The “house” that DJ Frankie Knuckles built is one step closer to achieving landmark status. Preservationists secured a victory to save the West Loop building that is credited with providing a space for DJs who created the genre of house music. Thursday, the Commission on Chicago Landmarks granted a preliminary landmark recommendation after thousands signed a petition to preserve the historic building.
“The historic erasure of Black cultural spaces is violence. The Warehouse, the birthplace of House Music, is at risk of being demolished, continuing the destruction of major monuments celebrating the legacies of the contributions of Black and Brown communities to contemporary culture. As stewards of the Frankie Knuckles Collection at the Arts Bank, in partnership with The Frankie Knuckles Foundation, and as a one of the few sites of tribute to the Godfather of House Music's impact, we at Rebuild Foundation urgently call upon our community to recognize and protect the sacred value and spiritual weight that spaces like the Warehouse hold.
House Music is more than a sound; it is a movement born out of the need for spaces for freedom and expression. It was born at The Warehouse. The Warehouse was sanctuary, it is safe haven, and it continues to symbolize a space of liberation for Chicago's LGBTQIA+ communities, particularly those who were persecuted for their gender-identity, sexuality and race.”-Duane Powell (DJ and Music Historian)
Legend has it that “House Music” gained it’s name from the Warehouse. It was here that legendary DJ Frankie Knuckles combined soul, disco, gospel, funk, Italio, and R&B music, creating a sound now known as “house music”. His DJ sets were so popular that patrons would duplicate his sets on cassette tapes and distribute them around town. Those tapes were known as “house music”, a shortened version of “Warehouse” Music.
Disco music ruled the 70s in nighclubs and on radio stations across the country. However, in the latter part of the decade the music oversaturated the market and caused a backlash. Rooted in racism and homophobia a local radio jock promoted “Disco Demolition” day at Comiskey Park (now known as Sox Park). Fans who brought a disco record to destroy could attend the doubleheader for $.98. Over 50,000 fans attended. In between the doubleheader, the disc jockey led the crowd in chants of “DISCO SUCKS” as he blew the records up with dynomite.
The event got out of control with fans rushing the field and setting more records on fire. In fact, most of the records that were destroyed were not just disco records but records by predominantly black artists. The bonfire got out of control and the second game never happened. The Disco Demoliton is significant because it contributed to the genre’s declining popularity and the music went underground.
It was at 206 S. Jefferson street that house music exploded. The warehouse had 3 levels of music and an incredible sound system designed by Richard Long. In 1977, Robert Williams opened the Warehouse. It was a private gay club that opened around midnight and closed around 8am. Originally from New York, Williams asked DJ Larry Levan who was known for his DJ Sets at the Loft to come to Chicago to be the club’s DJ. Levan declined but Frankie said yes.
Word began to spread around the city about the club’s incredible dance music played by Frankie Knuckles. His unique style of playing records drew young people into the club regardless of sexual orientation. It became a safe space for kids escaping gang violence and homophobia. At the warehouse, the only thing that mattered was the music. Kids from different backgrounds joined each other on the dance floor and partied to the wee hours in the morning. Knuckles made tapes of his DJ Sets and those tapes were duplicated and distributed all across the city drawing even more to the Warehouse to hear this new unique sound. It was his experimentation with dance breaks and his ability to enhance and alter songs by adding different patterns and bass loops that drew hundreds of people each week to the Warehouse.
Public schools in the inner city lacked resources. Students didn’t have money for music lessons so DJs began to teach themselves how to create music with what they had. Using keyboards, drum machines local DJs who attended the Warehouse began to create their own music as well hoping to outdo one another at local high school parties and events.
House music was born.
The recommendation by the Commission on Chicago Landmarks begins the process of approvals to extend landmark protections to the property. The building owners stated during Thursday’s virtual meeting and said they had no intentions of demolishing the building but planned to renovate it and move their firm into the space.
Kamionsky said, “We’ve recently come to learn about the history of the building and are continuing to learn about it, and we’d like to work with the Commission on this issue, and we are not looking to impede anything of cultural significance."
"The Warehouse is Chicago and Chicago is house music. We must preserve our legendary landmarks and not have them disappear right in front of our eyes."- Two Time Grammy Nominated Producer and Chosen Few DJ, Terry Hunter
“The Warehouse is widely regarded as ground zero for house music culture and where many believe house music got its name. For those of us who experienced it, it was magical and life-changing.”- Chosen Few DJ and Attorney, Alan King
There will be another public hearing and then a vote before the commission before the issue heads to the zoning committee with a final vote being held by City Council. If approved, landmark protections
Danielle Sanders is a multimedia professional with over 20 years of experience as a writer, journalist, and editor. Danielle frequently covers politics, local news, and entertainment.