trains would not run on the Illinois Central for another two years, completion through the crossing site was a competitive issue between the two lines. The last to complete track at the intersection would assume perpetual maintenance responsibilities for the site. The Terre Haute & Alton line finished first and its supervisor of construction, William B. Mattoon, lent his name to the boon town springing up around the intersection.5

Development of the City of Mattoon actually preceded the completion of the rail intersection by more than a year. Once it was known where the lines would cross, Coles County pioneer Ebenezer Noyes led a group of area residents in a land speculation effort by buying property in two township sections surrounding the proposed intersection. The land was platted in early 1855 and lots were sold for $25 to $100 per parcel. Although the

3 “The History of Moultrie County and Sullivan Illinois; Whitley Point,” http://www.edenmartim.com/whitley/chpt1.htm (19 July 2010), 3. 4 Jean Johnston, Alice Larrabee, Gail Lumpkin and Marianne Theil, Mattoon: A Pictorial History (St. Louis: G. Bradley Publishing, 1988), 10. 5 Ibid. 12

United States Department of the Interior National Park Service / National Register of Historic Places Registration Form NPS Form 10-900 OMB No. 1024-0018

Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State first permanent buildings in Mattoon were at a location called “Truetown,” in the vicinity of present day 12th Street and Richmond Avenue, the construction effort soon shifted a half mile to the west where the rail lines had intersected. By the winter of 1855-1856 there were over 100 permanent buildings in Mattoon.6 Mattoon’s first church, the Presbyterian Baptist, was constructed in 1856 on the southeast corner of the present day intersection of 15th Street and Wabash Avenue.7

Mattoon, at the beginning of the Civil War, was a rail transportation and agricultural center of nearly 2,000 people. Numerous hotels, saloons and warehouses extended outward from the point where the rail lines crossed and along the newly developing circulation corridors of Broadway and Western avenues. Not only did Mattoon serve as a transport and commodities production center for the Union during the Civil War, it also bore witness to Union military and Confederate clandestine terrorist operations.

On the 13th and 14th of May 1861, Illinois Adjutant General’s Officer Captain Ulysses S. Grant performed some of his first Civil War duties in Mattoon at Camp Goode. This muster camp for the 7th Illinois Congressional District, located at the Union Agricultural Fairgrounds approximately two miles northeast of central Mattoon. Captain Grant’s duties in Mattoon included mustering into State of Illinois service and presiding over election of officers for the 7th Congressional District Regiment (21st Illinois Infantry Regiment).8 The men of the 21st were so impressed with Captain Grant’s military bearing that they renamed the mustering facility Camp Grant in his honor. Camp Grant remained a reception/mustering-in center for Illinois troops through the summer of 1864. Other Illinois units mustered at Camp Grant included the 79th, 123rd, 135th and 143rd Illinois infantry regiments. An additional Union Army resource in Mattoon was a multi-corral facility for the acquisition and rehabilitation of Union cavalry mounts and draft horses located on the north side of city near Dodge Grove Cemetery.9

Captain Thomas Henry Hines (CSA) based his cell of Confederate special operators out of Mattoon during the summer and fall of 1864. This cell’s (ex-Confederate cavalrymen and ex-Confederate prisoners of war) principal mission during their time in Mattoon was to disrupt the 1864 Republican and Democratic conventions in Chicago and later, the November presidential elections. Hines’s efforts were part of a broader Confederate plan known as the “Northwest Conspiracy,” which had as primary objectives insurrection, sabotage and subversion on the Northern home front, as well as the creation of a Confederate Army of the North manned by liberated Confederate prisoners of war. After August 1864 Democratic Convention-related operational failures in Chicago, Hines and his men withdrew to Mattoon from where they conducted numerous successful operations in Illinois, Indiana and Missouri. After betrayal by one of his men in late September, Captain Hines and his cell evacuated their headquarters in Mattoon for points east with a detachment of the Union Provost Marshal in hot pursuit.10

In the decades following the Civil War, Mattoon continued to grow as the result of its rail transport and agricultural economy. In 1871, the Mattoon City Council enticed the Indianapolis & St. Louis Railroad, formerly the Terre Haute & Alton line, to move its headquarters and shops to Mattoon from Litchfield. Sixty acres on the eastern fringe of the city (Richmond Avenue between 6th & 10th streets) were donated for the Indianapolis & St. Louis line’s relocation. A similar program was initiated by the city in 1880 to attract the location of the Peoria, Decatur and Evansville line’s shops. These shops later became property of the Illinois

6 Ibid. 7 Ibid, 46. 8 “The Encampment,” Mattoon Weekly Gazette (Mattoon, IL), 17 May 1861. 9 Unknown Author/Compiler, Mattoon Township History (Mattoon Public Library, n.d.), n.p. 10 James D. Horan, Confederate Agent (New York: Crown Publishers, Inc., 1954), 137 & 138. 13

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Central line and were located at the west end of Charleston Avenue at present day 27th Street.11 In 1882, the Indianapolis & St. Louis line entered receivership and was eventually merged into what became known as the Cleveland, Cincinnati, Chicago and St. Louis Railway (Big Four) in 1889.12

A major change in the metropolitan landscape of Mattoon occurred in the pre-World War I era. The intersection of the Illinois Central and the Big Four lines in Mattoon had become a burdensome nightmare for rail line operators as well as the 10,000 plus citizens of the city. Increased rail traffic caused numerous scheduling delays for the rail operators because of intersection congestion. Principal city street circulation was blocked for extended periods due to the backed up trains.

Mattoon city officials had been lobbying the Illinois Central to create a “Subway” or below-grade rail bed for many years. In 1914, the Illinois Central completed this structure. Many of Mattoon’s original buildings along the original rail right-of-ways, the Essex House Hotel and Union Depot to name two, were razed as part of this project. The project did result in the construction of five vehicular bridges over principal Mattoon thoroughfares and, in 1916, a new Illinois Central Depot at 1718 Broadway Avenue.13

In 1930, the New York Central Railroad entered into a lease agreement with the Big Four. The Vanderbilt family was a major stockholder of both lines. Although officially known as the New York Central, and later the Pennsylvania Central, local residents continued to refer to the line as the Big Four until its eventual demise when the rails were removed and the assets sold in the 1980s.14

Municipal improvements in Mattoon lagged far behind its population and economic growth. In the 1880s, there were no sidewalks, paved streets or communal lighting. The city installed a few gas streetlights in 1884. During 1891-1892, portions of the main thoroughfares, Broadway, Charleston and Wabash avenues, were paved. The city built a municipal power plant to provide electric lighting for city streets in 1893.15 Potable water was provided to the city in 1885 through the construction of a municipal water plant supplied by deep wells. Eventually, a privately undertaken, city-supported project would create the Lake Paradise City Reservoir (1907).16

The Mattoon School District had its origins in the 1860s, but it didn’t really flourish until West Side School was built in the early 1870s and secondary education through the high school level was offered in earnest. During the early part of the 20th-century, a new high school at 21st Street and Western Avenue and a half dozen elementary schools were constructed around the city.17 In the 1950s, a new high school was constructed at the 2700 block of Walnut Avenue. In the mid-1960s, the Lakeland Community College District was established in Mattoon. Classes were initially held at different vacant or underused buildings in Mattoon until a permanent campus was established south of Mattoon in 1971.

Recreational areas have always been an important part of the social fabric of Mattoon. The first Mattoon park was Allison-Cunningham (1858) located between 12th and 13th streets along Champaign Avenue. Peterson

11 Jean Johnston et al., Mattoon: A Pictorial History, 28. 12 Craig Sanders, Images of Rail: Mattoon and Charleston Area Railroads (Chicago: Arcadia Publishing, 2008), 8. 13 Jackie Wilen, Illinois Central Railroad Depot-Mattoon National Register Nomination (Washington: U.S. Department of the Interior, 2002), Section 8, Page 7. 14 Sanders, 67. 15 Jean Johnston et al., Mattoon: A Pictorial History, 28. 16 Ibid, 110 & 111. 17 Ibid, 116. 14

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(1903) and Lytle (1912) are the largest Mattoon parks. Lytle contains a 1929 in-ground pool with support facilities.18 It is one of the largest outdoor pools in Illinois.

Industry in Mattoon has its origins in the 19th century. The broom corn industry flourished in Mattoon from the pre-Civil War era well into the 1940s. Numerous broom factories existed in the area. The Sun Broom Company and the American Broom Company remained in operation on Richmond Avenue in Mattoon until the 1990s.19 Mattoon’s first non-rail owned heavy industry, Chuse Manufacturing Company, was established in Mattoon along the Indianapolis & St. Louis right-of-way between 12th and 14th streets in 1875. Chuse produced high-speed steam and electric engines.20

The Mattoon area also possesses the natural resource of a thick bed of clay subsoil. By the 1880s, several factories were established in the central northern reaches of Mattoon to produce drainage tiles and eventually brick pavers for streets. Most notable of these enterprises was the 1883 Mattoon Tile and Brick Company located on Piatt Avenue. By the beginning of the 20th century, Mattoon Tile and Brick was producing millions of pavers and bricks annually for road and building construction.21

Many small fabrication shops prevailed in the early days of Mattoon to support the rail industry. The Mattoon Refrigeration Company was established in 1901 to provide ice to the Illinois Central Railroad for its refrigerated rolling stock. The H.W. Clark Company established a plant to manufacture water meters and water works equipment in 1907. In 1922, the Brown Shoe Company established a plant in Mattoon.

New economic opportunities were realized in Mattoon in the late 1930s, when profitable oil wells were drilled south of the city. The energy industry boom lasted until the 1960s, but was extended into the 1970s when profitable natural gas wells were drilled in the same area.22 To a minor extent, oil and natural gas operations have remained active north and south of Mattoon into the 21st century.

During World War II, the Atlas Diesel Company was enticed to locate a division in Mattoon to produce shell casings and diesel engines. Following World War II, corporations such as Blaw Knox, American Brass Company (Anaconda), Associated Spring, R.R. Donnelly and General Electric established plants in Mattoon to support the auto, heavy equipment, printing and commercial lighting industries.

Residential housing development, with supporting facilities, such as schools, grocery stores and churches, in Mattoon has generally radiated outward from the original Illinois Central and Terre Haute & Alton rail intersection. Hotels and vernacular frame housing dominated the pre-Civil War residential structures. During the latter half of the 19th century, residential housing continued to be dominated by vernacular forms, but academic styles such as Italianate, Queen Anne and Second Empire began to be introduced along main thoroughfares such as Western, Charleston, Wabash and Lafayette Avenues. Craftsman, Colonial Revival, Minimal Traditional, Prairie School and Tudor Revival styles are the predominant Mattoon residential architecture styles during the inter-war period. These styles are in great concentration in the early 20th century residential neighborhoods of Lumpkin Heights (1914) and Elm Ridge (1938) in the city’s southeast quadrant. The post-World War II period was a boom time for residential construction in Mattoon with Ranch style

18 Ibid, 126 & 127. 19 Ibid, 28. 20 Charles Edward Wilson, History of Coles County Illinois (Salem, Massachusetts: Higginson Book Company, 1905), 729. 21 Jean Johnston et al., Mattoon: A Pictorial History, 50. 22 Ibid, 145. 15

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Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State subdivisions springing up on the east, south and west sides of the city. Since 1990, most new housing developments in the Mattoon area have taken place in the rural landscape to the southeast of the city.

Mattoon in 2017 is a community of approximately 18,000 inhabitants supported by regional agricultural operations, Sarah Bush Lincoln regional medical facility, Consolidated Communications Corporation, agricultural service industries and regional education facilities. The principal consumer retail district abuts Illinois Route 16 near the intersection with Interstate 57 on the east side of the city. The development of this east side retail area has somewhat diminished consumer and business activities in the original central Mattoon commercial district.

Mattoon Meeting Spaces and Performance Venues

Mattoon’s story of community public meeting spaces and performance venues is likely typical of small Midwestern communities that were established and developed in the 19th and 20th centuries. The first public meetings concerning Mattoon’s formal establishment were actually held in Charleston, in 1855. The most probable buildings first utilized as public meeting locations were the Essex, Mattoon (Pennsylvania) and Dole House Hotels. These mid-late 1850s edifices were the first constructed with spaces that could be used to conduct meetings, hearings or events such as dances. It is likely that larger banquets and events were held outdoors at sites like the Union Agricultural Fairgrounds, which is known to have hosted a large Illinois Republican Party political rally on 10 August 1860 featuring speeches by Republican politicians, Richard Yates, Owen Lovejoy and Richard Oglesby.23

The administration of the City of Mattoon, which occupied storefront buildings in the downtown commercial district until the current City Hall was constructed in 1928, never possessed adequate meeting facilities. The 1928 building did possess a small auditorium and stage intended for City meetings and presentations, but nothing to support large gatherings. A majority of local community meetings and events during the early 20th century took place in school gymnasiums and churches.

Commercial musical and dramatic performance venues have been a part of the Mattoon community since 1866 when the Dole Opera House opened in the 1600 Block of Broadway Avenue. The Dole Opera House was superseded by the Mattoon Theater/Opera House at 2000 Prairie Avenue in 1896. The Mattoon Theater compared favorably to metropolitan theaters of its era possessing a 60’ x 50’ stage, six dressing rooms, ten boxes and two balconies. The Mattoon Theater was destroyed in a 1916 fire.24 Vaudeville stages surfaced in Mattoon in the early part of the 20th century when the Bijou and Grand Theaters were opened on Broadway Avenue. Besides the aforementioned school gymnasiums, notably the 1925 Mattoon Senior High School gym containing the largest stage in the community, there was really no public facility of consequence in Mattoon, except possibly the privately-owned 1929 Tudor-Gothic style Mattoon Masonic Temple building located at 1421 Charleston Avenue, that could provide the spaces necessary for use as a community meeting, performance and event center until the opening of the Burgess-Osborne Memorial Auditorium in 1953.

The Resource: Burgess-Osborne Memorial Auditorium

The Burgess-Osborne Memorial Auditorium was a gift to the City of Mattoon from Emily Burgess-Osborne through a $150,000 trust fund established in 1944. W.H. Ownby and The National Bank of Mattoon were

23 Wilson, History of Coles County, Illinois, 720. 24 Jean Johnston et al., Mattoon: A Pictorial History, 94. 16

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Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State named as Trustees. The Trust submitted an auditorium project proposal to the City of Mattoon on 31 January 1950. The principal conditions of the proposal stated that the trust would provide funding for site acquisition and construction of a public auditorium building for educational, religious and recreational purposes. The City of Mattoon oversaw the construction project and accepted ownership, maintenance and management responsibilities for the facility upon completion.25

The Mattoon City Council agreed to the Emily Burgess-Osborne Trust’s proposal on 07 March 1950. The federal government apparently had to sanction the use strategic construction materials to be used, a result of resource allocation requirements associated with the Korean War. The site selected by the Trust for the facility was located at the southwest corner of 17th and Wabash in Mattoon, a mixed residential and commercial area. Late 1950 site acquisition costs for the two subject city lots was $29,000.26

In 1952, St. Louis architect O.W. Stiegemeyer presented plans for a Mid-century Modern style facility that was approved by the Osborne Trust and the City of Mattoon. Evidently, earlier design development plans by Stiegemeyer presenting a Renaissance Revival styled primary façade and a youth center area on the east side of the current auditorium were rejected by the Osborne Trust, the City of Mattoon or both. The high price of construction materials due to the Korean War, was the primary reason the original design was rejected. Stiegemeyer was asked to redesign to cut costs and developed the design as viewed contemporarily.

Construction of the Burgess-Osborne Memorial Auditorium commenced in 1952 and was completed in 1953. Hart and Reilly General Contractors of Mattoon was awarded the contract for construction of the facility. General planning for the auditorium building was conducted by Eugene C. Bauer, cashier and trust officer of the National Bank of Mattoon. Principal materials used in exterior construction were lemon hued face brick, pink Tennessee Crab Orchard stone, California Redwood decorative trim and aluminum doors and windows. The interior of the building featured a terrazzo lobby floor, a Georgia pine stage floor and concrete floors covered with asphalt tiles. California Driftwood, Walnut and Brazilian Prieto paneling adorned the walls of the lobby and office spaces. The cost of the building was $102,000. The City of Mattoon accepted ownership of the Burgess-Osborne facility at a dedication ceremony on 22 August 1953.27

Dedication day for the Burgess-Osborne Memorial Auditorium witnessed a whirlwind of activities. The official dedication ceremony commenced at 3PM, with National Bank Trust Officer and auditorium Project Manager Eugene Bauer acting as Master of Ceremonies. The ceremony led off with the American Legion Post 88 Color Guard raising the national colors on the auditorium’s flagpole. First National Bank note teller Mary Matthius followed with the singing of the National Anthem, accompanied by Florence Myers on organ. Dr. Horace Batchelor, pastor of the Presbyterian Church, gave the invocation. Maurice Evans, nephew of Mrs. Osborne, and National Bank President Martin Behrend provided insight on Mrs. Osborne’s philanthropy and accomplishments as a businesswoman. Mr. Bauer gave a short talk on managerial aspects of the project and introduced general contractors Ralph Hart and Robert Reilly, who, along with major sub-contractors, presented a portrait of Mrs. Osborne to the City. Mr. Bauer then presented the deed for the property to Mattoon Mayor H.H. Ewing. Miss Katherine Sutter then closed the program with a solo of The Lord’s Prayer.

25 Laura Walk, interview, 10 April 2013. 26 Ibid. 27 Tom Kelly, “Auditorium Dedicated Today: Building Gift of Late Mrs. Emily Osborne,” Mattoon Daily Journal Gazette, (Mattoon, Illinois, 22 August 1953), 1. 17

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After the dedication ceremony, an open house of the facility was held until 6PM, during which time the women of the National Bank served refreshments provided by the Meadow Gold Dairy and the Wilb Walker Super Market. At 7:30PM, the first of many dances to be undertaken at the auditorium was held, with the Gene Trimble Orchestra providing Big Band music. The Rantoul USO Troupe, Lou Kennedy and the Rhythm Playboys comedy ensemble, pianist Joe Zona and the Ron Foreman & Dusty Carson, radio and TV musical performers, entertained during intermissions by Gene Trimble’s musicians.28

Since 1953, the Burgess, as it is commonly referred to by the locals, has served many roles in regard to its principal intent as a public meeting place. Additionally, the office spaces at the front of the building were occupied by the Mattoon Association (Chamber) of Commerce on 04 September 1953. The Association moved from its longtime location at 1607 Charleston Avenue and utilized the Burgess as its headquarters well into the 21st century. The Association and its Executive Secretary George Pendell were very active in community economic development during the organization’s time headquartered at the Burgess. Much of the industry attracted to Mattoon in the post-Korean War era was credited to Pendell and his colleagues. Current Mattoon Mayor Tim Gover reflects, “It was not unusual for those guys to frequently hop on a train headed to New York to give presentations to industry executives about the opportunities that Mattoon offered.”29 The Association also served as the building’s meeting and event coordinator during its tenure at the site.

Shortly after the building’s completion, the Burgess hosted the 54th annual meeting of the Illinois State Historical Society on 09/10 October 1953. Late 1950s and early 1960s patrons recall the auditorium being used for piano and dance recitals, coin and knife shows, as well as Friday and Saturday night dances featuring orchestral Big Bands and early Rock ‘n’ Roll groups. Joan Clark recalls falling in love with her husband Gene dancing to the Platters I Only Have Eyes for You at a 1958 record/sock hop at the Burgess. Shelia Smith- Cadwalader remembers watching her first color TV broadcast at the Burgess in the early 1960s when a local retailer previewed the Rose Bowl Parade for a $.25 admission charge. Also in the 60s, Mattoon resident Mickey Garlock recalled meeting Chicago Cub first baseman Ernie Banks and Chicago White Sox pitcher Tommy John at the Burgess during off-season public relations junkets. The Burgess stage often provided a platform for politicians on the campaign trail. In 1960, Cook County Circuit Court Judge Otto Kerner gave a campaign speech at the Burgess during his successful run for Governor of Illinois.30 In 1980, the Burgess was the site of a campaign speech by Republican presidential candidate Ronald Reagan.31

The Burgess also acted as a performance venue for local stage productions. The Mattoon Community Theater company was very active at the Burgess during the mid-60s, performing Ten Little Indians in 1965 and It’s Never Too Late in 1967. In 1966, the organization performed Gore Vidal’s adult comedy Visit to a Small Planet for three days commencing on November 15th. Cast members included; Hoover B. (Pat) Kelly, Jr., Thomas Miller Kelly, Jr., Bill Kelly, Linda Loveless, John Davis, Martha Ruster, Pat Henry, Harold Helsing, Wayne Mingus and Gerry Thurber. The production crew included; Tina Throm, Ann Lewellen, Ken Fish, Joanne Harrison, Johanne Grewell, Gerry Thurber, Maurice Crites, Homer Patterson and Lucille Patterson.32

The auditorium has provided space for other activities over the years, including; self-improvement seminars, weddings/receptions, agri-chemical sales presentations, municipal meetings, antique sales, square dances, teenage ballroom dance classes, youth immunization programs, local school district student registration, district

28 “Auditorium To Go To The City Saturday,” Mattoon Daily Journal Gazette, (Mattoon, Illinois, 21 August 1953), 1. 29 Tim Gover, interview, 23 May 2017. 30 “Otto Kerner,” Mattoon Journal Gazette (Mattoon, Illinois, 04 March 1960), 1. 31 Craig Sanders, “Reagan: Abolish Inheritance Taxes,” Mattoon Journal Gazette (Mattoon, Illinois, 15 March 1980), 1. 32 “Community Theater Play Cast Picked,” Mattoon Journal Gazette (Mattoon, Illinois, 24 September 1966), 10. 18

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Boy Scouts of America meetings, square dances, educational seminars, teen dance classes, variety/talent shows, birthday parties, fashion shows and as a polling place throughout its entire existence.

One noteworthy meeting conducted by the Mattoon Association of Commerce at the Burgess on 17 October 1956 witnessed the consolidation of Mattoon industrial, commercial, service, labor and civic charitable fund raising organizations affiliated with the Mattoon Community Chest. This meeting established a combined operational framework for the Mattoon United Welfare Fund and lead to the 1957 organizational founding of the contemporary United Way of Coles County assistance agency.33

From 1954 to 1965, the Mattoon Lion’s Club sponsored, once a month, Saturday evening, 7th and 8th grade, Arthur Murray ballroom dancing lessons at the Burgess. This pastime made a lasting impression on mid-1960s attendees Bonnie Authenrieth-Neal and Terri Wise-Landrus who shared almost identical remembrances of the activity:

We danced to records. The lessons consisted of learning the finer aspects of the Fox Trot, the Cha Cha and the Waltz. Picking a partner was a jockeying maneuver. We had to line up, boys on one side of the auditorium and girls on the other and try to finesse ourselves to end up across from the partner we wanted to be with. After the formal lessons, they would play current recordings and let us dance swing and other contemporary styles.34

The Lions were actually the first consistent promoters of live music at the Burgess, as they would often book bands for teen dances at the Burgess. The Lions initially brought in regional Big Bands to play music that, to some extent, correlated with the ballroom dance instruction the youth were receiving. Bookings in the early 60s shifted to local incubating pop music groups.

Dating from its dedication night in 1953 until November of 1970, the utilization of the Burgess auditorium for live music performances was one of the dominant activities at the venue. Friday and Saturday night teen dances/concerts at the Burgess became a significant part of Mattoon/regional youth culture. With the advent of Rock ‘n’ Roll sub-culture in the mid to late 1950s, the scene at the Burgess certainly mirrored what was happening in society throughout the country. Many of the bands to play the Burgess were talented way beyond the garage bands typical of the era and a number of the young musicians who honed their craft at the Burgess went on to notable careers within the pop music industry. An extensive examination of the 50s-70s local/regional live music scene, live music productions at the Burgess and the bands that played there is presented in Section 8’s Appendix A.

Contemporary use of the facility has included Lake Land College karate classes, professional regulation certification training sessions, wedding receptions and semi-pro wrestling events. A recent notable event at the facility was a public information meeting conducted by the Coles County Historic Preservation Advisory Council, the Coles County Board’s historic preservation organization, on 22 February 2017, which addressed the initiative to list Mattoon’s Lumpkin Heights and Elm Ridge Subdivision residential areas on the National Register of Historic Places.

33 Phyllis Propert, “Approve Welfare Fund Plan,” (Mattoon) Daily Journal-Gazette, (Mattoon, Illinois, 18 October 1956), 1. 34 Bonnie Authenrieth-Neal and Terri Wise-Landrus, email messages to Stephen A. Thompson, 02 April 2017. 19

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The Design: Mid-century Modern Architectural Style

The Mid-century Modern architectural style is a form of architecture that evolved from the post-World War II Modern Movement. The Mid-Century Modern style in the U.S. is an American reflection of the International and Bauhaus movements, including the works of Gropius, Florence Knoll, Le Corbusier and Ludwig Mies van der Rohe. Though the American component was slightly more organic in form and less formal than the International Style, it is more firmly related to it than any other style. Like many of Frank Lloyd Wright's early 20th century designs, Mid-Century Modern architecture was frequently employed in residential and institutional structures with the goal of bringing modernism into America's post-war built environment.35

Balanced and dynamic asymmetrical massing of the primary façade is a common feature of Mid-century Modern institutional and commercial buildings. Primary entrance prosceniums were often advanced forward of the plane of the building through the use of projecting materials. At the same time, primary entrance areas often recessed asymmetrically into the entrance pavilion with the objective of giving dynamism to often simple facades. Streamlining through masonry projections is common in Mid-century Modern buildings. The streamlining effect of the post-war designs often is incorporated into only a portion of principal facades, whereas buildings of the 1930s Modernist movement would more likely have displayed symmetry across the whole façade.

Mid-century Modern commercial buildings frequently incorporated edge-mounted cast metal lettering utilizing popular mid-20th century typestyles (fonts) such as RIBBON and ROFFE. Integrated features at primary pedestrian entrances such as planters and benches were a fashionable element with the Mid-century Modern examples, where a subtle connection between the exterior and interior was an important design consideration.

Public buildings of the Mid-century Modern design often incorporated the juxtaposition of smooth to rough façade coverings such as brick to ashlar stone. Another feature used to separate Mid-century Modern public buildings from similarly designed period churches was the inclusion of a pylon on the primary elevation that included signage almost commercial in nature. Vertical pylon elements were often used to counterbalance the dominant horizontal elements associated with most Mid-century Modern designs.36

The Burgess-Osborne Memorial Auditorium’s primary and secondary elevations best display its Mid-century Modern characteristics, principally in the entrance and office space part of the plan. The asymmetrical presentation, flat and slant roofs, incorporation of brick and textured stone, as well as the dominant entrance pylon all allude to a design period when modernism was in vogue. The rationale for this design is possibly the rejection of an initial, Renaissance Revival primary elevation design which was overruled by the client because of budget issues. Another factor possibly affecting the Modern design approach was that the neighborhood surrounding the auditorium at the time of conception was primarily late 19th/early 20th century residential in nature. A contemporary design might have been considered to be a less massive approach and would soften the effect of the building on the neighborhood.

The Benefactor: Emily Burgess-Osborne

Mattoon native Emily Burgess-Osborne (1867-1949) [Figure 7] was the daughter of William and Agnes Evans- Burgess. Both William Burgess and Agnes Evans were immigrants from England who met in Mattoon in the

35 “Mid-century Modern,” Wikipedia, last modified 28 May 2017, https://en.wikipedia.org/wiki/Mid-entury_modern. 36 Anthony Rubano, email message to Stephen A. Thompson, 27 March 2013. 20

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Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State early 1860s. William and Agnes Burgess had three biological daughters, Mary, Emily and Jennie, and also adopted one son, Robert.

William Burgess immigrated to the U.S. in 1827 and practiced his trade as a shoe and boot maker in New York, Pennsylvania, Canada, Michigan and Decatur, Illinois before settling in Mattoon in May of 1860. Mr. Burgess’s holdings in Mattoon included two boot and shoe businesses, one located at 4 East Broadway in 1879, a residence in Mattoon, and 40 acres of farm land.

Emily Burgess married a Congregational minister, the Reverend Naboth Osborne, in Denver, Colorado in 1906. Reverend Osborne had been a minister for the Wesley Chapel in Humboldt Township and the Congregational Church in Mattoon, prior to taking a position as pastor at another Congregational church in Burlington, Iowa in April of 1906. No children were produced from the union between Reverend Osborne and Emily Burgess. Reverend Osborne died in Burlington in 1940. Emily Burgess-Osborne died in Burlington in 1949 and was laid to rest in Mattoon’s Dodge Grove Cemetery.

The Emily Burgess-Osborne Trust was established in 1944 and remains an active entity. In addition to the initial objective of providing the City of Mattoon with a municipal auditorium, the Trust funds collegiate academic scholarships for Mattoon High School graduate applicants. The trust possesses approximately 700 agricultural acres in Coles County. The net profit from agronomic operations is reinvested and supports Trust initiatives. The Trust is administered by First Mid-Illinois Bank and Trust, which is the successor original Trust administrator, the National Bank of Mattoon.37

The Architect: Oliver W. Stiegemeyer

St. Louis, Missouri native Oliver W. (O. W.) Stiegemeyer (1891-1985) was the design architect for the Burgess- Osborne Memorial Auditorium. Stiegemeyer’s formal training was that of a draftsman in the firms of A.F. Haeusler and Duggan & Huff. From 1913 to 1931, Stiegemeyer was a partner in the firm of Kennerly & Stiegemeyer. In 1931, he created his own firm, O.W. Stiegemeyer, Architect in St. Louis and was licensed to practice architecture design in Illinois, Kentucky, Missouri and Nebraska. His firm accepted commissions for a variety of works, including residential, commercial, industrial, educational, recreational and health-related properties. Stiegemeyer favored Renaissance Revival, Art Deco, Art Moderne and Mid-century Modern designs.

Notable commissions Stiegemeyer undertook during his career include:

The Hayes Coca-Cola Bottling Plant – DuQuoin, Illinois Varsity Theater – Carbondale, Illinois Massac Theater – Metropolis, Illinois Central Methodist College Dormitory – Fayette, Missouri Military Academy Chapel – Mexico, Missouri DuQuoin State Fairgrounds – DuQuoin, Illinois Beverley Theater, St. Louis, Missouri Coca-Cola Bottling Plant – Galveston, Texas Stephens College Auditorium – Columbia, Missouri38

37 History of Coles County, Illinois 1876-1976 (Dallas: Taylor Publishing Company, 1976), 169. 38 George S. Koyl, ed, American Architects Directory, (New York: R.R. Bowker Company, 1956 & 1962), 538 & 677. 21

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The General Contractor: Hart & Reilly

Mattoon’s Hart and Reilly General Contracting firm was responsible for the physical construction of the Burgess Osborne Memorial Auditorium. At the time of the Burgess contract, the firm had been in business for seven years and was well known for its local/regional commissions, which principally involved large institutional, corporate and commercial facilities.

The Hart and Reilly General Contracting firm was established in 1946 when small building contractor L. Ralph Hart and construction manager Robert L. Reilly of Mattoon’s Andrew’s Lumber Company formed a partnership that would last until 1962. The firm started with seven employees, and at its peak, employed 60 fulltime workers. The firm was responsible for major area construction projects during its existence and considered its specialty educational facilities.

Major area projects undertaken by the firm include the:

Mattoon Army National Guard Armory Mattoon Memorial Hospital Mattoon U. S. Grant Motel Charleston High School Coles County Memorial Airport Hanger & Offices Mattoon Bowling Alley Mattoon Carter Oil Office Building Mattoon Kroger Grocery (2017 YMCA) Mattoon Jefferson Junior High School Mattoon Good Neighbor Shopping Center Stewardson-Strasburg High School Pana Glove Factory Toledo-Greenup (Cumberland) High School Mattoon Weiss Clinic 39

CONCLUSION

The Burgess-Osborne Memorial Auditorium has been a significant part of the social and physical landscapes of Mattoon and the surrounding region since it was dedicated in 1953. Through its utilization, events shaping Mattoon’s physical, economic and societal direction have had a profound effect on the community and its inhabitants. Its Mid-century Modern architectural style provides a striking streetscape contrast to nearby residential architecture and more contemporary public and commercial properties in close proximity. The historic context of the Burgess is one of local philanthropy, radical design and programmatic utilization that continues to enhance the quality of life for all in the past and those contemporarily that have been/are associated with the facility. Additionally, the Burgess has been well maintained by its steward, the City of Mattoon, and retains a high percentage of its historic physical integrity.

In accordance with the above rationale, the Burgess-Osborne Memorial Auditorium is an excellent candidate for listing on the National Register of Historic Places under National Register Criterion A for its significance on local social history, recreation and entertainment; and under National Register Criterion C for its association with local Mid-century Modern architecture.

39 “Young Firm Becomes One of Largest Contractors,” Mattoon Journal-Gazette and Commercial Star, (Mattoon, Illinois, 01 September 1955), 11. 22

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Section 8 Appendix A

Live Music at the Burgess in the 1950s and 1960s

The Rock ‘n’ Roll culture of the 1950s and early 1960s was heartily accepted by a segment of Mattoon and regional youth. The Friday and Saturday night cruising of Broadway Avenue and 12th Street with Chicago’s WLS AM radio, and later 8-Track tape players, blasting the latest rock, pop and rhythm & blues offerings was a big deal for local teens and young adults, who often parked and interacted at Gills Drive-In restaurant (Figure 27) at 12th Street and DeWitt Avenue. Thanks to personal automobiles, these young people were truly part of the first mobile, social generation.

The automobile may have provided a new social mobility for the youth, but popular music was the communal bond for many of these folks who wouldn’t have otherwise given each other the time of day. Rock ‘n’ Roll was everywhere. On the radio, on TV via the Steve Allen and Ed Sullivan shows, in teen magazines, the record sections of local furniture stores and eventually through the formation of amateur bands in the garages and basements of local residences. Young home-grown musicians strove to mimic the previously elusive roots music they were exposed to, as well as break free of the traditional trappings of formal music education, preforming and songwriting. To showcase their talent, the garage bands began to look for venues that could hold a crowd.

Musical performance venues in Mattoon were few and far between in the mid-1950s. Bars and taverns often had bands, but if you were under 21 just getting in was an issue. Once in, it was unlikely that many of your social contemporaries would be present. Mattoon High School often had sock hops, but most of the time it was DJs spinning records. The rare live band sock hop after a football game was great fun, but seemed like it was over before it started. Curfew…the great shackle of any socializing teen.

As early as the late 1940s, an enterprising group of Mattoon High School girls provided a practical solution for local teens that enjoyed live music and inadvertently helped launch the short and long-termed careers of many prominent local musicians. The Del Phis, Fifinellas (Figure 22) and the Gophurs were social/philanthropic sororities comprised of Mattoon High School girls. These sororities were not affiliated with Mattoon High School. Members were invited to join and the sororities mirrored the pledge process and activities of sororities at the collegiate level. The sororities raised funds throughout the school year to finance their philanthropic endeavors, put on a consolidated Christmas formal dance at the Mattoon Army National Guard Armory and fund a spring weekend trip to Chicago. The trips to Chicago usually included round-trip train transport, accommodations at the Palmer House Hotel, visits to museums, shopping and sometimes going to movies like Gone With the Wind at one of the many theaters which used to line Block 37 on State Street. Fifinella Becky Gass-Baker remembers the Burgess dance profits also financed sorority trips to Indiana Beach recreation area on Lake Shafer near Lafayette, Indiana.40

Del Phi Dalena Welsh-Hall relates that on one of the Chicago spring trips, the sorority sisters discovered that comedian Nipsey Russell was also staying at the Palmer House. An elevator operator told them which lift he took and the girls were able to ride up with Nipsey. Russell invited them to his suite and had room service

40 Becky Gass-Baker, interview, 26 March 2013. 23

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Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State bring up ice cream and soda for them. A purely innocent encounter, the celebrity had the sisters tell them about their organization and got their perspective on downtown Chicago.41

The Mattoon sororities of the late 1950s and 1960s, along with the Rainbow Girls Riding Club, the Mattoon DeMolay Club and the Coles County Civil Air Patrol unit, recognized the local market for live, youth oriented music and the failure of any entity to capitalize on that audience. For the sororities and other teen organizations it was a no brainer. Raise capital, provide a social outlet for their contemporaries, have a good time and get to hear live music. After all, they were fans too. The venue that could meet their needs…the 500 person capacity Burgess Osborne Memorial Auditorium.

These newly-minted live music promoters soon grew accustomed to the tasks and costs of putting on the 8:30 PM – 11:30 PM shows at the Burgess. Dances, as the functions were referred to, were held sometimes on both Friday and Saturday nights. The dances were chaperoned by sorority members’ parents and high school teachers, some fully equipped with earplugs. Auditorium rental, usually $50. Off-duty police security, $25. Bands, $125-$400. Admission was typically $1-$2 per person. Concessions, cokes and candy bars, were where the real money was made. The only criterion for admission was that one had to supposedly be in high school. That rule was not rigorously enforced as bands often had followings comprised of recent grads and Lake Land College/Eastern Illinois University students.42 Coinciding with the arrival of Lake Land College in Mattoon and its utilization of the Mattoon Army National Guard Armory facilities as classroom space, non-sorority produced dances for older teens began to take place at that venue in late 1969. One Armory show of note was the appearance of Mitch Ryder and Detroit on 06 March 1970.

The sororities held their dances at the Burgess from circa 1958 until 1970. In August of 1970, the City of Mattoon and the Board of the new Robert G. Demars Youth Center in Peterson Park agreed to shift the dances, which at this point had become more like concerts, to the Demars facility. Mattoon Mayor Morgan F. Phipps cited, “…a lot of vandalism and lack of chaperones at the Burgess…” as the rationale for closing the venue to the dance/concert functions.43 From personal recollection, the real reason behind the shift of venues was that late night noise had become an issue for neighborhood residents in the vicinity of the Burgess. The shift of dances/concerts to the Demars Center was never really accepted by former Burgess patrons. The steel building had terrible acoustics and a postage stamp-sized stage. The Demars Youth Center was re-christened the Robert G. Demars Community Center in 1974 and there is no record of teen dances/concerts being held at the facility thereafter.

It is believed that the Mattoon teenaged sororities dissolved as organizations in the late-1970s. Verna Voigt- Jones believes the dissolution came about, “… from a lack of interest.” Her sister, Diane Voigt-Barker, relays she was a member of the Gophurs until 1976 but couldn’t recall any typical sorority activities in the community after that.44

The Bands at the Burgess

The bands that played for the sorority and other organizational dances at the Burgess were primarily Mattoon, Charleston, Decatur or Effingham based groups. Most were cover bands, non-original material, as the

41 Dalena Welsh-Hall, interview, 26 March 2013. 42 Kathy Pardieck-Lockhart Thompson, interview, 23 March 2013. 43 “Dances Shifted to Youth Center, Barred at Burgess-Osborne,” Mattoon Journal Gazette (Mattoon, Illinois, 28 August 1970), 1. 44 Verna Voigt-Jones and Diane Voigt-Barker, Facebook messages to Stephen A. Thompson, 28 May 2017. 24

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Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State audiences attending the dances wanted to hear familiar songs by groups they heard on the radio, had seen on TV; American Bandstand, Where the Action Is, Ed Sullivan, Hullabaloo, WCIA Champaign’s At The Hop, WAND Decatur’s Marty’s Dance Party or whose 45s and albums they possessed. As the bands gained experience and were exposed to power blues, progressive rock and roots music, the cover offerings were interspersed with original songs.

The transformation of local live performances was also evident during the Burgess teen dance era. As more money was made by the bands, better instruments and amplification could be acquired. The real technical improvement of this era on the local scene was the purchase and incorporation of a Public Address (PA) system by area bands. With the PA, instruments, amplifiers and vocals could all be routed directly or through microphones and run through a mixing board by a soundman or engineer. Stage monitors run through the board also allowed the musicians on stage to actually hear what they were playing. The sound emanating from the PA was usually balanced and distinct, unlike previous techniques of each musician adjusting their amplifiers based on comments from someone in the crowd. The term dance for the performances at the Burgess was a misnomer by the late 1960s, as the activity evolved into a concert form, with very few attendees focusing on dancing and most concentrating on the musicianship and performance of the bands.

The background of members of local bands was as diverse as the crowds they played for. Some came from the right side of the tracks and others from the wrong side. Some were athletes, others academics. Every conceivable youth clique, whose members generally would not give each another the time of day, was represented. What brought them all together was their attraction to popular music. The easy mobility of the generation also allowed the bands, as well as their local followings, to play or attend dances/concerts and develop social/business relationships at other county and regional teen venues. Other nearby, popular teen- focused venues to play and socialize at were; the Bunny Hutch (Figure 19) in Mattoon, the Nowhere Club in Charleston, the Mattoon Beach Pavilion near Neoga, the Pollyanna Club in Effingham, the Morgue in Decatur, the Sugar Bowl in Arthur, the Wick in Tuscola and the Sullivan Civic Center.

The privately-owned Mattoon Bunny Hutch, located in a former Kroger grocery store/contemporary YMCA building at the southwest corner of 16th and Richmond Avenue, was a companion club to the Bunny Hutch in Savoy, Illinois. Established circa 1962, the management of the Bunny Hutch clubs also booked bands for regional venues like the Mattoon Lake Beach and Indiana Beach pavilions. They were responsible for bringing nationally known artists like Bobby Vinton, the Rivieras and the Cryan’ Shames to the area. In 1965 and 1966, Jerry Lee Lewis and the Chicago band Shadows of Knight played shows at the Mattoon Bunny Hutch.

Mattoon City Councilman and New York Central Railroad Claims Agent Richard “Dick” Kiger, who later advocated for and oversaw management of the City of Mattoon’s Robert G. Demars Youth Center, was instrumental in assisting youth groups in the booking of bands that played at the Burgess.

Bands to play the Burgess included:

Gene Trimble Orchestra, Newman, Illinois. 1941-2016. Big Band, Jump Blues & Swing.

The first band to play a dance at the Burgess on the building’s dedication day 22 August 1953.45

Gene Trimble – Trumpet, Band Leader

45 “Auditorium To Go To The City Saturday,” Mattoon Daily Journal Gazette, 21 August 1953, 1. 25

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Chris Blood – Trombone Richard Clapp – Saxophone Beverly Jean (Payne) Davis – Piano Lyle Davis – Vocals Russel Farnsworth – Piano John Neil Matthews – Saxophone Charles Edward Stephenson – Bass Karen Taylor – Saxophone Terry Tomlin – Drums Fred Trevarthan – Drums Dana Trimble – Trumpet Joshua Trimble – Trumpet John Waltrip – Saxophone Ginger Warters-Stanfield – Saxophone Madge Warters – Saxophone

Cover Songs:

Louis Armstrong & His Orchestra – All of Me Les Brown and His Band of Renown – Sentimental Journey Benny Goodman Orchestra – Stompin’ at the Savoy Eddy Howard Orchestra – Careless Glenn Miller & His Orchestra – In the Mood, Johnson Rag & Tuxedo Junction

Roy Ellis Orchestra, Mattoon. 1956.

Preston Jackson and the Rhythm Aces (Figures 11 & 12), Decatur. 1956-1970s. Rhythm & Blues, Doo-wop and Soul.

Preston Jackson – Guitar Duane Livingston – Saxophone Howard Roberson – Bass Phil Slaw – Drums Joe Meriweather – Lead Vocals Billy Rogers – Lead Vocals Mary Hicks – Background Vocals Stevie Hicks – Background Vocals

Original Recordings:

Three Quarter Stomp - https://www.youtube.com/watch?v=goNwwtxRer8 Joni (ca. 1961) - https://www.youtube.com/watch?v=ArGGefrhMs4

Cover Song:

Little Willie Littlefield (Leiber and Stoller) – Kansas City

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Rudy James Orchestra, Champaign. 1957.

Dick Foster’s Orchestra, Decatur. 1957.

The Echos (Figure 13), Mattoon. 1958-1962. Rock, Rockabilly and R&B. Formerly known as the Travelers and the Corvettes.

Gene Clark – Manager Ron Lass – Saxophone Gus Pedigo – Lead Guitar and Vocals Roger Pedigo – Rhythm Guitar and Vocals Mike Perry – Saxophone Bob Perry – Bass Bill Phillips – Drums

The Echos began their career with a 1958 gig at the First Methodist Church in Mattoon. Their stage wardrobe almost from the band’s inception was black and red plaid sport coats, black slacks, white shirts and black crossover ties.

A performance encounter at the 1958 Arthur, Illinois Fair with Capitol Record’s artist Faron Young put them on an eventual course to the Nashville music scene. Young liked what he heard at the Arthur Fair and told the band he could get them an audition at Decca Records if they could get down to Music City. The band, which was playing the Burgess and other regional teen dance clubs every weekend, and also busy with school sports, promised Young they would be down as soon as it was feasible.

In the interim, the band continued to play local gigs and made several appearances on local TV teen music dance show Decatur’s WAND Channel 17’s Marty’s Dance Party. The band would later also play on At the Hop on Champaign’s WCIA Channel 3. Joan Clark, wife of manager Gene Clark, recalls she and Gene being featured as At the Hop Spotlight dancers at one of the Echos’ gigs at Channel 3. The Spotlight Dance song was the Coasters Charlie Brown.46

The connection with Marty’s Dance Party was fortuitous as the band was asked to play at a Johnny and the Hurricanes performance in Decatur. Marty Roberts was so impressed, he said he could put the band in position to cut a record. The band passed along the Nashville strategy and Marty said to check back if that didn’t work out.

In the summer of 1959, the band headed to Nashville and linked up with Faron Young. Young said the audition was arranged and a visit to the Rat Cellar, a club showcasing new talent, would be worth a visit on Friday evening. When the band left the club about midnight, they found that their station wagon containing the drums and amps had been broken into and their gear was gone. They thought their trip was in vain at that point, but Decca supplied backup equipment at their audition the following morning. The audition went well, but not good enough for a record deal. Just the same, it was a great experience for the eight 16 year olds, and one 14 year old, from central Illinois.47

46 Joan Clark, interview, 30 May 2017. 47 Gene Clark, interview, 30 May 2017. 27

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Returning to Mattoon, the band did cut a single, River Beat, thanks to Marty Roberts and continued to play the local teen venues almost every Saturday night throughout their senior year in high school. After graduation in 1960, the group continued on until the band finally broke up in 1962 as everyone went on to other musical and personal endeavors.48

Originals:

River Beat Haunted

Cover Songs:

Johnny and the Hurricanes – Red River Rock Skip and Flip – It Was I and Fancy Nancy Little Richard – Long Tall Sally, Good Golly Miss Molly and Keep a Knockin’ Buddy Holly – Not Fade Away and Well Alright Elvis Presley – Hound Dog and Heartbreak Hotel The Skyliners – This I Swear and Since I Don’t Have You The Crests – Step By Step The Ventures – Walk Don’t Run The Platters – Smoke Gets In Your Eyes The Coasters – Only You (And You Alone) and Poison Ivy (Leiber and Stoller) The Flamingos – I Only Have Eyes for You

The Artistics with Jim Easter (formerly the Rebel Rockets) [Figures 14 & 15], Mattoon. 1959-1970. Late 50s/Early 60s Rock’n’Roll and Rhythm & Blues covers. R&B review stage show. Their stage wardrobe consisted of gold tuxedos, uniformed sport jackets; gold, black, burgundy and double breasted to name a few styles, black slacks, white shirts and ties for the men and black cocktail dresses for the women. Vocalist Jim Easter generally dressed in a black tuxedo or suit and wore sunglasses in tribute to Ray Charles.

Al Adamson – Saxophone and Vocals Libby Baretto – Drums (Rebel Rockets) Bob Bender – Trumpet Fred Blackburn – Bass Carolyn “Maggie” Mangus-Boldt – Vocals Ron Dixon – Guitar (Rebel Rockets) Charles “GI” Drury – Saxophone Jim Easter – Vocals Gail Helton – Drums and Business Manager Patrick “Pat” Kress – Guitar (Rebel Rockets) Joe Leal – Saxophone Mike Lee – Saxophone Gus Pedigo – Guitar Roger Pedigo – Bass Bob Perry – Bass and Vocals

48 Gene Clark, The Echos, 2017. 28

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Ron Rappe – Bass and Manager (Rebel Rockets) Randy Rhoads – Keyboards Clyde Sims – Lead Guitar Harold “Bo” Turner – Lead Guitar and Vocals

In 1962, additional back-up vocals by the Arlettes:

Ruth Ann Didway-Helton Sharon Lackey-Pedigo Patsy Messmore-Turner

The Artistics were subjectively the most popular local band to ever play the Burgess. Their mix of popular cover songs, R&B review presentation and the captivating persona of lead vocalist Jim Easter would attract near capacity crowds who couldn’t help but dance to the upbeat R&B numbers performed.

Lead vocalist Jim Easter relays, “My inspiration to play popular music with a tight band came about, when as a Charleston, Illinois High School Senior in 1958, I attended a show at the Burgess featuring R&B band Preston Jackson and the Rhythm Aces.” “The experience was exhilarating and I wanted to be part of the local music scene.” After graduating from high school in 1959, Easter formed a rock ‘n’ roll band called the Rebel Rockets with local players. For the first year or so, the band refined their musical chops and played at various teen dance venues. In 1960, the band added a horn section and began to develop their R&B sound and stage show. The band began to cultivate a regional following and even recorded some singles composed by professional songwriters for Chicago’s Cha Cha Records.49

Easter recalled the first time the Artistics played the Burgess in 1960. “Up until then, we had been playing small clubs and teen dance halls.” When we first played the Burgess for a local sorority, it was a new performing experience.” “There must have been 400 or 500 people in the audience and we actually were playing on a real stage with theatrical lighting and curtains, which we eventually figured out how to use for dramatic effect.” After this initial performance, the Artistics local popularity escalated and the band began playing the Mattoon sorority teen dances at the Burgess with increased regularity.50

Drummer and eventual group business manager Gail Helton recalled the first time he was actually paid for performing was after a 1961 gig at Mattoon’s Hideaway Club located in the 1700 block of Broadway near the Illinois Central Railroad Depot. His compensation for a three hour gig…$5. Helton does admit that within a couple of years he was, “…making more playing drums three nights a week than I was as a full time bank teller for Mattoon’s First National Bank.”51

As the band’s business manager, Helton also experienced the music business beyond the stage. He handled most of the bookings, arranged for equipment, usually through Roy Ellis’s Music Store on the south side of the 1500 block of Broadway in Mattoon, and had an active role in the disciplining of or the hiring and firing band members. Helton was also President of the local chapter of the Musicians Union for a number of years. One notable managerial task that fell upon Helton was dealing with an U. S. Internal Revenue Service (IRS) tax audit of the band in 1967. Apparently, the owner of Elcy’s Club in Sigel, Illinois, where the Artistics

49 Jim Easter, interview, 30 May 2017. 50 Ibid. 51 Gail Helton, interview, 07 June 2017. 29

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Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State periodically played on Sunday nights, was audited which led the IRS investigators to the doorstep of area bands that played Elcy’s. The Artistics passed the audit with flying colors, whereas many of the more experienced “adult” bands in the area did not and were subjected to hefty fines.52

Helton’s wife Ruth Ann, one of the Arlettes background singers in 1962, attributes the band’s popularity was a result of more than just their musical talents. The band’s public relations slogan was ‘Music with a Personality’ which the band regularly reinforced by taking the time between sets to circulate and interact with the attending audience. Ruth Ann Helton also recalls that from early on, “Some regular audience members would crowd the front of the stage just to watch Gail’s technique on drums, as well as that of the other musicians, so they could take the riffs home and apply to their own musical pursuits.”53

The band’s local/regional popularity brokered them numerous appearances on Decatur, Illinois WAND-TV Channel 17’s Marty’s Dance Party, as well as performances on Champaign, Illinois WCIA-TV Channel 3’s popular teen music dance program At the Hop.

At the Hop was an hour long, Saturday afternoon (5-6PM), locally produced, 1960-66, teen dance show on Channel 3. At The Hop was hosted by WCIA’s on air personalities John Coleman and Ed Mason, and possessed many similarities to Dick Clark’s national dance program, American Bandstand. National and local records would be spun by the hosts and local bands would play live. Those teens appearing on the program were initially required to dress formally, suit & tie and dresses. The Artistics’ At the Hop appearances were instrumental in their booking as the backing band for Jerry Lee Lewis at the Bunny Hutch teen dance club in Savoy near Champaign in 1964. The program was canceled circa 1966 as the producers found it difficult to find teens who wanted to get dressed up and dance on air. Host John Coleman’s broadcasting career flourished after At The Hop. He was the first weathercaster for ABC’s Good Morning America and was a principal founder of cable TVs The Weather Channel.

During this heady period for the band, Gail Helton recounts, “It was not uncommon for us to finish a gig, load up and drive like maniacs to get back to Mattoon’s Gills Drive-In restaurant before closing to get breakfast.” “Late on Friday and Saturday nights, the Gill’s clientele was generally those trying to sober up after a night on the town.” “The Artistics would show up and, after ordering their food, Jim Easter would often break into song to entertain the patrons.” “Jim also would often roll out his monkey imitation which all thought hilarious.” “To Jim, the world is a stage.”54

At the 1965 Illinois State Fair, the band won the annual Battle of the Bands earning $500, recording time at RCA Studios in Nashville, Tennessee and their own Grandstand show with Red Skelton at the 1966 fair. The Battle of the Bands took place at different locations throughout the state prior to the Fair with 135 bands participating in an elimination system that placed the final dozen bands at the State Fair for a final play-off.55 Capitol Records also offered the Artistics a recording contract as a result of their Battle of the Bands victory, but the band declined because it would have meant constant time on the road. A bigger obligation than band members starting families and holders of solid day jobs wanted to undertake.

52 Ibid. 53 Ruth Ann Helton, interview by Stephen A. Thompson, 07 June 2017. 54 Gail Helton, interview, 07 June 2017. 55 Bo Turner, interview, 01 June 2017. 30

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At RCA Studios in Nashville, Jim Easter remembers, “…feeling somewhat isolated in the vocalist booth.” The producer/engineer, sensing Easter’s discomfort came in the booth to reassure him, “…this was just another day at the office.” Easter took some relief in the producer’s counseling and regained focus, until as the producer was exiting and said, “You know this is pretty cool for you.” “Elvis Presley was on this mic just last week.” Easter lamented, “…that statement made me further stressed.” Also while at RCA, Easter and his producer/engineer were at the board mixing the Artistics recordings and RCA artist and repertoire executive/guitarist Chet Atkins dropped by. After listening briefly, Atkins inquired who the new black group was he was listening to. The producer said the music they were hearing was by a white band from central Illinois. Somewhat surprised, Atkins said, “Well, if they’re white, they must have grown up on the streets.” Easter took Atkins’s comment as a compliment.56

The Artistics renown related to their Illinois State Fair experience also positioned them to play on an international stage in 1966, when they played a two week engagement at Thule Air Force Base in Greenland for the U.S. Department of Defense Special Services during the Christmas and New Year holidays. Thule Air Force Base is the northern most U.S. air base in the world and is located 750 miles north of the Arctic Circle and less than a thousand miles from the North Pole.

Gail Helton recalls that actually three bands were booked to play, two country groups and the Artistics, who were essentially hired to back up The ABC Triplets, a female vocal group from Philo, Illinois. The bands would rotate between the three airbase clubs, Airmen’s, NCO’s and Officer’s, and played fifteen shows during their time at Thule. One show was done at Camp Atholl U.S. Coast Guard navigation station about 40 miles southwest of Thule. For this show, the band was flown by helicopter and was very impressed by the scenery provided by Greenland’s glaciers. For their two weeks work, the band received $3,200. All transportation and lodging was provided by the government. About his working visit to Greenland, Helton reflected, “There was a beautiful girl behind every tree…but there were no trees.”57

In 1970, the original Artistics broke up. Drummer Gail Helton went on to play with touring bands The Travelers and Sounder. Other members pursued different musical styles. Jim Easter continued on locally with a self-titled band playing R&B, but also featuring songs by early 70s favorites Chicago; Blood, Sweat and Tears and Tower of Power. Another factor leading to the demise of the original band was that members also were transitioning to lives where families and conventional careers took precedence.

A local brush-with-fame experience for a couple of former band members took place at a Jim Easter gig at the Oasis Lounge in the 1400 block of Broadway Avenue in downtown Mattoon during 1971. Across the street at another bar, The Office, CBS TV’s celebrity Bob Crane of Hogan’s Heroes fame was sitting in on drums with another local band the Chuck White Group which featured drummer Gail Helton. Crane at the time was appearing in the play Beginner’s Luck at Guy Little’s Little Theater in Sullivan. After Crane finished playing a few numbers with Chuck White, Easter invited him to come over to the Oasis and sit in with his band, which Crane did for three or four numbers.58

In the ensuing decades, the Artistics would periodically get together for reunion shows or benefits. The band remains so locally popular, that if an Artistics gig was announced for the Burgess today, tickets would be only available at a premium as fans from the band’s era of prominence would find the chance to see the Artistics

56 Jim Easter, interview, 30 May 2017. 57 Gail Helton, interview, 07 June 2017. 58 Jim Easter, interview, 30 May 2017. 31

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Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State again at the Burgess irresistible. Contemporarily, Jim Easter can occasionally be found performing at local VFW and American Legion clubs, as well as the Boot City Stage south of Terre Haute, Indiana covering songs such as The Beatles Something and Delbert McClinton’s Giving It Up for Your Love.

Possibly, the best coda for the Artistics, and an indication of the enthusiasm/appreciation the band generated in its fan base, is reflected in a letter from Tom and Mag Shea from Garden City, Michigan to Gail Helton soon after the Artistics had won the 1965 Battle of the Bands at the Illinois State Fair:

Garden City, Michigan August 30, 1965

Dear Gail,

Someone from home sent us a clipping about your winning the State Fair contest. Congratulations!! We are so happy and excited to hear it. I hope the group is very successful in the RCA audition too. We had a great time in Mattoon thanks to you and your pals. Maybe someday I will learn to do the “Jerk”---do you think there’s any hope at all??? We’ll be looking for you on Shindig, Hullabaloo, American Bandstand and the Lloyd Thaxton Show---don’t disappoint us.

As Ever, Tom & Mag Shea59

Originals (Recorded at Chicago’s Cha Cha Records Studio and distributed on the Cha Cha label):

Stroll & Boogie (Jim Easter & Roger Pedigo) 45 A Summer’s Here to Stay (Artie Rabin) 45 A Bonnie My Baby (Artie Rabin) 45 B Here I Go Again (Artie Rabin) 45 A Do You Ever Think of Me (H.D. Kerr, J. Cooper & E. Burtnett) 45 B Mother-in-Law 45 A Much More 45 B Just Enough of You 45 A I’ve Waited Too Long for You 45 B

Cover Songs:

Wilson Pickett – Mustang Sally Solomon Burke – Everybody Needs Somebody to Love Chuck Jackson – I Don’t Want to Cry and Any Day Now Nina Simone – Summertime (George Gershwin) Aretha Franklin – Respect and Chain of Fools The Crests – Sixteen Candles Jimmy Reed – Baby What You Want Me to Do The Beatles – I Saw Her Standing There and She’s A Woman

59 Tom & Mag Shea, letter to Gail Helton, 30 August 1965. 32

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Eddie Floyd – Knock on Wood Peggy Lee – Fever Bar-Kays – Soul Finger Del Shannon – Runaway Spencer Davis Group – Gimme Some Lovin’ Bo Diddley – Who Do You Love, Hey! Bo Diddley and You Can’t Judge a Book by its Cover Fats Domino – Blueberry Hill Barrett Strong – Money (That’s What I Want) Petula Clark – Downtown and I Know A Place Johnny Mathis – Misty Martha and the Vandellas – Nowhere to Run The Champs – Tequila Little Willie Littlefield – Kansas City Ray Charles – What’d I Say and Hit the Road Jack The Drifters – Under the Boardwalk Sam & Dave – Hold On, I’m Coming Buster Brown – Fannie Mae Elvis Presley – Mystery Train, Jailhouse Rock and Can’t Help Falling in Love Dee Dee Sharp – Mash Potato Time Dorsey Burnette – Hey Little One (show finale)

Libby’s Combo/Band, Mattoon. 1959-1967. Early rock, rockabilly.

Libby Baretto – Drums Patrick “Pat” Kress – Guitar Bo Turner – Guitar

Cover Songs:

Santo & Johnny – Sleep Walk Duane Eddy – Detour

The Fiesta Orchestra, Decatur. 1960.

The Road Runners, Mattoon & Sullivan, Illinois. 1962. Late 50s and early 60s Rock ‘n’ Roll.

Jerry Neff – Saxophone

The Trifaris (Figure 17), Effingham. 1962-1966. Mid-60s Rock & Pop.

Terry Stevenson – Lead Guitar, Vocals Ed Graham – Rhythm Guitar, Vocals Bob Fisher – Bass, Vocals J.C. Marshall – Percussion Tom Kelly – Rhythm Guitar, Vocals

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Played the Burgess a few times during 1963/64. Played the Bunny Hutch in Mattoon, as well as numerous times the Mattoon Lake Beach Pavilion near Neoga and the Indiana Beach Pavilion along the Tippecanoe River/Lake Shafer northeast of Lafayette, Indiana during 1965/66. Worked the Lafayette, Indiana/Purdue University market in 1966. Guitarist Terry Stevenson was drafted in the fall of 1966 and the band broke up shortly thereafter. Evolved into the Gaping Huggers by 1968/69.60

Original Song:

All Because of You

Cover Songs:

Beach Boys – Do You Wanna Dance, Help Me Rhonda and Drive-In Beatles – Money, Everybody’s Trying to Be My Baby, Till There Was You and Bad Boy Bobby Lewis – Tossin’ and Turnin’ Chuck Berry – Johnny B. Goode Dave Clark Five – I Like It Like That The Five Du-Tones – Shake a Tailfeather Gary U.S. Bonds – Down the Mississippi The Kingsmen – Louie Louie The Kinks – All Day and All of the Night George Gershwin – Summertime Rolling Stones – Rock & Roll Music and Satisfaction Tommy Tucker – High Heeled Sneakers Zombies – Tell Her No and She’s Not There The Zodiacs – Stay

The Chessmen, Decatur. 1962-1966. Rhythm & Blues.

Rick Grammer – Bass Casey Green – Vocals Terry Hudson – Sax Ernie Jennings – Vocals Mike Milo – Sax Mike Ritchie – Guitar Larry Songer – Drums Hosea Williams – Vocals

Original Recording:

I Just Lost the Girl I Love - https://www.youtube.com/watch?v=hTeixDQ1M0U

60 Terry Stevenson, interview, 25 July 2017. 34

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The Olivers (Figure 18), Ft. Wayne, Indiana. 1962-1971. Locally, primarily played Charleston’s Nowhere Club and the Pollyanna Club in Effingham. R&B, mid to late 60s Power Blues; Animals, Cream, Yardbirds, Who covers and originals.

Carl Aldrich – Organ Greg Church – Bass Bill Franze – Bass, Vocals Chuck Hamrick – Drums Mike Mankey – Guitar Jason Pendorf (stage name Jason Ritchie) – Guitar and Vocals

Originated in Ft. Wayne about 1962. Went by a variety of names before The Olivers, a named nicked from a street in Ft. Wayne. Ended up in Minneapolis, Minnesota by 1970 as Triad.

Guitarist Jason Pendorf was drafted into the U.S. Army in the fall of 1966. He served with the 101st Airborne Division and earned a Silver Star, presumably in Viet Nam. Pendorf returned to the band after being discharged from government service in 1968.

In the Midwest during 1967, The Olivers opened concert shows for The Rolling Stones, The Hollies, The Bob Seger System, The Byrds, The Yardbirds, The Standells, Jefferson Airplane, The Who and Blue Cheer.61

Songs performed:

The Beatles – Magical Mystery Tour and She’s a Woman Joe Tex – Show Me Led Zeppelin – Dazed and Confused James Brown – I Feel Good Olivers – Beeker Street, Chills & Fever and I Saw What You Did, Ball of Fire, Mushroom, Jessica Ryder, Someday Somewhere, The End, Free and Social Slavery The Who – Can’t Explain Yardbirds – Happenings Ten Years’ Time Ago

The Casuals (Figure 16), Decatur. 1963-1966. Rhythm & Blues

Linda Burke-Grammer – Vocals Ted Dorman – Vocals and Trumpet Mike Fox – Unk Phil Hazenfield – Bass Larry Josserand – Unk Lonnie Sayles – Sax Jerry Tertocha – Unk Rick Towson - Vocals

61 “Olivers – Ft. Wayne, Indiana 1965-1967,” 60s Indiana Band Scene, last modified 13 December 2016, http://indiana-bands- 60s.blogspot.com/2007/03/olivers-ft-wayne-indiana-1967.html.

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Warm-up band for Bobby Vinton at the Bunny Hutch in Savoy in 1963. Singer Linda Burke-Grammer provided back-up vocals on Vinton’s performance of Blue Velvet. Merged with members of the Chessmen to form the Real Blues band in 1966. Bass player Phil Hazenfield recalled, “…the Real Blues band was much like the R&B that the Blues Brothers made popular a dozen years later.”

The Newports (Figure 20), Mattoon. 1964-67. Rock, Blues & Top 40.

Bill Highland – Bass, Vocals Ed Kessler – Lead Guitar, Lead Vocals Marty Rappe – Rhythm Guitar, Vocals Ross Roberts – Drums

According to bass player Bill Highland, the Newports were a band consisting of Mattoon High School students who began their career in local garages before settling in to a permanent rehearsal space in the basement of drummer Ross Roberts’s residence located in the 3300 block of Western Avenue. Ross’s father Wally was also a musician and, liking what he heard, linked the band with a Musicians Union representative out of Chicago who came to Mattoon for an impromptu audition. The representative was impressed and told the band they were destined to go places. They became Union members which allowed them to play almost any venue they desired. Rhythm guitarist Marty Rappe conveyed that band selected their stage name after the Newport brand of cigarettes one of the band members preferred.62

Throughout its existence, the band performed in suits and ties based on the mid-60s band fashion established by groups like the Beatles, the Rolling Stones and the Animals. At one juncture, the band had a female vocalist for one song they did, Nancy Sinatra’s These Boots Are Made For Walking, but apparently the girl’s mother wanted her to be paid a disproportionate share of the band’s nightly take for the performance of one song, arguing the expense of the vocalist’s Go-Go boots. The band rarely performed the Sinatra song after that confrontation.63

The Burgess was one of the first places the Newports played for the public. Highland reflected, “…it was sort of weird because, just a few years prior (61-62), my brothers and I had been helping my grandfather, retired farmer and Burgess custodian Harley Sours, clean the building and wax the floors after events, mainly to entertain ourselves.” “Now I was entertaining the community within the same facility.”64 Bill’s brother Michael (Mick) relayed that he was also in on the Burgess cleaning detail and his apprenticeship on the floor buffer at the Burgess helped prepare him for the daily use of this piece of machinery in his U.S. Army barracks.65

In addition to performing numerous times on Champaign’s WCIA-TV Channel 3’s teen dance program At The Hop, the Newports played many regional teen dance venues of the era, such as The Wick Club in Tuscola and The Sugar Bowl in Arthur. The band was typically making anywhere from $100-$200 a gig. They got around to their gigs through the use of a family station wagon and a “boat” sedan capable of hauling their gear. One of the band experiences that made an impression on Highland happened at a gig at the Sugar Bowl in Arthur.

62 Bill Highland, interview, 18 January 2017. 63 Ibid. 64 Ibid. 65 Michael “Mick” Highland, email, 10 March 2017. 36

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As the band was hauling their equipment from the parking lot to set up, they noticed a group of Amish equestrian buggies rolling up to the nearby buggy park. The Amish teens coming to the show in traditional garb soon got into the buggies, pulled the blinds, and shortly thereafter emerged from the buggies transformed. The girls exited with let-down hair and were dressed in miniskirts, colorful blouses and Go-Go boots. The boys exited with slicked back hair and suits much like the band wore. After the show, a reverse wardrobe action took place and the buggies disappeared into the Amish night with the occupants dressed as they had arrived.66

The Newports were the warm-up band for a performance by Jerry Lee Lewis at Mattoon’s Bunny Hutch Club, the old Kroger Supermarket/contemporary Mattoon YMCA building on North 16th Street, on 10 April 1965. Bill Highland recalled Jerry Lee Lewis complimenting the band on their performance as they were breaking down their equipment. Mattoon resident Logreeta Ann Myers related that the Jerry Lee Lewis performance lasted about an hour and her father had to come into to the club and drag her out.67

When Mattoon resident Michael “Mick” Highland was drafted into the U.S. Army in November of 1965, the Newports played his going away party at the Burgess. The band performed The Shirelles 1962 song Soldier Boy at that gig.

The Newports disbanded in 1967. The split was prompted by internal squabbling over band members’ girlfriends. Not long after the band broke up, Bill Highland, Marty Rappe, Ross Roberts joined the U.S. Army and Ed Kessler joined the U.S. Navy.68

Cover Songs:

The Animals – House of the Rising Sun and We’ve Got to Get Out of This Place The Beatles – I Want to Hold Your Hand The Dave Clark 5 – Glad All Over The Kingsmen – Louie Louie Nancy Sinatra – These Boots are Made for Walking The Rolling Stones – Satisfaction, Paint it Black and Get Off of My Cloud The Shirelles – Soldier Boy Van Morrison and Them – Gloria The Ventures – Wipeout

The Marxmen, 1965.

The Jesters, Charleston. 1965-66. Rock. Evolved into Rhythm’s Children.

Jan Gordon – Guitar Jimmy Hite – Guitar and Vocals Dick Smith – Drums Red Taylor – Bass

66 Bill Highland, interview, 18 January 2017. 67 Logreeta Ann Meyers, Facebook post, Gold Old Days In Mattoon Page, 16 January 2017. 68 Bill Highland, interview, 18 January 2017. 37

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Cover Songs:

The Kingsmen – Louie Louie The Safaris – Wipeout The Beatles – Ticket to Ride and Money Eddie Cochran – Summertime Blues Nashville Teens – Tobacco Road ? and the Mysterians – 96 Tears The Troggs – Wild Thing Shadows of Night – Gloria Rolling Stones – (I Can’t Get No) Satisfaction

Daze and Knights, Mattoon. 1966-1968. Pop and Rock covers/Top 40; Rolling Stones, Young Rascals and Paul Revere & the Raiders. Warm up band for the Chicago group New Colony Six at the Wick Club in Tuscola, Illinois in 1968.

Dick Louthan, Mattoon – Drums and Vocals Tim Hutchison, Mattoon – Bass Steve Dalton, Mattoon – Guitar and Vocals Dick Peterson, Mattoon – Guitar Sam Reese, Mattoon – Keyboards Steve Sestina, Mattoon – Vocals Gary Wise, Mattoon – Roadie

The Real Blues, Decatur, Illinois. 1966-1969. Blues Brothers type review.

Phil Hazenfield – Bass Mike Milo – Tenor Sax Paul McNally – Tenor Sax Mike Ritchie – Lead Guitar Ted Dorman – Vocals and Trumpet Larry Songer – Drums Marsha Martin – Vocals Joe Meriweather – Vocals

The Mob (Figure 21), Chicago. 1966-1980. Rhythm & Blues, Funk and Soul.

Little Artie Herrera – Vocals Al Herrera – Tenor Sax and Vocals Jimmy Ford – Trumpet, Congas, Vocals and Master of Ceremonies Gary Beisbier – Tenor/Alto/Baritone Sax, Vocals and Musical Arranger Mike Sistak – Trombone, Guitar and Vocals Jim Holvay – Guitar, Bass and Vocals Tony Nedza – Hammond B3 Organ and Vocals Bobby Ruffino – Drums

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Popular, Chicago-based, featured horn section band that was highlighted on WLS AM radio music caravans, Young World’s Fair Chicago International Amphitheater Showcase and ABC TV’s pop music series Where the Action Is. Guitarist Jim Holvay wrote the songs Kind of a Drag, Don’t You Care, Hey Baby (They’re Playing Our Song) and Susan for nationally known Chicago band the Buckinghams.69

Performed a show put on by the Coles County Civil Air Patrol Chapter at the Burgess in 1967. The show was produced by Mattoon’s WLBH AM radio executive and Charleston’s Nowhere Club Manager Louise Taylor.70

Originals:

Back on the Road Again I Dig Everything About You Who’s Shaking Your Jelly Roll For A Little While Give it to Me Tear the House Down

Covers:

James Brown - Popcorn Otis Redding – Try a Little Tenderness Sly and the Family Stone – Everyday People and Thank You (Fallettinme Be Mice Elf Agin)

Shades of Blue, Mattoon. 1967-69.

Genesis, Columbus, Wisconsin. 1967-1969. Soul, Funk and Rhythm & Blues.

Local Draft Board 69, 1967.

The Renaissance Fair/The Fair, Mattoon. 1968-1969. Hard Rock/Blues and English Folk Rock. Cream, Iron Butterfly and Traffic covers.

Gary Wise, Mattoon – Guitar and Vocals Steve Dalton, Mattoon – Bass and Vocals Eddie Pearcy, Charleston – Drums Paul Hendrix, Charleston – Keyboards

Gary Wise remembers the uplifting feeling of playing at the Burgess. The band would be announced, the acoustical stage curtains would be pulled back and the Fair would blast out a song like Cream’s Politician. It was like a real stage production experience and the kids in the crowd seemed to feed of the Fair’s propensity to introduce songs that very few in attendance had ever heard before. Wise could not recall how much the band was getting paid for gigs at the Burgess, but reflects, “…the boys would have probably played for free just for the experience of playing on a real stage.”

69 “The Mob Story.” The Mob, last modified 03 June 2017, http://mikebaker45s.weebly.com/. 70 Howard Taylor, interview, 06 June 2017. 39

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Wise recalls one Friday night dance at the Burgess in 1967, the Fair was directed to turn down very early in their performance. Wise refused, announced to the audience what the issue was, said the gig was over with, and walked off the stage. As the band started to break down their equipment, the Burgess crowd vociferously protested. Whoever had demanded lower volume relented and the band completed its three hour gig.71

Rhythm’s Children (Figure 23), Charleston. 1965-1969. Rock and Power Blues.

Ever changing line-up that included:

Jim Hite, Charleston – Guitar and Vocals Red Taylor, Charleston – Bass Bill Harpster, Charleston – Drums Steve Sestina, Mattoon – Vocals Don Decker, Charleston – Guitar and Vocals Paul Hendrix, Charleston – Keyboards Gary Tate, Charleston – Vocals Eddie Pearcy, Charleston – Drums Marc Nale, Mattoon – Hammond B-3 Organ, Electric Piano and Vocals Jim Nale, Mattoon – Drums Pat Cogan, Champaign – Bass Bob Butler, Taylorville – Roadie and Sound Engineer

This band evolved from the Charleston band The Jesters and was very popular regionally. They dressed in Beatles Sgt. Pepper’s/Magical Mystery Tour-era uniform and teardrop/psychedelic stage wardrobe at one point. Transportation for the band early on was a burgundy red former school bus with the band’s name painted in a psychedelic font on both sides. The band placed at and won the Illinois State Fair Battle of the Bands contests in 1967 and 1968 and won the Coles County Fair Battle of the Bands contest in 1969. They played gigs at Eastern Illinois University, Southern Illinois University-Carbondale and throughout the state of Illinois. Marc Nale relates, “The boys in the band would often go to Chicago’s Aragon Ballroom to see live performances of critically acclaimed groups that influenced Rhythm’s Children’s style.” The band was usually paid $125-$160 for gigs at the Burgess.72

Guitar player and vocalist Don Decker, a member of the Apache Nation who grew up on the San Carlos Reservation in Arizona and ended up at Eastern Illinois University in Charleston in 1963, was a member of the band during 1966. Decker recalled playing the area teen dance clubs and the Burgess with the band, as well as Elcy’s Club in Sigel, Illinois on Sunday nights when all other area venues serving alcohol were closed. Decker often played folk songs with his 12-string acoustic between sets by the band. He remembers band members often going to the Red Lion Inn located on Campustown’s Green Street in Champaign, Illinois to see REO Speedwagon who were just starting their career. He also recalls with fondness Louise Taylor who founded the Nowhere Club in Charleston in 1966 and was a great supporter of the band.

A band related incident Decker recalls was one night after a local gig, band members were at a local pizza joint in Charleston and Jim Hite’s father came in and insisted that Jim go home, which Jim was not remotely interested in doing. Exasperated, Dr. Hite left but stopped at Decker’s car in the parking lot, removed Jim’s

71 Gary Wise, interview, 27 March 2013. 72 Marc Nale, interview, 22 March 2013. 40

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Songs covered included:

Beatles – Taxman, Lady Madonna, Sgt. Pepper’s Lonely Hearts Club Band, Here Comes the Sun and Baby You Can Drive My Car Yardbirds – Over Under Sideways Down and New York City Blues The Box Tops – The Letter Sam and Dave – Hold On (I’m Coming) Jimi Hendrix – Purple Haze and Fire Deep Purple – Kentucky Woman and Hush Steppenwolf – Born to be Wild and Magic Carpet Ride Eddie Floyd – Knock on Wood The Rascals – Good Lovin’ Buffalo Springfield – For What it’s Worth and Bluebird The Doors – Light My Fire and Alabama Song Donavon/Vanilla Fudge/Terry Reid/Al Kooper’s Super Session – Season of the Witch The Who – Substitute Lee Dorsey – Get Out My Life Woman Small Faces – Itchycoo Park The Monkees – Day Dream Believer and Last Train to Clarksville The Bee Gees – To Love Somebody Paul Revere and the Raiders – Kicks Strawberry Alarm Clock – Incense and Peppermints Wilson Pickett – In the Midnight Hour Blues Image – Ride Captain Ride The Animals – See See Rider and House of the Rising Sun Classics 4 – Spooky Sopwith Camel – Hello, Hello Booker T & the MGs – Green Onions Cream – Born Under a Bad Sign, Strange Brew, Politician, Crossroads, White Room, Toad, I’m So Glad, NSU and Badge Albert King – Crosscut Saw Rolling Stones – Under My Thumb, Get Off My Cloud, Paint it Black and The Last Time Spencer Davis Group – I’m a Man, Gimme Some Lovin’ and Keep on Running The Zombies – Time of the Season

The Calvin Coolidge Flower Society, 1967.

The Curiosity Shoppe, Effingham. 1968-1969. Rock covers.

Don Doeding, Stewardson/Strasburg – Guitar Ron Sporleder, Windsor – Guitar

73 Guillermo Bartelt and Barbel Treichel, ed., Approaches to Autobiography, Narrative, and the Developing Self: “Don Decker’s Apache Odyssey,” (Berlin: Frank & Timme GmbH, 2012), 90-91. 41

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Jim Hampton, Windsor – Keyboards Gene Utmor, Windsor - Vocals

Led Zeppelin – Communication Breakdown

Souls of Sound, Mattoon. 1968-1969.

Fresh Clover Blues Band, 1968.

Evolution, 1969.

Hillary, 1969.

Sally Joy Orchestra, 1969.

Winter’s Heat, Effingham. 1969-1970.

Uncle Meat, (Figure 24) Urbana. 1969-1970. Rock and English Blues Covers.

The Gaping Huggers (Figure 25), Effingham/Champaign. 1969-1971. Rock power trio.

Tom Kelly, Effingham – Bass, Piano and Vocals Doug Livingston, Lafayette, Indiana – Guitar J.C. Marshall, Effingham – Drums

Beatles – Birthday and Back in the U.S.S.R. Cream – Crossroads

Moses (Figure 26), Mattoon/Charleston/Lerna. 1969-1972. Rock covers and originals.

Gary Tate, Charleston/Bloomington – Vocals Marc Nale, Mattoon – Hammond B-3 Organ and Vocals Eddie Pearcy, Charleston – Drums Jim Hite, Charleston – Guitar and Vocals Steve Dalton, Mattoon – Bass Brad Davis, Olney – Guitar and Vocals Tim Corts, Lawrenceville – Guitar Ed Corts, Lawrenceville – Drums Bob Butler, Taylorville – Sound Engineer

Possibly one of the most sophisticated bands to evolve from the local, late 60s rock music scene. Moses was technically proficient and possessed a very professional stage presence in the era when the teen dances assumed the teen concert mode. Only played the Burgess a few times as a new group in late 1969 and early 1970. Noise complaints from the surrounding neighborhood got them blacklisted from the venue. Marc Nale recalls the band getting paid $400 for one of their gigs at the Burgess.74

74 Marc Nale, interview, 17 April 2013. 42

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Moses was in high demand and played clubs, bars, universities and festivals throughout Illinois and surrounding states. One festival of note the band played was the 1970, Irving Azoff-produced, Memorial Day weekend Kickapoo Creek Music Festival which took place on a farm near Heyworth, Illinois. The band played for almost 60,000 attendees. They shared the stage with Canned Heat, Country Joe McDonald, Dan Fogelberg, Ted Nugent, The Paul Butterfield Blues Band and the Rockford band Fuse, which shortly thereafter changed their name to Cheap Trick.75

Moses demonstrated much potential and received serious attention from rock show promoters, management agencies and record label A/R personnel. As with many talented regional bands of the era, the majority of Moses’s business opportunities turned out to be dead ends. The group disbanded in 1972 and most of the members moved on to other musical projects.

Covers and Originals:

Procol Harum – Kaleidoscope, Conquistador, Whiter Shade of Pale, The Devil Came From Kansas, Skip Softly (My Moonbeam) and She Wandered Through the Garden Fence The Band – Up on Cripple Creek, Chest Fever and The Weight The Doors – Back Door Man and Love Me Two Times John Mayall and the Bluesbreakers – Walking on Sunset and Somebody’s Acting Like a Child Cream – NSU and Sitting On Top of the World Traffic – Feelin’ Alright Fleetwood Mac – Rattlesnake Shake Yardbirds – New York City Blues and I’m a Man Jimi Hendrix – Star Spangled Banner Jefferson Airplane – 3/5th of a Mile in 10 Seconds Spirit – Fresh Garbage, Mechanical Man and I Got a Line on You Rolling Stones – Jumping Jack Flash Jeff Beck Group – Morning Dew Led Zeppelin – Moby Dick Moses – Dodge Grove

Ballpoint Mousetrap, 1970.

The Midwest Delegation, Decatur. 1968-1970. Last known band to play a teen dance at the Burgess at a gig on Friday 20 November 1970 for the Mattoon Rainbow Girls Riding Club.76

In Retrospect – The Burgess As a Teen Musical Venue

In November of 1970, after almost two decades as a youth dance center, the Burgess-Osborne Memorial Auditorium ceased to be a teen musical venue. Some say it was increased alcohol and drug abuse during dances at the facility. The City of Mattoon cited vandalism and lack of chaperones. The more likely explanation was the increasing noise complaints and the opening of Mattoon’s Demars Youth Center in Peterson Park, where

75 Phil Luciano, “Woodstock of Laughingstock?” Peoria Journal Star, (Peoria, Illinois, 09 September 1994), http://www.pjstar.com/x157343936/Luciano-A-Woodstock-or-laughingstock. 76 “Dances Shifted to the Youth Center, Barred at Burgess-Osborne,” Mattoon Journal Gazette, 28 August 1970, 1. 43

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Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State evening noise was less of an issue. The Demars Center was a great place to socialize, but its pre-fab, sheet metal construction and small stage was not as an appealing concert venue for the teen audiences and bands as the Burgess had been.

Eventually, teen dances/concerts in Mattoon became almost non-existent. Possibly because the sororities promoting the dances disbanded in the late 1970s. With the dawning of MTV, the internet and social networking, teens could get a similar experience watching the boob-tube or sitting behind their computers. Gary Wise lamented the fact that, “… there are no local teen music clubs like the Burgess for contemporary youth.” “The opportunity to play in front of crowds, hone stage performance expertise on a regular basis and learn business skills was a good experience for adolescent musicians and promoters.” “One of the reasons a lot of contemporary youth music seems shallow and redundant can be attributed to the fact that there are very few venues for aspiring teen musicians to refine their professional skills with the help of audience feedback.”77

The positive aspects of the dances at the Burgess far outweigh any negative. For the World War II generation and the baby-boomers who came to the dances, these events provided a cauldron where the typical cliques; well-to-dos, ner-do-wells, longhairs, mods, hippies, jocks, motorheads, nerds, bookworms, Jesus freaks, etc. could intermingle and cast away conventional inhibitions. Through the catalytic effect of the music, life-long friendships were forged, husbands met wives and independent social skills were refined.

What of the musicians that played at the Burgess? As was typical of bands during this era, musician and technician line-ups were always fluid. More appealing musical styles was a principal factor in musicians shifting from one group to another. Others dropped out entirely as the responsibility of families and day jobs superseded their passion. Some of the musicians from the era still play in local bands today. A few of the musicians who played the Burgess manipulated their experiences into life-long careers.

Some notable music/art/business career achievers who played the Burgess are:

Preston Jackson, Preston Jackson and the Rhythm Aces

Sculptor, art educator and gallery owner Preston Eugene Jackson was born on March 1, 1944 in Decatur, Illinois. The son of Shirley Armstrong Jackson and foundry worker, T.J. Jackson, he grew up in Decatur where he began drawing at the age of seven. Jackson attended Oakland Elementary School and Stephen Decatur High School, where he ran the one hundred yard dash in 9.7 seconds. Graduating in 1962, he attended Millikin University while working at Revere Copper. In 1967, Jackson enrolled in Southern Illinois University where he earned his B.A. degree while continuing to play jazz guitar with his group, Preston Jackson and the Rhythm Aces. Jackson, mentored by Marvin Klavin, obtained his M.F.A. degree from the University of Illinois in 1972.

From 1971 to 1972, Jackson served as an instructor of drawing and painting at Decatur’s Millikin University. He was professor of art at Western Illinois University from 1972 to 1989. Jackson joined the School of the Art Institute of Chicago in 1989 as professor of sculpture and head of the Figurative Area. Appointed chair of the Sculpture Department in 1994, Jackson served in that capacity until 1996. Since 1995, Jackson has served as owner of The Raven Gallery, home of the Contemporary Art Center in Peoria, Illinois.

As an artist, Jackson specializes in bronze and steel sculpture and painting. Best known for his work with bronze castings, Jackson has also created two-dimensional pieces and large monuments. Jackson is recipient of

77 Gary Wise, interview, 27 March 2013. 44

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Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State five State of Illinois public art commissions through the State’s Capital Development Board. His works include a life size bronze Jean Baptiste Point du Sable in Peoria; bronze façade and doors for the Cahokia Mounds Museum; a Martin Luther King memorial bust for Danville, Illinois; “Let’s Play Two,” a bronze relief of Ernie Banks for ESPN Zone in Chicago; “Dr. Dan,” a bronze bust of surgeon Dr. Daniel Hale Williams for Northwestern University and a cast bronze sculpture of Irv Kupcinet for the City of Chicago. Jackson’s major exhibitions and shows include: “Duo Exhibit,” 1995, in Rockford and “Bronzeville to Harlem,” shown since 1997 in nine different cities. Inspired by African American oral tradition, Jackson created the exhibit, “Fresh from Julieanne’s Garden” which has been exhibited since 2004 in Chicago, Peoria, Madison, Wisconsin and other cities. Jackson’s lectures and workshops have been presented at Oklahoma City, Chicago, St. Louis, Jackson, Mississippi, Decatur and Bloomington, Illinois. His work has been displayed across the United States in exhibitions, and he was named the 1998 Laureate of the Lincoln Academy of Illinois.78

As of January 2017, Preston Jackson continues to play guitar informally with colleagues at different venues like the Broken Tree Lounge on Main Street in Peoria.

Tom Kelly, The Trifaris and The Gaping Huggers – Prior to the Gapping Huggers, Kelly played with the Effingham band the Trifaris. After the Gaping Huggers, Kelly played with Champaign’s One Eyed Jacks and St. Louis band The Guild. Kelly relocated to Los Angeles in 1974 and was offered a job in that era’s Beach Boys line-up. Instead, Kelly chose to become a member of Dan Fogelberg’s back-up band, Fools Gold, and became a prominent LA studio background vocalist. Kelly later played rhythm guitar and sang background vocals for the LA band Toto.

In 1981, Kelly wrote the hit song Fire and Ice with Pat Benatar. Later that year, Kelly formed a songwriting partnership with lyricist Billy Steinberg. With Kelly handling the musical composition, the duo collaborated on a string of popular hits, including:

True Colors – Cyndi Lauper Alone – Heart and Celine Dion In Your Room – The Bangles Over the Edge – REO Speedwagon I Drove All Night – Roy Orbison I Touch Myself – The Divinyls I’ll Stand By You – The Pretenders Like A Virgin – Madonna So Emotional – Whitney Houston

Kelly was inducted into the Songwriters Hall of Fame in 2011.79

Doug Livingston, The Gaping Huggers – Went on to excel at pedal steel guitar. Played pedal steel, keyboards and guitar on sessions and as backup band member for; Bette Midler, Glen Campbell, Juice Newton, Pat Boone, the Manhattan Transfer, Neil Diamond and Olivia Newton-John. Was bandleader for Jose Feliciano and Donna Summer. Livingston was also a member of Fool’s Gold, Dan Fogelberg’s first west coast back-up band.80

78 “Artmakers: Preston Jackson.” The History Makers, last modified 13 December 2016, http://www.thehistorymakers.com/biography/preston-jackson-41. 79 Tom Kelly: “Career Start and Breaking Into Music Business.” Skype Interview, 15 February 2013. http://www.youtube.com/watch?v=xiVg4D8Rw9Y, last modified 04 April 2013. 80 Jonny Whiteside, “Music Review: Livingston’s Steel Guitar Skills Born Out of Classical Piano, Passion for Bach,” Los Angeles 45

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Jim Hite, The Jesters, Rhythm’s Children and Moses – Relocated to Los Angeles in the mid-1970s to become a studio session guitarist. Worked as a Sound Engineer at Bell Sound Studios in Hollywood and captured many industry awards. In 1977, Hite went to work at Wally Heider Remote Recording. In 1982, Hite moved to L.A. Studios and engineered the live radio program Rockline from its facilities. Hite continues to be one of the industry’s foremost mixing engineers working out of L.A. Studio’s Margarita Mix facilities.81

Don Decker, Rhythm’s Children – Continued playing folk music and did dinner theater gigs in New York and around Indianapolis where he attended Indiana University’s Herron School of Art. Decker became a watercolorist of note and eventually returned to the Yavapai-Apache Nation in Arizona’s Verde Valley. Decker has served in a variety of capacities within the Yavapai-Apache Nation’s administrative structure including the Nation’s Director of Public Relations and the news editor for the Nation’s news website.82

Bob Butler, Rhythm’s Children and Moses – Mixed sound and supervised road crews for country performers Waylon Jennings, Randy Travis and Brooks & Dunn.83

Times/Burbank Leader, last modified 13 December 2016 http://www.latimes.com/socal/burbank-leader/ entertainment/tn-gnp-music-review- douglas-livingston-20151209-story.html. 81 L.A. Studios/Margarita Mix, “Mixers - Jimmy Hite,” 30 March 2013, http://lastudios.com/about/mixers.php. 82 Bartelt and Treichel, ed., Approaches to Autobiography, Narrative, and the Developing Self: “Don Decker’s Apache Odyssey,” 90- 91. 83 “Robert B. Butler: Was Engineer in Music Industry,” Orlando Sentinel, 27 June 1998, http://articles.orlandosentinel.com/1998-06-27/news/9806270217_1_central-florida-war- ii-survivors 46

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Burgess-Osborne Memorial Auditorium Coles, Illinois Name of Property County and State

9. Major Bibliographical References Bibliography (Cite the books, articles, and other sources used in preparing this form.)

Aerial Imagery

Eagle View Pictometry Imagery. Aerial Image File #ILCOLE042409.sid. Image date March 2015.

Google Earth. 1701 Wabash Avenue, Mattoon, Illinois. Image date 07 October 2016.

Moody, Warren K. Aerial Image of Burgess-Osborne Memorial Auditorium Neighborhood. Circa 1958.

Books, Bulletins, Journals & Pamphlets

Bartelt, Guillermo and Barbel Treichel, ed. Approaches to Autobiography, Narrative, and the Developing Self. “Don Decker’s Apache Odyssey.” Berlin: Frank & Timme GmbH, 2012.

History of Coles County, Illinois 1876-1976. Dallas: Taylor Publishing Company, 1976.

Koyl, George S., ed. American Architects Directory. New York: R.R. Bowker Company, 1956 & 1962.

McAlester, Virginia Savage. A Field Guide to American Houses. New York: Alfred A. Knopf, Inc., 2015.

Mr. Mattoon’s City 1855-1955. Mattoon: National Bank of Mattoon, 1955.

The History of Coles County, Illinois. Chicago: Wm. LeBaron & Company, 1879.

Correspondence

Rubano, Anthony. Email Response to Stephen A. Thompson Inquiry. 27 March 2013. Springfield, Illinois.

Highland, Michael (Mick). Email Transmission to Stephen A. Thompson. 10 March 2017. Mattoon, Illinois.

Drawings

Sheets 1-5, Burgess-Osborne Memorial Auditorium Architectural/Engineering Plans. 01 July 1952, O.W. Stiegemeyer, St. Louis County, Missouri, Architect. City of Mattoon, Illinois Public Works Archives.

Internet

“After 50 Years, Clown Band Misses 2011 State Fair. Illinois State Journal Register, 09 September 2011. [internet website]. S.L. 13 March 2017. Available at http://www.sj-r.com/x1069116462/After-50- years- clown-band-misses-2011-state-fair.

“Artmakers: Preston Jackson.” The History Makers. [internet website]. S.L. 13 December 2016. Available at http://www.thehistorymakers.com/biography/preston-jackson-41.

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Illinois State Historical Society. “News and Comment.” Society Newsletter, Winter 1953. http://dig.lib.niu.edu/ISHS/ishs-1953winter/ishs-1953winter-441.pdf. 04 April 2013.

John Coleman (news weathercaster). Wikipedia, 16 January 2017. https://en.wikipedia.org/wiki/John_Coleman_(news_weathercaster).

L.A. Studios/Margarita Mix. “Mixers - Jimmy Hite.” http://lastudios.com/about/mixers.php. 30 March 2013.

Modern Architecture. http://en.wikipedia.org/wiki/Modernist_architecture. 29 March 2013.

Davis, Neal. “Gene Trimble Orchestra.” From I’d Be Delighted produced by WILL-TV, University of Illinois at Urbana-Champaign, 1997. Posted 26 September 2016. https://www.youtube.com/watch?v=wO- CirKYR74.

Nowhere Teen Center Charleston, Illinois 1960s: Rhythm Children’s History. http://www.alincolnlearning.us/Magicbus3.html. 29 March 2013.

“Olivers – Ft. Wayne, Indiana 1965-1967.” 60s Indiana Band Scene. [internet website]. S.L. 13 December 2016. Available at http://indiana-bands-60s.blogspot.com/2007/03/olivers-ft-wayne-indiana-1967.html.

“The Mob Story.” The Mob. [internet website]. S.L. 30 May 2017. Available at http://mikebaker45s.weebly.com/.

Tom Kelly: “Career Start and Breaking Into Music Business.” Skype Interview, RENMAN Music & Business, 15 February 2013. http://www.youtube.com/watch?v=xiVg4D8Rw9Y.

Tom Kelly (Musician). Wikipedia. 30 March 2013. http://en.wikipedia.org/wiki/Tom_Kelly_(musician).

Tom Kelly: “Writing Like a Virgin for Madonna.” Skype Interview, RENMAN Music & Business, 07 Jan 2013. http://www.youtube.com/watch?v=LaAoiiyP4dU. 04 April 2013.

Whiteside, Jonny. “Music Review: Livingston’s Steel Guitar Skills Born Out of Classical Piano, Passion for Bach.” Los Angeles Times/Burbank Leader. [internet website]. S.L. 13 December 2016. Available at http://www.latimes.com/socal/burbank-leader/ entertainment/tn-gnp-music-review-douglas- livingston-20151209-story.html.

Williams, David B. “Crab Orchard Stone.” GeologyWriter.com. S.L. 29 May 2017. Available at http://geologywriter.com/blog/stories-in-stone-blog/crab-orchard-stone/.

Interviews

Authenrieth-Neal, Bonnie. Interviewed by Stephen A. Thompson. 02 April 2017. Mattoon, Illinois.

Barber, Dean. Director, Mattoon Public Works. Interviewed by Stephen A. Thompson. 20 March 2013. Mattoon, Illinois.

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Boske, Gary. Executive Director, Douglas-Hart Nature Center. Interviewed by Stephen A. Thompson. 04 April 2013. Mattoon, Illinois.

Boyer, Mel. Interviewed by Stephen A. Thompson. 27 March 2013. Mattoon, Illinois.

Boyer-Mclain, Barbara. Interviewed by Stephen A. Thompson. 21 March 2013. Mattoon, Illinois.

Boyer-Wise, Jane. Interviewed by Stephen A. Thompson. 22 March 2013. Effingham, Illinois.

Clark, Gene and Joan. Interviewed by Stephen A. Thompson. 30 May 2017. Mattoon, Illinois.

Easter, Jim. Lead Vocalist, The Rebel Rockets and The Artistics. Interviewed by Stephen A. Thompson. 30 May 2017. Mattoon, Illinois.

Easton, Rick. Mattoon Public Works. Interviewed by Stephen A. Thompson. 20 March 2013. Mattoon, Illinois.

Gass-Baker, Becky. Interviewed by Stephen A. Thompson. 26 March 2013. Mattoon, Illinois.

Gover, Tim. Mayor, City of Mattoon/Resident, Lumpkin Heights. Interviewed by Stephen A. Thompson. 23 May 2017. Mattoon, Illinois.

Helton, Gail (Drummer for the Artistics) and Ruth Ann. Interviewed by Stephen A. Thompson. 07 June 2017. Mattoon, Illinois.

Henderson, Lori. Interviewed by Stephen A. Thompson. 29 April 2013. Charleston, Illinois.

Henigman, Gregg. Interviewed by Stephen A. Thompson. 22 March 2013. Urbana, Illinois.

Highland, Bill. Bass Player, The Newports. Interviewed by Stephen A. Thompson. 18 January 2017. Mattoon, Illinois.

Nale, Marc. Hammond B-3 Organ and Vocals for Rhythm’s Children and Moses. Interviewed by Stephen A. Thompson. 22 March and 17 April 2013. Orlando, Florida.

Pardieck-Lockhart-Thompson, Kathy. Interviewed by Stephen A. Thompson. 23 March 2013. Mattoon, Illinois.

Rappe, Marty. Rhythm Guitar and Vocals for The Newports. Interviewed by Stephen A. Thompson. 13 February 2017. Mattoon, Illinois

Selleck, Rob. Interviewed by Stephen A. Thompson. 13 March 2017. Mattoon, Illinois.

Stevenson, Terry. Lead Guitar for The Trifaris. Interviewed by Stephen A. Thompson. 25 July 2017. Effingham, Illinois.

Taylor, Howard. Interviewed by Stephen A. Thompson. 06 June 2017. Southaven, Mississippi.

Tolle, David. Interviewed by Stephen A. Thompson. 21 March 2013. Mattoon, Illinois. 49

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Turner, Bo. Lead Guitar and Vocals for The Rebel Rockets and The Artistics. Interviewed by Stephen A. Thompson. 01 June 2017. Mattoon, Illinois.

Walk, Laura. Trust Administration Officer, First Mid-Illinois Bank & Trust. Interviewed by Stephen A. Thompson. 10 April 2013. Mattoon, Illinois.

Welsh-Hall, Dalena. Interviewed by Stephen A. Thompson. 26 March 2013. Mattoon, Illinois.

Wise, Gary. Guitar and Vocals for The Renaissance Fair. Interviewed by Stephen A. Thompson. 27 March 2013. Mattoon, Illinois.

Maps

Stubbins, L.C. Map of the City of Mattoon, 1904.

Newspapers

“A of C Moves Office to New Auditorium.” (Mattoon) Daily Journal-Gazette, 04 September 1953.

“Auditorium to Go to City on Saturday.” (Mattoon) Daily Journal-Gazette, 21 August 1953.

“Burgess-Osborne Auditorium Gift of One Loyal to City.” (Mattoon) Daily Journal-Gazette and Commercial- Star, 01 September 1955.

“Cast Picked for Local Presentation.” Mattoon Journal-Gazette, 22 October 1966.

“Dances Shifted to Youth Center, Barred at Burgess-Osborne.” Mattoon Journal Gazette, 28 August 1970.

“Emily Burgess-Osborne – Obituary.” Mattoon Daily Journal Gazette and Commercial Star, 28 March 1949.

Grimes, Bill. “Into the Hall of Fame.” Effingham Daily News, 26 March 2011. http://effinghamdailynews.com/local/x1332406355/Into-the-Hall-of-Fame.

Hatch, Danielle. “Cue Card: The 1970 Incident Full of Memories.” Peoria Journal-Star, 03 June 2010. http://www.pjstar.com/entertainment/x157343969/Cue-Card-This-1970-Incident-full-of-memories.

Kallal, Judy. “Rhythm’s Children: Charleston’s Band.” Charleston Times-Courier, 26 September 1968.

Kelly, Tom. “New Auditorium Dedicated Today: Building Gift of Mrs. Emily Osborne.” (Mattoon) Daily Journal-Gazette, 22 August 1953, 1 & 6.

_____ “Coles Tour Concludes State Historical Society Meeting.” (Mattoon) Daily Journal-Gazette, 10 October 1953.

“Lions Club Youth Dance Set Saturday.” Mattoon Journal Gazette, 15 March 1965.

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Luciano, Phil. “Woodstock or a Laughingstock?” Peoria Journal-Star, 09 September 1994. http://www.pjstar.com/news/luciano/x157343936/Luciano-A-Woodstock-or-laughingstock.

“Mattoon-Charleston Group Wins Battle of the Bands.” Mattoon Journal-Gazette, 01 August 1969.

“New Officers Installed.” Mattoon Journal Gazette, 30 June 1967.

Propert, Phyllis. “Approve United Welfare Fund Plan: Local, National Groups Will Join in Campaign.” (Mattoon) Daily Journal-Gazette, 18 October 1956.

“Robert B. Butler: Was Engineer in Music Industry.” Orlando Sentinel, 27 June 1998. http://articles.orlandosentinel.com/1998-06-27/news/9806270217_1_central-florida-war-ii-survivors.

Sanders, Craig. “Reagan: Abolish Inheritance Taxes.” Mattoon Journal Gazette, 15 March 1980.

“Young Frim Becomes One of Largest Contractors.” (Mattoon) Daily Journal Gazette and Commercial Star, 01 September 1955.

Other

Burgess-Osborne Memorial Auditorium Trust Certificate, Dedication Plaque, Portrait and Photographs. Entrance Lobby, Burgess-Osborne Memorial Auditorium, 20 March 2013.

Clark, Gene. The Echos Band. Unpublished contextual synopsis. Mattoon, Illinois, May 2017.

Russo, Edward J. “DuQuoin State Fairgrounds National Register of Historic Places Nomination Form.” U.S. Department of the Interior, National Park Service, 1990.

Thompson, Stephen A. “Richard Roytek House National Register of Historic Places Nomination Form.” U.S. Department of the Interior, National Park Service, 2011.

Previous documentation on file (NPS): Primary location of additional data: preliminary determination of individual listing (36 CFR 67 has been State Historic Preservation Office requested) Other State agency previously listed in the National Register Federal agency previously determined eligible by the National Register X Local government designated a National Historic Landmark University recorded by Historic American Buildings Survey #______Other recorded by Historic American Engineering Record # ______Name of repository: Coles County Regional Planning Office recorded by Historic American Landscape Survey # ______

Historic Resources Survey Number (if assigned):

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10. Geographical Data

Acreage of Property F .60 Acres (Do not include previously listed resource acreage; enter “Less than one” if the acreage is .99 or less)

Latitude/Longitude Coordinates Datum if other than WGS84: F (enter coordinates to 6 decimal places)

1 39°28’49.56” -88°22’32.82” 3 39°28’47.82” -88°22’32.82” Latitude Longitude Latitude Longitude

2 39°28’47.82” -88°22’30.82” 4 39°28’49.56” -88°22’32.82” Latitude Longitude Latitude Longitude

______Verbal Boundary Description (Describe the boundaries of the property.)

The boundaries for the Burgess-Osborne Memorial Auditorium resource are as follows:

Beginning at the right-of-way boundary at the southwest corner of the intersection of Wabash Avenue and 17th Street in Mattoon, Illinois, proceed south along 17th Street to the southern right-of-way boundary of the alley between Wabash and Lafayette Avenues. Proceed west along the alley to a point perpendicular to the eastern boundary of the second access drive off Wabash Avenue. Proceed north to the intersection of the driveway boundary with the right-of-way of Wabash Avenue. Proceed east along Wabash Avenue to the start point. ______Boundary Justification (Explain why the boundaries were selected.)

The historic boundaries for the Burgess-Osborne Memorial Auditorium coincide with lots 1 through 3 of Block 172 of the City of Mattoon Original Town plat. Lots 1 and 2 of Block 172 were purchased for the siting of the facility by the administrators of the Emily Burgess-Osborne Trust in 1950. Lot 3 of Block 172 was acquired by the City of Mattoon for development of facility off-street parking prior to the late-1960s.

11. Form Prepared By name/title Stephen A. Thompson date 06 August 2017 organization Intrepid Consulting Services, Inc. telephone 217/254-1524 address 3420 Richmond Avenue email [email protected] city or town Mattoon state Illinois zip code 61938

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Contributing Personnel Research

Karen Canavit-Jackson, Mattoon Fifinella Social Sorority Member Becky Castillo, Zitania Research Services Carolyn Cloyd, Coles County Historic Preservation Advisory Council C. Joyce St. Michael, Coles County Historic Preservation Advisory Council

Additional Documentation Submit the following items with the completed form:

 GIS Location Map (Google Earth or BING)

 Local Location Map

 Site Plan

 Floor Plans (As Applicable)

 Photo Location Map (Include for historic districts and properties having large acreage or numerous resources. Key all photographs to this map and insert immediately after the photo log and before the list of figures).

See List of Figures Following the Photographic Section

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Photographs: Submit clear and descriptive photographs. The size of each image must be 3000x2000 pixels, at 300 ppi (pixels per inch) or larger. Key all photographs to the sketch map. Each photograph must be numbered and that number must correspond to the photograph number on the photo log. For simplicity, the name of the photographer, photo date, etc. may be listed once on the photograph log and doesn’t need to be labeled on every photograph.

Photo Log

Name of Property: Burgess-Osborne Memorial Auditorium City or Vicinity: Mattoon County: Coles State: Illinois Photographer: Stephen A. Thompson

Date Photographed: 24 March & 05 April 2017

Description of Photograph(s) and number, include description of view indicating direction of camera:

Photo 1 of 15: North Elevation, camera facing south. Photo 2 of 15: North and East Elevations, camera facing southwest. Photo 3 of 15: East and South Elevations, camera facing northwest Photo 4 of 15: East and South Elevations, camera facing north. Photo 5 of 15: South and West Elevations, camera facing northeast. Photo 6 of 15: West and North Elevations, camera facing southeast. Photo 7 of 15: North Elevation; Main Entrance and Pylon, camera facing southwest. Photo 8 of 15: Main Entrance Lobby, camera facing south. Photo 9 of 15: Brazilian Cherry paneling in northwest office, camera facing northwest. Photo 10 of 15: Restroom Corridor, camera facing east. Photo 11 of 15: Entrance Lobby, Auditorium and Stage; camera facing south. Photo 12 of 15: Auditorium, camera facing south. Photo 13 of 15: Stage Proscenium, camera facing south. Photo 14 of 15: Stage Floor and Backstage Area, camera facing southeast. Photo 15 of 15: Auditorium from Stage Floor level, camera facing north.

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Paperwork Reduction Act Statement: This information is being collected for applications to the National Register of Historic Places to nominate properties for listing or determine eligibility for listing, to list properties, and to amend existing listings. Response to this request is required to obtain a benefit in accordance with the National Historic Preservation Act, as amended (16 U.S.C.460 et seq.). Estimated Burden Statement: Public reporting burden for this form is estimated to average 100 hours per response including time for reviewing instructions, gathering and maintaining data, and completing and reviewing the form. Direct comments regarding this burden estimate or any aspect of this form to the Office of Planning and Performance Management. U.S. Dept. of the Interior, 1849 C. Street, NW, Washington, DC.

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Continuation Sheet Name of multiple listing (if applicable)

Section number Additional Documentation Page 57

List of Figures (Resize, compact, and paste images of maps and historic documents in this section. Place captions, with figure numbers above each image. Orient maps so that north is at the top of the page, all document should be inserted with the top toward the top of the page.

List of Accompanying Figures

Figure 1 – Location Satellite Image #1 Figure 2 – Location Satellite Image #2 Figure 3 – Late 1950s Aerial Image of Burgess-Osborne Memorial Auditorium Neighborhood Figure 4 – Burgess-Osborne Memorial Auditorium Site Plan Figure 5 – Burgess-Osborne Memorial Auditorium Building Footprint Figure 6 – Burgess-Osborne Memorial Auditorium Interior Plan Figure 7 – Emily Burgess-Osborne Figure 8 – 1953 Building Dedication Events & Project Participants Announcement Figure 9 – 1965 Image of the Burgess-Osborne Memorial Auditorium Figure 10 – 1965 Keyboard Recital Participants Figure 11 – 1956 Image of Preston Jackson & the Rhythm Aces Figure 12 – 1962 Image of Preston Jackson & the Rhythm Aces Figure 13 – 1958 Image of the Echos Figure 14 – 1961 Image of Jim Easter & the Artistics Figure 15 – 1966 Image of Jim Easter & The Artistics Figure 16 – 1964 Image of The Casuals Figure 17 – 1964 Image of The Trifaris Figure 18 – 1965 Image of The Olivers Figure 19 – September/October 1965 Playbill for the Mattoon Bunny Hutch Figure 20 – 1966 Image of The Newports Figure 21 – 1966 Image of The Mob Figure 22 – 27 June 1967 Image of Fifinella Sorority Officers & Pledges Figure 23 – 1969 Image of Rhythm’s Children Figure 24 – 1970 Image of Uncle Meat Figure 25 – 1970 Image of The Gaping Huggers Figure 26 – 1970 Image of Moses Figure 27 – 2016 Image of Gills Drive-In Restaurant, 12th Street & Dewitt Avenue, Mattoon, Illinois

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Figure 1

Location Satellite Image #1 – Burgess-Osborne Memorial Auditorium

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Figure 2

Location Satellite Image #2 – Burgess-Osborne Memorial Auditorium

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Figure 3

Late 1950s Aerial – Burgess-Osborne Memorial Auditorium (Lower Left) Immediate Neighborhood Photo Credit: Warren K. Moody

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Figure 4

Burgess –Osborne Memorial Auditorium Site Plan

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Figure 5

Burgess-Osborne Memorial Auditorium Building Footprint

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Figure 6

Burgess-Osborne Memorial Auditorium Interior Plan

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Figure 7

Emily Burgess-Osborne

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Figure 8: 1953 – Dedication Events & Project Participants

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Figure 9

1965 – Burgess-Osborne Memorial Auditorium

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Figure 10

1965 – Keyboard Recital at the Burgess-Osborne Memorial Auditorium

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Figure 11

1956 - Preston Jackson & the Rhythm Aces

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Figure 12

1962 – Preston Jackson and the Rhythm Aces L-R Duane Livingston, Howard Roberson, Billy Rogers, Phil Slaw, Joe Merriweather, Preston Jackson and unidentified sax player

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Figure 13

1958 – The Echos Top L-R: Bob Perry, Gene Clark, Bill Phillips and Roger Pedigo Bottom L-R: Mike Perry, Ronnie Lass and Gus Pedigo

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Figure 14

1962 – The Artistics at Cha Cha Records Studio, Chicago L-R: Roger Pedigo, Joe Leal, Gail Helton, Jim Easter, Al Adamson, GI Drury and Bo Turner

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Figure 15

1966 – The Artistics at the Blackhawk Village Lounge, Jacksonville, Illinois L-R: Carolyn “Maggie” Mangus-Boldt, Jim Easter, Bob Perry, Mike Lee, Al Adamson, Gail Helton and Gus Pedigo

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Figure 16

1964 – The Casuals

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Figure 17

1964 – The Trifaris L-R: Terry Stevenson, Tom Kelly, J.C. Marshall, Ed Graham and Bob Fisher

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Figure 18

1965 – The Olivers

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Figure 19

September/October 1965 Playbill for the Mattoon Bunny Hutch

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Figure 20

1966 – The Newports L-R: Bill Highland, Marty Rappe, Ross Roberts, Ed Kessler and unknown.

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Figure 21

1966 – The Mob

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Figure 22

27 June 1967

Mattoon Fifinella Social/Philanthropic Sorority Officer Installation & Pledge Initiation Ceremony U.S. Grant Hotel/Motor Inn, Mattoon, Illinois

Seated: Carol Beaird, Kathy Pardieck, Sue Doak and Julianne Baker Standing: Linda Hill, Toq McCollum, Connie Kidwell, Sherry Daugherty and Debby Jones Ascending Stairwell Right: Lou Anne Hill, Kay Pardieck, Jill Carter, Patsy Lash, Karen Canavit, Margene Pierce, Jane Stuttle, Carolyn Busby, Jeanie Bateman and Cathy Authenrieth Ascending Stairwell Left: Tammy Hug, Janet McClellan, Linda Andres, Terri Dalton, Ruth Brand, Rosanna Griffith and Mary Bates

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Figure 23

1969 – Rhythm’s Children L-R: Jim Hite, Marc Nale, Bob Butler, Coles County Fair Queen Linda Grosglass, Jim Nale and Pat Cogan

Figure 24

1970 – Uncle Meat

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United States Department of the Interior Put Here National Park Service Name of Property

National Register of Historic Places County and State

Continuation Sheet Name of multiple listing (if applicable)

Section number Additional Documentation Page 81

Figure 25

1970 – The Gaping Huggers L-R: Doug Livingston, Tom Kelly and J.C. Marshall

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Figure 26

1970 - Moses L-R: Steve Dalton, Marc Nale, Eddie Pearcy, Gary Tate (rear) and Jim Hite

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National Register of Historic Places County and State

Continuation Sheet Name of multiple listing (if applicable)

Section number Additional Documentation Page 83

Figure 27

2016 – Gills Drive-In Restaurant Southeast Corner of 12th Street and Dewitt Avenue Mattoon, Illinois Photo Credit: Lloyd Bradbury

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National Register of Historic Places County and State

Continuation Sheet Name of multiple listing (if applicable)

Section number Additional Documentation Page 84

Photo 1 of 15 - Burgess-Osborne Memorial Auditorium

Photo 2 of 15 - Burgess-Osborne Memorial Auditorium

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National Register of Historic Places County and State

Continuation Sheet Name of multiple listing (if applicable)

Section number Additional Documentation Page 85

Photo 3 of 15 - Burgess-Osborne Memorial Auditorium

Photo 4 of 15 - Burgess-Osborne Memorial Auditorium

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National Register of Historic Places County and State

Continuation Sheet Name of multiple listing (if applicable)

Section number Additional Documentation Page 86

Photo 5 of 15 - Burgess-Osborne Memorial Auditorium

Photo 6 of 15 - Burgess-Osborne Memorial Auditorium

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National Register of Historic Places County and State

Continuation Sheet Name of multiple listing (if applicable)

Section number Additional Documentation Page 87

Photo 7 of 15 - Burgess-Osborne Memorial Auditorium

Photo 8 of 15 - Burgess-Osborne Memorial Auditorium

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National Register of Historic Places County and State

Continuation Sheet Name of multiple listing (if applicable)

Section number Additional Documentation Page 88

Photo 9 of 15 - Burgess-Osborne Memorial Auditorium

Photo 10 of 15 - Burgess-Osborne Memorial Auditorium

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United States Department of the Interior Put Here National Park Service Name of Property

National Register of Historic Places County and State

Continuation Sheet Name of multiple listing (if applicable)

Section number Additional Documentation Page 89

Photo 11 of 15 - Burgess-Osborne Memorial Auditorium

Photo 12 of 15 - Burgess-Osborne Memorial Auditorium

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United States Department of the Interior Put Here National Park Service Name of Property

National Register of Historic Places County and State

Continuation Sheet Name of multiple listing (if applicable)

Section number Additional Documentation Page 90

Photo 13 of 15 - Burgess-Osborne Memorial Auditorium

Photo 7 of 15 - Burgess-Osborne Memorial Auditorium

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United States Department of the Interior Put Here National Park Service Name of Property

National Register of Historic Places County and State

Continuation Sheet Name of multiple listing (if applicable)

Section number Additional Documentation Page 91

Photo 15 of 15 - Burgess-Osborne Memorial Auditorium

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Property name: Burgess-Osborne Memorial Auditorium Illinois, County: Coles

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