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PAUL Mccartney's CHILDHOOD HOME IN THE SUCCESSFUL PRESERVATION OF ROCK AND ROLL MUSIC SITES: PAUL McCARTNEY’S CHILDHOOD HOME IN LIVERPOOL, ENGLAND AND THE CHESS RECORDS OFFICE AND STUDIO IN CHICAGO, ILLINOIS A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Arts by Kandalyn Lu Hahn January 2005 © 2005 Kandalyn Lu Hahn ABSTRACT Groundbreaking preservation efforts for two highly significant rock and roll music sites are examined: Paul McCartney’s childhood home in Liverpool, England, under the protection of the National Trust, and the former Chess Records office and studio in Chicago, Illinois, landmarked under city ordinance. Mid to late twentieth-century popular music sites face multiple threats of demolition, neglect, and inappropriate treatment. The lack of architectural distinction, bias against relatively recent history, and need to establish the relevance of popular culture inhibit successful preservation of rock and roll sites. Yet popular interest in such sites has exploded since the 1990s and visitation is on the rise. Increasing interest in these locations translates into more opportunities for funding and support. At the same time, it intensifies the need for preservation as popularity attracts exploitation schemes that threaten the integrity of the sites. Finally, given the difficulty of finding accurate documentation of these sites, the critical time to work on their preservation is while people who know their history firsthand are still alive. The examination includes a review of the literature, much of it in popular media, and primary research in the form of site visitation; interviews with key people and related experts; collection of original documentation; and some observation of work in progress. Research establishes the historic context, significance, and local preservation climate for each site. The preservation projects’ processes and outcomes are documented and critiqued. Findings suggest that there are five major components necessary for successful preservation of rock and roll music sites: preservation protection through institutional purpose or legal status; funding; long-term preservation philosophy; regular observation of work and adherence to a restoration design plan; and research. Noting that these are widely applicable components, three non-critical factors are distinguished which have special significance for this subset of historic sites: the need for significance to counter biases; public value and visitation; and support of name stars. BIOGRAPHICAL SKETCH Kandalyn Hahn was born and grew up in Lincoln, Nebraska. She attended Amherst College where she majored in fine arts and graduated with a B.A. in 1988. After several years in the work force, she returned to school as a graduate student at Cornell University’s Historic Preservation Planning Program. She currently lives in Chicago, Illinois with her husband Richard Poemape. iii To Mom for the dancing and to Dad for the music. iv ACKNOWLEDGEMENTS I am touched by the incredible generosity of the people with whom this thesis brought me in contact. I am indebted to all of them and want to acknowledge the special assistance of the following people and institutions: For assistance with Memphis sites, thanks to Judith Johnson; Greg Howell and Carrie Stetler of Graceland’s Archives Department; Michael Conway, Sun Studio; and Kira Badamo of the National Historic Landmarks Survey. In and around Detroit, thanks to Blake Hayes, Henry Ford Museum; Steven Jones, Quinn Evans/Architects; and Christopher Alexander, Motown Historical Museum. My heartfelt thanks to everyone at the Landmarks Division of the Chicago Department of Planning & Development for the opportunity to intern with such a great group of people. Special thanks to Chuck Thurow, Jim Peters, Brian Goeken, and indubitably, to Tim Samuelson, who made his work and himself available time and again. Without him, this thesis would not have been possible. Also in Chicago, I thank Shirli Dixon-Nelson, Blues Heaven Foundation, for her contributions and providing access to 2120 South Michigan Avenue, and Bill Latoza, Bauer Latoza Studio, who shared architectural drawings and his knowledge of the rehabilitation work. My gratitude to the people of the National Trust who supported my internship at the McCartney home--Martin Drury and Peter Nixon. Many thanks for the generous assistance of those at the Mercia Regional office--Julian Gibbs, Graham Dench, Lucy Dickin and especially Keith Halstead, Tony Berry, and Sarah Collins, v who provided invaluable access to project files, patiently answered my questions, and went out of their way to be helpful. In Liverpool, thanks to the welcoming people at the National Trust’s Speke Hall: Hannah Lee, Nick, Susan Newby, Pat Hassell, Brian Holland, Royce Naylor, and especially Susan Carmichael and Jane Budd. The folks at the University of Liverpool’s Institute of Popular Music were a pleasure. Thanks to Natasha Davies, Sara Cohen, and especially Mike Brocken for his perspective on 1960s Liverpool. Also in Liverpool, thanks to Joe Flannery; Jean Catharell, President of Liverpool Beatlescene; and Shelagh Johnston, General Manager of The Beatles Story museum. Thanks to Len Garry, his wife Sue and daughter Ruth for their wonderful hospitality. Thanks to my incredibly thoughtful neighbors, Tony & Rene Roberts and Carol Eley for all you did to make me feel at home. Elsewhere in England, thanks to Richard Porter, President, London Beatles Fan Club, and Ted Newcomen. At Cornell University, many people supported me in this undertaking: Barclay Jones, Malcolm Noden, Susan Christopherson, Barbara Ebert, Donna Wiernicki, and Andrea Tingey. I am greatly indebted to Michael Tomlan, Director of the Graduate Program of Historic Preservation Planning, for his patience and helpful criticism which greatly improved this thesis; and to Mary Woods, who very kindly agreed to serve as my second thesis committee member. I would like to acknowledge the financial support of two departments at Cornell University. Thanks to the Department of Planning for matching funds for summer internships with the Chicago Department of Planning & Development. Thanks to the Institute of European Studies for the award of a Michele Sicca Research Grant which served as my green light for England. vi On a more personal note, I would like to thank my friends for their support including Jerry Loos and Ray & Moira Brown who sent me articles. Thanks to my family for their encouragement. Thanks to my tabby Sadie who was always waiting to keep me company while writing and to Coco, Lily, Stevie and Rita who followed in her pawsteps. Thanks, Mom, for your editing and suggestions and for everything you gave to make sure I completed this. Last, but not least, thanks to my biggest cheerleader Richard Poemape who made everything easier by babysitting cats, traveling with me as I drove across the United States, and keeping the volume low in the other room for all these years—you showed me what “Real Love” is. vii TABLE OF CONTENTS BIOGRAPHICAL SKETCH. iii ACKNOWLEDGMENTS. iv TABLE OF CONTENTS . viii LIST OF FIGURES. x INTRODUCTION. 1 The Preservation of Rock and Roll Music Sites: Why Is It Worth Examining . 1 Approach Used. 11 Order and Content of Chapters. 15 CHAPTER ONE PAUL MCCARTNEY’S CHILDHOOD HOME: 20 FORTHLIN ROAD, ALLERTON, LIVERPOOL, ENGLAND . 16 Introduction. 16 Historic Preservation Context. 16 Historical Overview. 39 20 Forthlin Road’s Significance . 48 How Preserved . 57 How Successful. .. 93 How Not Successful . 96 CHAPTER TWO CHESS RECORDS OFFICE AND STUDIO: 2120 SOUTH MICHIGAN AVENUE, CHICAGO, ILLINOIS . 103 Introduction. 103 Historical Overview . .. 104 viii Local Historic Preservation Context. 113 2120 South Michigan Avenue’s Significance. 115 How Preserved. 154 Critique . 225 Accomplishments. 229 Needs . 231 CONCLUSION . 234 Findings. 234 Summary. 242 Additional Factors. 244 Limitations and Omissions. 248 Further Questions and Areas of Study. .. 250 SOURCES CONSULTED. 254 ix LIST OF FIGURES Figure Page CHAPTER ONE PAUL MCCARTNEY’S CHILDHOOD HOME: 20 FORTHLIN ROAD, ALLERTON, LIVERPOOL, ENGLAND 1a. Liverpool City Center (left half) . 30 1b. Liverpool City Center (right half) . 31 2. Map of Merseyside . 40 3. Liverpool . 44 4. From Allerton to City Center (Liverpool) . 45 5a. Intermediate Type S.B.5 Dwelling Plan and Elevation (left half) . 46 5b. Intermediate Type S.B.5 Dwelling Plan and Elevation (right half) . 47 6. Paul McCartney & John Lennon Composing “I Saw Her Standing There” in the 20 Forthlin Road Living Room ca. 1962. 51 7. Paul McCartney in the Garden of 20 Forthlin Road ca. 1956. 52 8. Paul McCartney in the Living Room of 20 Forthlin Road ca. 1958. 53 9. Images by Dezo Hoffman of the Beatles Posed at 20 Forthlin Road, 1963. 54 10. John Lennon and Paul McCartney in the Living Room of 20 Forthlin Road ca. 1962. 75 11. Modernized Living Room of 20 Forthlin Road, 1997. 76 12. The Chimney Wall in 20 Forthlin Road after Removal of Wood Paneling, 1997. 76 13. Restored Living Room of 20 Forthlin Road, 1998. 77 x 14. Images of the Kitchen at 20 Forthlin Road ca. 1956, ca. 1963, 1997 & 1998. 79 15. Paul McCartney at the Front Door of 20 Forthlin Road ca. 1962 . 81 16. Doorway of 20 Forthlin Road, 1997. 81 17. Front of 20 Forthlin Road Post-Restoration, 2000. 82 18. Rear of 20 Forthlin Road Before Restoration, 1997. 82 19. Paul McCartney Poses at the Outside Shed/Toilet ca. 1962. 83 20. Outside Shed/Toilet, 1997. 83 21. Cartoon about the National Trust & 20 Forthlin Road . 102 CHAPTER TWO CHESS RECORDS OFFICE AND STUDIO: 2120 SOUTH MICHIGAN AVENUE, CHICAGO, ILLINOIS 22. Map of Chicago. 108 23. 2120 South Michigan Avenue, Chicago, 1999. View from North of Building . 133 24. 2120 South Michigan Avenue, Chicago, 2004. View from South of Building . 133 25. Michigan Avenue Looking South from the Middle of the 1500 South Block, Chicago, 1996. 134 26. Ford Motor Company Showroom, Michigan Avenue, Chicago, 1910.
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