IMU55T • R305 Master of Arts In
CURATORIAL PRACTICES TO EXHIBITING POPULAR MUSIC HISTORY IN MUSIC MUSEUMS
A Thesis submitted to the faculty of A5 San Francisco State University In partial fulfillment of the requirements for the Degree \ Museum Studies by Rebecca Rhianne Ramirez San Francisco, California May 2016 Copyright by Rebecca Rhianne Ramirez 2016 CERTIFICATION OF APPROVAL I certify that I have read Curatorial Practices to Exhibiting Popular Music History in Music Museums by Rebecca Rhianne Ramirez, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Museum Studies at San Francisco State University. Associate Professor of Museum Studies ______Eciward Luby, Ph.D. Professor of Museum Studies n / \ / it Y L - l w V Dean Suzuki, Ph.D. iV Associate Professor of Music CURATORIAL PRACTICES TO EXHIBITING POPULAR MUSIC HISTORY IN MUSIC MUSEUMS Rebecca Rhianne Ramirez San Francisco, California 2016 In this thesis, exhibitions of popular music in museums are examined to highlight the unique issues involved in curating these exhibits, and to explore what the broader museum community can learn from exhibitions of popular music. Limited research has been conducted in the United States regarding this subject, therefore, curators have needed to develop their own methods to displaying and interpreting popular music history. Through a literature review, a review of selected exhibits, and by conducting case studies of three music museums with exhibitions of popular music, the Rock and Roll Hall of Fame Museum, in Cleveland, Ohio, the Country Music Hall of Fame and Museum, in Nashville, Tennessee, the Experience Music Project Museum in Seattle, Washington, an analysis of curatorial approaches are examined. A discussion of the methods used in exhibitions of popular music is presented, including how sound and interactive media is used to engage audiences, and the role that evaluation plays in exhibition development. Finally, conclusions and recommendations are offered. Overall, it is concluded that the success of popular music exhibits highlights the significance of the history of popular music as a curatorial theme, and that exhibitions on popular music offer compelling ways to engage visitors, even as they present specific curatorial challenges. I certify that the Abstract is a correct representation of the content of this thesis. ACKNOWLEDGEMENTS First, I would like to thank the members of my thesis committee, Dr. Edward Luby and Dr. Victoria Lyall for their insights of museum practices and their generous guidance throughout the process, and Dr. Suzuki for his expertise in music history and encouragement of my thesis topic. I would also like to thank Meredith Rutledge-Borger, Mick Buck, Michael Gray, and Jacob McMurray for allowing me to interview them and providing real insight to the work of a music curator. To my family and friends, I can’t thank you enough for your endless support throughout my education, especially my parents. To my niece and nephews, who unknowingly were always my inspiration. And a special thanks to Robert, for his continuous faith and encouragement throughout this process, and for always knowing when an ice cream break was needed. v TABLE OF CONTENTS Table of Contents...... vi List of Images...... ix List of Appendices...... x Chapter 1: Introduction...... 1 Organization of this Thesis...... 5 Chapter 2: Curatorial Roles and the Exhibition Design Process...... 7 Curatorial Roles ...... 7 Exhibition Design Process...... 12 Evaluations...... 14 Exhibit Design Issues Facing Curators in the21st Century...... 18 Interactives...... 19 Chapter 3: Popular Music...... 22 Defining Popular Music...... 22 Origins of Country and Western...... 24 Origins of Rock and Roll, and Pop ...... 27 Origins of Punk and Grunge...... 30 Chapter 4: Curating Music History Exhibitions...... 33 Popular Music in Museums and Criticisms of Music Exhibits...... 33 Teaching Popular Music History...... 38 Interpreting Music History...... 39 vi Interactive Media in Music Exhibits...... 43 Using Sound...... 47 Collecting Music Objects...... 52 Ephemera & Memorabilia vs. Historical Artifacts...... 57 Chapter 5: Methodology...... 61 Literature Review...... 61 Case Studies...... 63 Interview Questions...... 66 Chapter 6: Rock and Roll Hall of Fame and Museums...... 70 Museum Background...... 70 Right Here, Right Now Exhibition...... 76 Analysis...... 82 Chapter 7: Country Music Hall of Fame and Museums...... 86 Museum Background...... 86 Dylan, Cash and the Nashville Cats: A New Music City Exhibition...... 89 Analysis...... 102 Chapter 8: Experience Music Project...... 105 Museum Background...... 105 Nirvana: Taking Punk to the Masses Exhibition...... 112 Analysis...... 123 Chapter 9: Discussion...... 126 Exhibit Narratives Emphasizing Historical Context...... 126 Audience Engagement through Sound and Interactive Media...... 128 Thematic Approach to Curatorial Research is Often Employed...... 129 Evaluation is Necessary to Exhibit Development...... 130 Chapter 10: Conclusions and Recommendations...... 133 Conclusions...... 134 Recommendations...... 136 Final Remarks...... 139 Work Cited...... 140 Appendix...... 148 viii LIST OF IMAGES Image Page 1. Music video interactive at the EM P...... 40 2. Video screens with headphones displaying interviews and other footage of Tupac at the Grammy Museum...... 44 3. Turntable station at OMCA...... 48 4. Domed speakers in the Johnny Cash Museum...... 50 5. View of the right side of exhibition when entering gallery,Rock and Roll Hall of Fame and Museum...... 76 6. View of the left side of exhibition when entering gallery, Rock and Roll Hall of Fame and Museum...... 77 7. Display case and text panel, Rock and Roll Hall of Fame and Museum...... 77 8. Display case with objects and video screen, Rock and Roll Hall of Fame and Museum...... 78 9. Touch screen interactive featuring Playback.fm, Rock and Roll Hall of Fame and Museum...... 80 10. Detail of selection screen, Rock and Roll Hall of Fameand Museum...... 81 11. Exhibit view of Dylan didactic panels at the Country Music Hall of Fame and Museum...... 91 12. Nashville Cats listen station at the Country Music Hall of Fame and Museum...... 91 13. Wall enclosure, large video screen and watching area behind wall. Country Music Hall of Fame and Museum...... 93 14. Didactic panels detailing different cities musicians came from to record in Nashville. Country Music Hall of Fame and Museum...... 93 15. Exhibit gallery with interactive media on the left and artifact cases visible on the right at the EMP...... 113 16. Entrance to Nirvana exhibit at the EMP...... 117 17. Interactive touch screen tables at the EMP...... 118 18. Record wall with listen stations and U.S. map at the EM P...... 118 LIST OF APPENDICES Appendix Page A. 1220 Exhibits, Mission...... 151 B. AAM, List of Accredited Music Museums...... 152 C. AAM Standards for Museum Exhibitions...... 153 D. Anode, Mission...... 158 E. Billboard, About Us...... 159 F. Contemporary Art Center, Spectacle...... 160 G. Country Music Hall of Fame and Museum...... 161 H. Curious Beast, Hollowed Ground...... 185 I. Elvis Presley Enterprise...... 186 J. EMP (Experience Music Project)...... 190 K. Grammy Museum...... 206 L. Grand Ole Opry...... 211 M. Merriam Webster...... 212 N. MOHAI (Museum of History and Industry)...... 214 O. OMCA (Oakland Museum of California)...... 217 P. Oxford University Press, Popular Music Definition...... 220 Q. Rock Hall (Rock and Roll Hall of Fame and Museum)...... 221 R. SFO Museum...... 233 S. Sproul and Ziegler, Nirvana Live Site Information...... 235 x 1 CHAPTER 1 INTRODUCTION Within the last decade, exhibitions of popular music in museums have increased significantly, while several music-focused museums have emerged around the world. In the United States alone, there are dozens of museums with emphases on different genres of popular music. These exhibitions celebrate, document and interpret “the cultures, sounds, histories and experiences of popular music” (Leonard 2015, 19). From displays of Buddy Holly to David Bowie, Patsy Cline to Taylor Swift, Smokey Robinson to Tupac Shakur and Jimi Hendrix to Metallica, exhibitions of popular music in museums present objects of great interest to the public while outlining important figures and milestones in the history of music. Additionally, these exhibitions acknowledge the “increasing recognition across the globe of the pressing need to archive the remnants of popular music’s material past so as to safeguard the national and local histories of this important cultural form” (Baker 2015a, 1). As exhibitions of popular music in museums become more common, comparisons are increasingly being made to these exhibitions that employ standards used in more traditional museums, such as those that focus on art or history. In some cases, these comparisons argue that exhibitions of popular music emphasize entertainment over education, or present the subject in a way that lacks enough historical context. Significantly, however, curators in music museums and music-themed exhibits have developed innovative design methods to interpret popular music history, as well as ways to connect with visitors that other sectors of the museum community should note. 2 Similar to history museums, music museums are also tasked with displaying artifacts and providing interpretation of their historical significance. Standards set by professional organizations such as the American Alliance of Museums (AAM) are helpful because they offer best practices for museums and curators. Although general curatorial practices are similar across all museum types, as this thesis will outline, music curators must think outside these standards when researching and designing their exhibitions. Music curators are finding new ways to integrate interactive media and sound so that they can take advantage of the engaging qualities of music. Traditionally, “museums and archives gain their power from the collection and arrangement of things, compressing the world into ordered configurations of time and space via exhibitions and collections” (Tchen 2013, 11). Exhibitions, as defined by museum professional Hugh Spencer, are “intentional creations, planned and installed to express something: ideas, impressions, experiences or even just visual access to objects” (1999, 156). As Spencer notes, the ideal purpose of exhibitions is as follows: Exhibits are one of the principal ways that a museum or institution communicates with its public: exhibitions are often how people find out about the mission and mandate of a museum, the kinds of research and services the institution is working on, and the collections of the museum. Exhibitions are one of the most important ways that museums establish their relationship to different communities (Spencer 1999, 156). In exhibitions of popular music, museums often focus on specific musicians or bands, their lives and their rise to fame, or on a specific genre in popular music. Exhibit themes also include vinyl record collecting, concert posters, or an event or an era of music history. Artifacts displayed in these exhibits include costumes worn on stage or in videos, as well as posters, concert tickets, band flyers, set lists, and instruments. Society has often regarded some of these 3 objects as “memorabilia” or “ephemera,” implicitly diminishing their significance to broader society or to a musical movement, and relegating these objects to second class status as a mere relic. Similar to academics, curators must have expertise in a specific discipline. In the case of curators of exhibitions of popular music, they should not only possess knowledge of the general history of music, but an understanding of the different genres related to popular music. Popular music is a contemporary art form and because many musicians are inspired by their predecessors, new genres of popular music are constantly forming, interweaving the influences of earlier styles of music. An understanding of the roots of these musical genres is therefore necessary in order to grasp the history of popular music. Despite the term popular in “popular music,” the topic of popular music is not commonly seen in museum exhibits. The absence of popular music history in museums has been noted by both museum professionals and music critics. Marion Leonard, a leading scholar on music exhibitions, argues that “popular music has been ignored by museums both in terms of collection and display” (Leonard 2010, 173). As a result, there is limited research on popular music exhibitions. Aside from a few publications in Europe, research of music museums in the United States is scarce. For traditional museums, the juxtaposition of fine art or historical artifacts with music memorabilia has left curators with the complex task of determining how to design music- related exhibitions in non-music museums. In this thesis, exhibitions of popular music in museums will be examined to highlight the unique issues involved in curating these exhibits and to explore what the broader museum 4 community can learn from exhibitions of popular music in museums. Different approaches curators can take when designing exhibitions of popular music in museums will be examined, as well as how collections and interpretation are used to create these types of exhibitions. As discussed below, three major genres in popular music will be examined in this thesis: rock and roll; country; and punk. As mentioned earlier, limited research has been conducted on curatorial methods used to exhibit popular music history. As a result, the purpose of this thesis is to provide a study of the topic and offer recommendations for curators in the field. The research is guided by posing five key questions: (1) how do curators emphasize the significance of popular music history in exhibitions of the topic? (2) what research methods are being used to gather information on the exhibit’s subject? (3) what interactive elements are used in exhibiting popular music? (4) how are exhibits of popular music evaluated to determine their success? and lastly, (5) how can popular music museums gain credibility in the museum world? Because of an absence of literature and specific standards, music curators have had to develop their own practices to exhibiting the history of popular music. Curators can present popular music history in unique ways in which the “music is experienced, engaged with and given meaning by musicians, fans and other parties” (Leonard 2010, 174). In addition, curators can provide significant historical background with didactic panels and interactive media to effectively teach museum audiences. As a result, and as this thesis will explore in depth, curatorial methods may need to be modified when developing popular music exhibits, whether the exhibits appear in music-related or non-music museums. 5 Organization of this thesis The first section of this thesis begins with a review of the literature: Chapter 2 outlines general curatorial practices and exhibition design techniques; Chapter 3 defines popular music and provides a brief history of rock and roll, and pop, country, and punk and grunge; and Chapter 4 discusses the curation of music exhibitions and describes specific exhibitions of popular music. In Chapter 5, the methods used in this thesis, which include a literature review, an informal review of recent exhibits of popular music, and conducting case studies, are outlined. This chapter also outlines key sources used in the literature review, a list of the music exhibitions that were reviewed, the process for selecting case study museums, and justification for questions asked in interviews with curators as part of the case study assessments. Case studies of museums are presented in Chapters 6 through 8. In Chapter 6, the Rock and Roll Hall of Fame Museum, in Cleveland, Ohio, is examined, followed by the Country Music Hall of Fame and Museum, in Nashville, Tennessee, in Chapter 7. Finally, in Chapter 8, a case study of the Experience Music Project in Seattle, Washington is presented. In each case study, the mission, collections, current exhibitions, and programs are outlined, and the results of an interview with the curator of a recent exhibit that emphasized popular music are presented. Furthermore, an exhibition in each case study museum is analyzed, and an assessment of overall curatorial methods is presented. Following the case studies, Chapter 9 offers a discussion of key themes examined in the literature review and in the case studies. Lastly, Chapter 10 presents conclusions and outlines several recommendations to the field for museums developing popular music exhibitions. 6 As this thesis will highlight, exhibitions on popular music offer unique ways to engage visitors, even as they present specific curatorial challenges. However, little is known about the associated curatorial practices in place, and how these practices might serve as guidance throughout the museum sector. Examining the exhibition of popular music will also identify key challenges and supply curators who work in the area with insights as to how to best interpret the history of popular music. Finally, museums that present exhibitions on popular music run the risk of creating displays that are stale and that do not take advantage of the potential of presenting music history. If unsuccessful, music exhibitions can be ridiculed as merely insignificant forms of entertainment and not meeting the museum’s primary goal to educate. With little written about the subject, this thesis will explore popular music exhibits throughout the United States, examine current curatorial practices in music museums, and offer conclusions and recommendation to the field. 7 CHAPTER 2 CURATORIAL ROLES AND THE EXHIBITION DESIGN PROCESS Curatorial responsibilities can vary depending on the size of a museum and their staff. Smaller museums may call for curators to perform a wide range of duties such as collections management, development, marketing, or education. For the purpose of this thesis, however, the ideal roles and responsibilities of a curator, and exhibition best practices will be outlined in cases where a specific curatorial department is present in a museum. The department may contain a curatorial director, curator and/or associate curators. The American Alliance of Museums (AAM) highlights exhibition best practices in the document, Standards of Museum Exhibitions and Indicators of Excellence (2012). These standards are on the AAM website, and they supply an important framework for understanding curatorial roles and the exhibition development process. They describe seven categories of standards that curators and exhibition team should strive for in developing and implementing exhibitions. The seven categories are: audience awareness, evaluation, content, collections, interpretation/communication, design and production, human comfort/ safety, and accessibility (AAM, 2012). Curatorial roles and the exhibition design process are outlined in this chapter, as well as how these standards can be implemented to ensure that the exhibition team is working within the context of museum best practices. Curatorial Roles The curator may oversee many, if not most aspects of an exhibition. Curators in any size museum are considered “shape-shifters that wear multiple hats and thereby engage in multiple practices and discourses at the same time” (Tchen 2013, 7). A general description might list the 8 curator as a subject matter expert in the museum’s collection focus. They must undertake necessary research, and contribute to expanding the knowledge of the objects in the museums existing collections, as well as selecting objects for exhibition display from the collection (Spencer 1999, 159). In exhibitions where additional objects are needed outside the museum’s own collection, the curator is tasked with identifying and locating objects from other museums or collectors and must “negotiate the acquisition and/or loan of material” to the museum (Belcher 1991, 78). Proper selection of collection objects “furthers the intellectual content of the exhibition” (AAM, 2012). In regards to an exhibition, the curator’s responsibilities can range from proposing an exhibition theme, writing didactic panels, producing an exhibition catalogue and working with a design team to draft the exhibition layout (Belcher 1991, 78). In The Manual of Museum Exhibitions, John Nicks outlines curatorial roles in the chapter, “Curatorship in the Exhibition Planning Process,” in which he describes six key roles of curators (2002, 345-346): 1) Formulating the exhibition concept 2) Research 3) Collections evaluation, collection selection, and development 4) Documentation 5) Conservation 6) Preparation of the exhibition brief This chapter will review the three roles that closely relate to the exhibition process: formulating the exhibition concept, research, and preparing the exhibition brief. A detailed review will highlight these roles and deepen Nicks’ argument with additional research from authors in the museum field. Exhibition Concept and Research 9 A concept for an exhibition can develop from curatorial research, the museum’s general theme and existing collection, or can be driven by community needs. In some cases, the exhibition concept is a compilation of all of the above. Market-driven exhibitions are based on the community and arise “from public interest or demand” (Lord 2014, 24). The high demand and “popularity of an artist may prompt a retrospective” on their life or work, and bring in a higher number of visitors to the museum (Ibid). The museum’s existing collection is often the starting point for exhibits. The museum curator knows the collection well and strives to continuously conduct research on the objects. Curatorial research is the format most used for developing an exhibition concept. The curator often conducts ongoing research to produce journal articles or other publications with the focus on the museums highlighted collections. Research-based exhibitions transpire “from an analysis of the collection, or from the interests of the museum’s curator” (Lord 2014, 23). Curators propose concepts from their research that are considered “worth doing because it will advance our knowledge of the field” (Ibid). Curators are subject matter experts, they have extensive knowledge in the field of study and often a degree in the focus of the museum. They also often have extensive experience in their specific field working with communities, or artists, and/or have a personal relationship with the subject, and are content experts in a specific subject. Research from these experts is vital to expanding the knowledge of the objects in a museum’s collection and making it accessible to visitors. The process of conducting research must be organized in such a way that is transparent to the museum board of directors and executive director. As Spencer notes, “research at the institution should be carried out according to a co-ordinated research plan that includes the 10 anticipated long-term needs for exhibitions for the years to come” (Spencer 1999, 157). This research plan should be updated annually and account for any changes in institutional and visitor needs (Ibid). The research itself can be conducted using multiple resources. Quite frequently, curators review written literature in the form of books or journals. If limited written materials are available, oral histories are a desirable resource, as they provide first-hand experiences or expertise in the subject matter. The research process can proceed in two ways: thematic or object research. Thematic research “provides a broad base of contextual information and develops the framework as well as the substance of the exhibition storyline” (Nicks 2002, 347). This type of research is used when an exhibition theme is decided upon first. The curator must then plan the objects around the theme of the exhibition. This may include borrowing objects from other institutions or collectors to correspond with the exhibition theme. In contrast, object research “documents works of art, artefacts, specimens, graphics, or audio-visuals that constitute the materials with which the exhibition is to be created” around (Ibid). Object research is the most common in museums that work diligently to make their collection accessible. Once the initial research is conducted, the exhibition “concept must be formulated into a well-articulated thesis and presented in the form of an exhibition brief’ (Nicks and Piacente 2014, 241). Preparation of the Exhibition Brief With the exhibition concept developed, an exhibition, or curatorial brief should be written by the curator. The brief outlines the content of the exhibition, formulates an organized thematic structure, and details the key questions that are to be discussed (Nicks 2002, 356). A well-written 11 brief will show that the exhibit is well researched and will display the subject in an appropriate exhibition format, heeding to the guidelines of excellence set by AAM (AAM, 2012). The executive director and/or the board “have ultimate responsibility for exhibitions and programmes and should evaluate exhibition proposals and determine which ones should be taken forward into development” (Spencer 1999, 158). Once the brief is approved, it “will guide other team members working with the curator to develop the interpretative plan and the exhibition design” (Nicks 2002, 356). In The Manual of Museum Planning, Hugh Spencer (1999) highlights six statements to include in the exhibition brief in his chapter “Exhibition Development.” First, the curator must write “a statement of how the project will help the institution better fulfil its mission, mandate and purpose” (Spencer 1999, 158). It is considered museum best practice to present all exhibitions with the museum’s mission in mind. Second, the brief must include a statement specifying the use of the museum’s collection and resources (Ibid). Third, it should outline the exhibition focus, including its primary objectives (Ibid). Following this, the projected audience for the exhibition is to be considered (Ibid). The fifth part shall summarize the “overall theme, approach, visual and interpretation strategies envisioned for the project” (Ibid). Lastly, any additional information which may help to suggest the importance and need of the exhibition is to be explained (Ibid). Once all these aspects are included in the exhibition brief, Spencer suggests it is complete. The brief may also include supplemental materials to the brief that can be added as appendices. These additional materials may include possible titles of the exhibition, location details and preliminary designs, preliminary object lists, text drafts, and/or promotional materials (Belcher 1991, 86-90). Once the concept, research, and exhibition brief are completed, the curator will turn their attention to the design and execution of the exhibition. 12 Exhibition Design Process Designing a successful exhibition in any museum consists of comprehensive planning and thoughtful execution. According to the Standards of Museum Exhibitions and Indicators of Excellence, provided by the American Alliance of Museums (AAM), “an exhibition is successful if it is physically, intellectually, and emotionally engaging and accessible to those who experience it” (2012). Throughout the designing process, it is the responsibility of the curator to consider and include one or more of these elements. Communicating content through effective and engaging elements of design and interpretative media achieves another standard of excellence for the exhibition (AAM, 2012). Making the exhibition an immersive experience will engage and interest the visitors (Beghetto 2014, 1). When exploring an exhibition, the visitor can enjoy the experience more when in a comfortable environment. A relaxed environment for the visitors “promotes willingness to learn and to continue learning,” thereby encouraging the visitors to take their time and even return to the museum when a new exhibition opens (Dean 1994, 6). The exhibit message and all content should always be “clear and coherent” for all audiences (AAM, 2012). Visitors can therefore internalize what can be thought of as “an otherwise academic topic” and gain more knowledge on the topic (Dean 1994, 6). To ensure the curator is designing an engaging exhibition, we must understand the design and planning process for an exhibition. The designing stage of an exhibition can take months to years depending on its scale and the size of the museum. David Dean describes the different stages that must occur during the exhibition process in the book, Museum Exhibition Theory and Practice, (1994). He begins with four main stages: the conceptual phase, development phase, functional phase, and the assessment 13 phase (Dean 1994, 8-18). Each phase has their own specific facets, in which will be reviewed in detail. The conceptual phase is the initial stage when ideas are gathered, resources are assessed, and a schedule is made (Dean 1994, 9-10). Not much is included in this phase, as it is just the beginning of gathering ideas for the exhibition. The second phase, known as the development phase, is associated with the previously discussed exhibition concept, research and exhibition brief. During the development phase, the curator “does research, provides scholarly information, and selects and curates the appropriate collection objects” (14). The development phase is divided into two stages, the planning stage and the production stage. The planning stage includes setting goals, drafting an estimated budget, and setting exhibition, education and promotional plans (10). Plans should “incorporate the museum mission, constituency needs educational goals, scope of collections, and available resources” (12). It is therefore important that goals are written out for the team to assess throughout the development and assessment phase when an evaluation will take place: “developing and writing down the exhibition goals will help identify the objectives ... [and] a clear set of standards, useful in evaluating the effectiveness of the exhibition later” (Dean and Edson 1994, 164). Lastly, in the development phase is the production stage. This stage includes the installation, developed of programs, and training docents for tours and other educational programs (Dean 1994, 10). During this stage it is the staffs responsibility to guarantee the visitors “physical, intellectual, and social well-being is taken into account” (AAM, 2012). The functional phase is the third phase in the exhibition design process. It is separated in to two stages, the operational stage and the terminating stage. Once the exhibition installation is 14 complete, the operational stage begins. During this time the exhibition is open to the public, public programs begin and the staff are to conduct visitor surveys (Dean 1994, 10-11). The duration of the operational stage depends on the dates the exhibition is open, which may last a few months to a few years. Following the closing of the exhibition, the termination stage begins. The termination stage involves the de-installation of the exhibition, returning the objects to storage or lenders, and balancing expenses (11). The gallery is cleared and preparations may begin for a following exhibition in the space. The final phase in the design process is the assessment phase. During this phase, a full assessment of the exhibition and development process is conducted (Dean 1994, 11). An evaluation report is created and suggestions for improvement are discussed amongst the team (Ibid). According to AAM, the evaluation studies are significant because they help the museum to understand the exhibits “impact on audiences in relation to the project’s goals” (AAM, 2012). It can then provide the staff with guidelines for future exhibitions to ensure they are conducting best practices when designing exhibitions. The evaluation process may be conducted by museum staff or a “professional evaluator may be called upon to join the exhibition production team on occasions that warrant it” (Belcher 1991, 202). To understand the evaluation process further, a review of three methods will be studied. Evaluations The evaulation process is vital because it “recognizes the museum-audience dynamic and facilitates the successful sharing and communication of knowledge and understanding between visitors and museum” (Grewcock 2002, 44). Conducting evaluations show the museums 15 awareness to following what are considered museum best practices. When done successfully, it “increases the intellectual capital of the museum and [it] improves its ability to achieve institution-wide goals and objectives” (Ibid). Evaluations therefore becomes more important for the museum curator to review so that they may learn from them by understanding their audiences for future exhibitions. The evaulation process can be conducted in three different ways, according to Duncan Grewcock, author of the chapter, “Before, During and After: Front End, Formative and Summative Evaluation,” in The Manual o f Museum Exhibitions (2002). Each of these evaluation methods will be outlined below. Front-End Evaluation Front-end evaluation is devised during the development phase. With conception at the early stages of the exhibition design process, this type of evaluation “should have a major impact on the concept, content and exhibition brief’ (Grewcock 2002, 46). The evaluation aids the staff in highlighting clear objectives with the museums intended audience (Ibid). The target audience should be identified with both the exhibition subject, as well as the museum’s mission and wider community in mind (47). The aim of the evaluation is to understand the visitor’s range of comprehension on the exhibition topic (49). Audience awareness when designing an exhibit allows the curators to recognize the level of interpretation, amount of historical background necessary and the interest of the target audience (AAM, 2012). In doing this, the curator can also be sure they are identifying “the questions visitors want answered in relation to this subject” (Grewcock 2002,49). With the audience and their level of knowledge known, the evaluation can also help with the types of approaches that work best for a variety of visitors. Interpretation and design analysis in this type of evaluation helps the team “tap into visitors’ potentially powerful 16 and deep reservoirs of personal and shared experience” (Ibid). Once the front-end evaluations are assessed, they provide the staff with guidelines to modify the exhibition based on their analysis (Ibid). Front-end evaluations are ideal when the exhibition is scheduled with sufficient time, and allows time for improvements before the exhibition opens to a larger public audience. Formative Evaluation Formative evaluation occurs during the planning and production stages. It “is an investigation of how visitors react to proposed exhibits at a mock-up stage, which may be within an existing gallery or in isolation behind the scenes” (Caulton 1998, 47). Doing this type of evaluation is essential to understanding what works best for the museum’s key audience, and highlights necessary corrections to be made in the early stages of development. Formative evaluation allows the curator and design team to assess “the detailed content and the proposed modes of communication with representatives of target markets” (Grewcock 2002, 46). By reviewing the modes of communication, the team can provide the subject information in a way that is comprehensible, while ensuring the bulk of the information is integrated within didactic panels, interactive media, and the collections. It is important for the team to explore specific issues when receiving feedback from visitors so the necessary changes may take place (51). This type of evaluation is conducted multiple times, with several adjustments made within the exhibition until the final modifications are completed for the exhibition opening (Caulton 1998, 47). Summative Evaluation 17 Contrary to front-end and formative evaluations, which occur prior to the main exhibition opening, summative evaluation happens after the exhibition is open “in order to gauge how well it is performing” (Belcher 1991, 203). This evaluation process attains information about audience demographics, visitor motivation and expectations, physical use of the exhibition, the quality of exhibition and visit outcomes (Grewcock 2002, 51). The evaluation “needs to be conducted in direct relation to the original aims and objectives of the individual exhibition and the museum itself’ (Ibid). If completed correctly, the staff will use the information when setting goals in the planning stages for future exhibitions. This allows for a continuous cycle of exhibition evaluations, ensuring the museum is constantly assessing their work (46). There are multiple ways summative evaluation can be conducted. Surveys and questionnaires are the most often used in museums. Surveys may include “in-depth open-ended interviews, structured interviews, observation or tracking” (Caulton 1998, 47). In some cases, modifications of the existing exhibition may be required; however, the results of the evaluation are generally used to provide “information on what elements of an exhibition are successful and what are not, and in what circumstances” for the development phases of future exhibitions (Belcher 1991, 204). It is evident that evaluating the exhibition during the process of planning, executing and completion of an exhibition is a vital step to the exhibition planning process. Whether the staff is able to conduct all or just one type of evaluation, the information they receive assists in shaping the plans and success of other exhibitions. With the exhibition in full swing, the curator will need to be in constant communication with different teams on staff. Since the museum staff works together in designing programs, marketing and the exhibition itself, reviewing the processes and best practices together can help the staff to “evaluate how effectively the exhibition has achieved its objectives” set during the 18 development phase (Spencer 1999, 162). With the objects actively accessible to the public, the exhibition team needs to consult with the conservation team to “ensure the continued good condition of all collections on display and scheduling the replacement of environmentally sensitive objects” (Ibid). In addition, the team must work with the information technology staff to ensure all media and computer systems being used are in working order in the exhibitions or during special events (Ibid). As the curator works diligently with the rest of the staff, they can be assured the exhibit and the museum are achieving the highest standards of excellence. Exhibit Design Issues Facing Curators in the 21st Century There is an ongoing responsibly for curators to design exhibitions that are interesting and exciting to appeal to a wide-range of visitors, while keeping with the museum’s mission. With the ever-growing developments in technology, visitors expect museums to keep up with different media and to incorporate hands-on elements in exhibitions. Kiosks or touch screen computers are being “used in museums to deliver information as well as entertaining interactive experiences” (Reddick and Stefancic 2014, 343). Finding a balance between engaging interactive tools that support the interpretation and do not replace the exhibition or collections can be difficult for a curator. Collections are in competition with entertainment devices such as cell phones, tablets, short videos or other media devices. These devices “allow the visitor to explore a physical environment or discover content, seemingly without barriers or need to interface with a piece of hardware” (344). Referred to as “theme-park interpretation techniques,” curators are attempting to incorporate these entertainment elements in their museums (Spencer 1999, 156). Traditional museums are no longer strictly considered educational institutions, some may argue, as they must be attractions with the constant goal of keeping up with technological advances in the exh ibits. 19 Through personal electronics, visitors are also expanded digital media through their cellphones using online apps to share what they are seeing in the museums (Cotter 2015). Initially, hands-on museums were considered a threat to the traditional museums (Caulton 1998, 135). Now, however, museums are adapting and providing interactive spaces that encourage the audience to be hands-on. This piques the audience’s interest and extends the time they would have normally spent in the exhibition space. Interactives Early traditional museums enforced a distance between the visitor and the objects for the protection and preservation of the collections. Touching objects can be “particularly damaging, and even for those professionally permitted to handle objects is often not supposed to happen without the material barrier of gloves” (Dudley 2010, 11). Studies have suggested, however, “‘Do Not Touch’ signs are psychologically offensive because they deny basic human learning behavior” (Dean 1994, 26). Humans tend to learn more when using their senses: “Touching reinforces, confirms, and adds to the information gained through the eyes” (Ibid). It is of no surprise that the human instinct to touch or listen allows a person to have a heightened experience, and therefore, to remember more if they are able to interact with the information they absorb in the museum (27). In the book, Connecting Kids to History with Museum Exhibitions, D. Lynn McRainey discusses in her chapter, “A Sense of the Past,” the importance of incorporating and encouraging the using of senses in exhibitions. The chapter details the methods of using all senses in an exhibition to trigger different feelings for children (McRainey 2010, 155-172). Trigger responses are because “all the senses are intertwined, and all objects are experienced 20 multisensorially” (Dudley 2010, 11). Thus, emotional connections can lead to higher interest in the content. Museum professional, Sandra H. Dudley supports this idea by suggesting that information on panels and the barrier between objects and the visitor take away any possibility for an emotional response or any other form of sensory interaction, because the museum is already providing a response for the visitor (2010, 4). Additionally, she argues, “conventionally displayed objects are devoid of the familiarity with which [how] others may have engaged with those things in the past” (9). This disconnect may be remedied, however, by encouraging engagement with objects: “Emotional engagements with objects can provide more powerful alternatives or additions to textual interpretation in enabling visitors to understand and empathize with the stories objects may represent” (4). Being able to touch the objects allows visitors to form their own ideas and interpretation of them. Many forms of interactive media can help to provide more interpretation of objects if touch is simply not an option for museums. Interactives can include “exhibitions activities such as pushing a button to illuminate a display, lifting doors or flaps to reveal information, or manipulating props from the museum’s teaching collection or reproductions of collection items made for touching” (Russick 2010, 220). The interactives encourage visitors to act, captivating them and providing more than viewing objects through an enclosed case or reading text panels (Ibid). Videos or sound bites can “provide contextual information on the objects and extend their coverage of the subject through visual images and sound effects” (Belcher 1991, 142). Use of any of these types of interactives should be implemented only to “provide further explanation of an idea or mechanism or process” (Russick 2010, 221-222). As previously discussed, to ensure its 21 functionality and continuity with the museum mission, the interactives are to be tested beforehand, during the formative evaluation process, and once again after the exhibition opens during the summative evaluation. As discussed, curatorial responsibilities can encompass many facets. With a detailed formulated exhibition plan, they can begin to organize their responsibilities so that all exhibitions are developed with museum best standards in mind, as defined by the American Alliance of Museums. The four designing phases, as described by Dean, emphasized curatorial responsibility throughout exhibition development. The process of evaluation is an imperative part to the development of a successful exhibition. It denotes that museums are acknowledging their visitor needs and that guidelines are set for the success of future exhibitions. With the growing demand to incorporate technology, provide stimulating concepts, and interactive displays, curators must stay up-to-date with current trends in technology and design elements for museums. This is more evident in museums with a popular culture focus, such as music museums. Tasked with displaying the history of popular music, the curator must develop exhibits that are inviting for both fans and other visitors. To comprehend the complexities of designing music exhibitions, the history of the music being presented must first be understood. In light of this, in the next chapter will discuss the definition of popular music and the history and development of three specific genres: (1) country and western, (2) rock and roll and pop, and (3) punk and grunge. 22 CHAPTER 3 POPULAR MUSIC While music dates back hundreds of centuries, a study of the history of popular music has emerged only recently. With changes in musical instruments and the variety of personal tastes that exist today, the shape and meaning of what is considered “popular” continues to develop. The term “popular,” however, can reflect the subjective views of each individual listener and the people with whom they surround themselves. According to the Oxford University Dictionary, popular music is broadly defined as “music appealing to the popular taste, including rock and pop[,] and also soul, country, reggae, rap and dance music” (Oxford University Press 2015). Therefore, the genre of popular music encompasses many subgenres, each style contains aspects that generate interested to different people. As a result, with the rapid changes in contemporary culture, it can become particularly difficult to define popular music. With such a broad definition, it is vital to understand the history of the different genres in popular music. Museums are attempting to display this history in ways that will be appealing to the fans, however they need to understand the full history of these genres to interpret it successfully. Music fans support the preservation and exhibition of this heritage in museums because they have an emotional connection to the music. From this perspective, a brief review of the definition of popular music will be discussed below. Additionally, the development of three genres identified within popular music will be discussed in this chapter: country and western; rock and roll, and pop; and punk and grunge. Defining Popular Music 23 Musical styles developed among people around the world, with songs often composed with their specific styles and written in their native tongues that displayed local or indigenous cultural influences. These influences have continued to be passed down to succeeding generations. Over time, styles of music have developed, with some growing tremendously, such as rock and roll, and others becoming somewhat more distinct, such as punk, or even codified in a historical sense, such as country and western. As music styles evolve, preferences develop among groups, and new genres can arise. Similar to the research of cultural anthropologists, musicologists have researched the development of and direct influences on musical genres. Whether it is a specific instrument or a defining sound from a certain geographical location, musicians have borrowed, replicated and transformed styles for centuries. Musicologists agree that the “evolution of music turns out not to be a single line of development but something like a bush, with constant branching, overlapping, and mutual influence” (Burkholder 2009, 119). Distinct American musical genres, such as the blues, jazz, or folk music, have developed during the United States’ relatively short history; these genres evolved from Native American, African slaves, and immigrants from various countries. American music is known for its blending of several genres mixed together. The work of contemporary musicians are often categorized under the term popular music because they are revered by large audiences. Popular, or simply “pop” music, can therefore be described as a “metagenre based on something anterior to musicological form,” because of its inclusion of multiple styles within one (Clover 2004, 246). 24 Consumerism plays an active role in influencing popular artistic form and thus has changed the fabric of our history. For record companies to establish a precise definition of what is popular, for example, they use charts that calculate album, tour and merchandise sales of their artists. One of the largest and most recognized music charts is the publication Billboard magazine, the “primary source of information on trends and innovation in music, serving music fans, artists, top executives, tour promoters, publishers, radio programmers, lawyers, retailers, digital entrepreneurs and many others” (Billboard 2015). These types of publications calculate what is popular, and as a result, may cause a style of music to be altered in order for it to appeal to a wide audience to generate the desired sales and profit. This need for sales forces artists to write or search for the next hit record, changing their prospective and goal from developing legendary music, to creating music that is fleeting. Joshua Clover supports this in his chapter, “Good Pop, Bad Pop: Massiveness, Materiality, and the Top 40,” in the book This is Pop, In Search o f the Elusive at Experience Music Project, saying, “mass production offers its own historical shift, with its own shattering of tradition; the shift from diachronic to synchronic” (2004, 249). Artists are frequently encouraged to provide music that will have broad appeal in the moment and fit into different genres for contemporary audiences, instead of composing creative and unique music that will stand the test of time. To understand the impact of mass production and consumerism on the production of popular music, the evolution of three music genres found within popular music will be reviewed. The focus of discussion will be: country and western; rock and roll, and pop; and lastly, punk and grunge. Origins of Country and Western 25 In the 1920s, people from the mountainous regions of the southern United States, in states such as Texas, Oklahoma, Tennessee, Georgia, to name a few, developed a new genre of music that came to be known as “hillbilly music” among the locals. The word “hillbilly” was used as a derogatory “catchall term for Southern ... culture,” members of whom were considered to be uncivilized and lacking proper social skills according to outsiders (Garofalo and Waksman 2014, 50). The insulting connotation caused the term to later be dubbed country and western music because of its geographic countryside origins, and highlighting the connection to the cowboy lifestyle that was portrayed in films documenting the American frontier out West. The distinct sound of the region has its roots in folk music. The instruments used were often the guitar and the banjo. It was the addition of the fiddle, however, that became the central element in the music. The fiddle was the “principal instrument of Southern music making from the eighteenth century to the moment when the first country music recordings were made” (Garofalo and Waksman 2014, 41). Centrally located in and near the Bible belt states, namely from Arkansas to South Carolina, songs with spiritual content and church hymns were the main themes found in early country music. The origins of the stylistic elements of country music derived from the artistic inspiration of the diverse groups that settled in the area. With an eclectic range of ethnic groups living in the South, it is of no surprise that folk music derived from the influences of the multiple cultural groups living in the area. Well-known country music historian Bill Malone details this history in his book Country Music U.S.A., explaining that the genre was influenced by “the Germans of the Great Valley of Virginia; the Indians of the backcountry; Spanish, French, and mixed-breed elements in the Mississippi Valley; the Mexicans of South Texas; and, of course, blacks everywhere” (Malone 1985, 4). Although the 26 style had a varied background, the genre became known predominately as “white music.” It gained this distinction because of its “official identification with Southern white workers and farmers and its relative lack of publicly visible African American artists and audiences” (Smethurst 2001, 61). The segregation of African Americans made the idea of mixing publicly, or at all for that matter, extremely taboo. Any associations with those of a non-white background would be denied for many years following as to avoid any “interracial hybridity in the music” (Manuel 2008, 425-426). It was not until the 1930s and 1940s, when country music began to be publicized through recordings and gained popularity through radio, that its key artists began to acknowledge its multi-cultural roots. Rising musicians, from the Carter Family to “Jimmie Rodgers to Bill Monroe to Hank Williams acknowledged a general debt not only to African American music but also to specific black mentors who crucially influenced their musical development” (Smethurst 2001, 61). For the first time, it was acceptable to acknowledge the influence of black culture and eventually led white southerners to willingly receive “their musical offerings; the spirituals, the blues, ragtime, jazz, rhythm-and-blues, and a whole host of dance steps, vocal shadings, and instrumental techniques” (Malone 1985, 5). Although this idea took some time for the rest of the country to adopt, some of the integrated rural areas in the South came to appreciate the amalgamation of cultures in music. As radio and film became widespread technologies in the 1920s and 1930s, country and western music was propelled to wider audiences. Radio broadcasts of live performances from venues such as the Grand Ole Opry launched many artists into the spotlight. With its first broadcast in 1925, the Grand Ole Opry, in Nashville, offered performances from country music 27 legends and opened the doors to this music scene for the rest of the country (Grand Ole Opry 2015). Over the next few decades as countiy music continued to evolve, other genres of music were gaining traction on the music charts. By mid-century, rock and roll music was spreading across the country and the thought of topping the popular music charts was starting to attract the humble country artists of the South. Artists wanted nothing more than to “cross over,” as it would later be called, to achieve greater fame (Malone 1985, 246). This resulted in “radical change[s] in the stylistic structure of both instrumentation and singing” (Malone 1985, 246). To appeal to popular music audiences, country musicians modified their sound and started to earn a place in the popular music charts (Malone 1985, 246). Modifications included blending the stylistic sounds of early folk, blues and rock, and creating a new sound in country music. Country musician Johnny Cash, recognized the importance of this musical unification. In the late 1960s and early 1970s, he invited rock and folk artists to perform with him on The Johnny Cash Show, a variety hour television program, thus playing a significant role in bridging the gap between the musical genres. Origins of Rock and Roll, and Pop It is often thought that rock and roll developed in the United States in the 1950s with the contributions of a few well-known artists such as Chuck Berry, Bill Haley, Jerry Lee Lewis, Elvis Presley or Little Richard. Although many pivotal moments occurred during this decade, rock is a direct product of rhythm and blues, and country and western music. In an attempt to avoid the connection to rhythm and blues, which carried a racial stigma amongst white listeners because of 28 its association with African American culture, the term rock and roll was established. This new genre was geared to appeal to the post-World War II white youth of America. While music historians continue to debate the origins of the term rock and roll, most the common theory is that Cleveland radio DJ Alan Freed first introduced the term. Freed knew the music would appeal to a larger diverse audience but understood the potential opposition of his white listeners to this type of music. Calling it what it was, rhythm and blues, “would have been to point out that white people were listening to black music” (Clarke 1995, 373). Freed decided to apply the label rock and roll, a “phrase from an old rhythm and blues lyric,” the origin of which was a “euphemism for sexual intercourse” that remained unknown to the white audience he was trying to attract (Pasqua and Robinette 1993, 290 and Clarke 1995, 373). As the music hit the radio airwaves, the demand for records sky rocketed. With the development of 45 rpm vinyl records, which replaced 78 rpm shellac records as a lighter, more durable, and less expensive alternative, independent record labels began to produce their own records and distribute them to the masses, allowing for the rise in consumerism among the newly labeled “teenage” youth market. The rise of rock and roll in the 1950s concerned many middle-class white American parents. To them, rock and roll represented everything they feared: “It was loud, it was vulgar, it was manufactured, it was urban, it was sexual, and most of [all] it was black” (Garofalo 2001, 111). Parental contempt for the music did not go unnoticed. Many unsuccessfully tried to shut down record labels or radio stations to end the spread of what they considered to be “devil music.” With the upbeat dance tempo and growing fan base, however, there was no denying the power rock and roll already had over the country. Reebee Garofalo states in the book, New 29 Approaches to the Twentieth Century American Popular Music, “Rock and roll jumped from a 15.7-percent share of the pop market in 1955 to a 42.7-percent share of the market in 1959” (Garofalo 2001, 114). This rapidly growing genre was becoming a driving force in the evolution of popular music. It was, however, the presence of new musicians from Britain in the early 1960s that changed what we know of as rock and roll, and popular music for years to come. Starting in 1964, the British Invasion phenomenon swept across America, taking everyone by surprise. Undoubtedly, the most recognized musicians to come to America from Britain were the Beatles and the Rolling Stones. American listeners thought these groups each created their own new unique sound, but in actuality the British musicians were trying to recreate the American music they heard and loved. The Rolling Stones were frequently credited with the amalgamation of black music styles with rock and pop, whereas the Beatles often talked about their experimentation with musical styles later in their career (Longhurst 2007, 100). Whether they initiated it or provided their own interpretation of the music, these two bands, as well as numerous British bands, such as the Animals, the Yardbirds and the Kinks, all played a significant role in uniting music listeners of all backgrounds: “It is possible to say that they integrated pop and rock and led the field in producing a kind of unified audience which was to exist for a good part of the 1960s” (Longhurst 2007, 100). Until this time, rock was a form of entertainment and statement of rebellion, but after the 1960s rock and roll played a significantly different role in individual listeners’ lives. The obsessed listeners were known as fans; the word “fan” derives from the word “fanatic.” Merriam- Webster Dictionary explains the term as someone “marked by excessive enthusiasm and often intense uncritical devotion” (Merriam-Webster Dictionary 2015b). This is evident when watching 30 film footage of Beaties’ fans who would scream, cry and even faint at the mere glimpse of one of the Fab Four. Since the 1960s, music fans have become emotionally and personally invested in the music and the musicians. This marks a cultural shift in the way we perceive musicians and songs with a devotion not seen earlier in the twentieth century. Origins of Punk and Grunge As a subgenre of rock, punk established itself in its own right. Having a louder sound and often shocking lyrics, it expressed a hatred towards the establishment and the world, and had a simpler and more repetitive sound than its immediate rock predecessors (Lipscomb and Stuessy 2013, 356). The origins of punk trace back to the streets of New York City in the 1970s and it is largely associated with the dive bar turned music bar, CBGB’s. With its punk musicians vying for a place to perform, CBGB’s quickly became known as the place “to hear music that stood in stark contrast to the polished stuff that was coming to overrun the rock industry” (Stokes, Tucker and Ward 1986, 553). The venue started hosting various artists in 1973, including the Patti Smith Group, Talking Heads, Television and the Ramones (Spicer 2006, 7). The Ramones are often described as the quintessential punk rock band. As one of the first punk rock bands to tour in Europe, “their appearances in England in 1976 were later cited by many English punk bands as the original inspiration for that country’s do-it-yourself rock revolution” (Stokes, Tucker and Ward 1986, 554). As a result of the underground punk scene, the do-it-yourself attitude that developed meant that any band could record and promote their music in clubs or on the streets themselves. The UK punk scene developed shortly after with the emergence of the Sex Pistols and the Clash, who brought in a new fashion that included leather, 31 studs and mohawks (Spicer 2006, 2-3). This new culture of youth and rebellion, and those that listen to the music became known as “punks.” Growing from the foundations of the punk movement was a new genre in the 1980s developed largely in the Pacific Northwest known as grunge. Inspired by hardcore punk music, grunge artists distinguished themselves with their lyrics which leaned “more toward self reflection, taking that same intense hatred and turning it inward in a form of self-loathing” (Lipscomb and Stuessy 2013, 363). The grunge sound is frequently described as “dirty” because of its “low recording budgets, lack of expertise and money, and a deliberate lack of professionalism that affected the recording process” (Strong 2011, 19). Punk and grunge developed from a do-it-yourself ethic, which meant that anyone was capable of making this music, even if one was just learning to play guitar or had never sung a note in their life. In 1988, the Seattle grunge scene grew with the help of a new independent record label, Sub Pop Records. Sub Pop was “driven by the belief that the basis of artistic freedom was to provide an outlet so musicians could maintain artistic control over their material” (Lipscomb and Stuessy 2013, 362). Their goal was to define the Northwest punk scene as it was, and promote its vast difference from the 1980s hair metal rock scene in Los Angeles (Blecha 2009, 263). The initial cult following of the music was fostered from a small fan base and went on to gain “the attention of music fans, music journalists and record companies around the world” (Strong 2011, 17). In 1989 the label signed the band, Nirvana. Nirvana’s time with Sub Pop was short, and after a few years, they signed a recording contract with DGC Records, a much larger corporate label owned by music mogul and producer 32 David Geffen. In 1991, Nirvana released the album Nevermind, which far exceeded its initial expectations by selling millions of copies and overtaking Michael Jackson’s number one Billboard chart spot, highlighting the “the arrival of grunge in the mainstream” (Strong 2011, 17). As a result of their success, Nirvana became the face of grunge. Upon the release of the song “Smells like Teen Spirit,” their music was “accepted by many white, middle-class, post-boomers as the music of their generation” (Lipscomb and Stuessy 2013, 364). Music fans outside of the Northwest grunge scene not only listened to the music, they began dressing like the musicians as well. Major record labels attempted to jump on the bandwagon by signing bands with the grunge sound and promoting the grunge look. Their marketing led to “long-haired kids wearing tartan outdoorsy shirts and singing songs about pain, heroin . . . [and] unemployment” (Spicer 2006, 53). The grunge youth culture was being broadcast across print with Rolling Stone, Entertainment Weekly, the New Yorker, Time, and Newsweek featuring articles about the Seattle scene (Blecha 2009, 275). In 1992, the movie Singles also reflected the Seattle grunge style, bringing “about further public awareness and an opening wave of mythologizing of the grunge scene” (Blecha 2009, 274). This mass commercialization did not last long, yet it was significant to bringing punk and grunge to the forefront of popular music. The next chapter will discuss the process of curating music history exhibitions in detail, including the incorporation of unique design and interactive elements, the types of objects displayed, and an assessment of a few museums, both music and non-music focused, that have held such exhibitions. 33 CHAPTER 4 CURATING MUSIC HISTORY EXHIBITIONS In the previous chapters, curatorial roles and the exhibition design process were discussed (Chapter 2), as well as the history of popular music, including country, punk, and rock (Chapter 3). In this chapter, these two subjects will be integrated by reviewing the methods that curators use to develop exhibitions specific to popular music history. The idea of placing popular culture in a museum setting has endured many criticisms. Curators face many challenges when deciding what process to take when designing the exhibit in order to appeal to a wide audience. As a result, museums are establishing new approaches regarding the best ways to interpret music history, including using stimulating interactive media in the design. Curators must also research their collections to determine which objects are worthy of display in exhibitions. At times this may be difficult for music curators in which ephemeral objects are abundant and often not given proper justification in museums. Regardless, music curators must ensure they are providing the visitor with an accurate representation of the history. Popular Music in Museums and Criticisms of Music Exhibits Popular culture, specifically popular music, has not been welcomed within a traditional museum setting. Music scholar and museum professional Marion Leonard, examines this marginally researched topic extensively. Her research, as studied throughout this chapter, offers insight to curatorial practices with music exhibitions. As a curator of music exhibitions and an author of multiple books on popular music and museum work, she is considered an expert in this field of study. In her essay, “Exhibiting Popular Music: Museum Audiences, Inclusion and Social Histoiy,” Leonard argues, “Historically popular music has been ignored by museums both in 34 terms of collection and display” (Leonard 2010, 173). As a result, the museum sector is still developing methods to displaying the history and the collecting of objects on this contemporary subject. Leonard notes, that changes within the wider museum field have resulted in more museums engaging with those subjects: “The changing emphasis within the museum sector on outreach, social inclusion, and engagement, has arguably made museums more receptive to displays of and engagement with popular culture” (2010, 173). Encouraging engagement in the museum allows the curator to think broadly about design techniques with the goal of additional participation, rather than just observation. “Popular culture... is a delicate source in museum discourse because it encourages nostalgia” (Brabazon and Mallinder 2006, 98). Music is common to all people transcending culture and language. Music, as an exhibition theme, helps “audiences to overcome any ‘threshold fear’ which may have kept them from entering into and participating in the life of the museums” (Knifton 2012, 24). Fine art or history museums confront criticism from many angles when developing an exhibition on popular music. Art museums are tasked with adhering to a “high art agenda” or standard in their museums (Leonard 2010, 174). High art can be described as objects of fine art, such as painting or sculptures by renowned artists from centuries ago. Generally, contemporary art has had a “low art” connotation in museums. With popular music being a contemporary art form, it was often not considered worthy of display in traditional fine art museums, unless the objects are interpreted in relation to their aesthetic beauty or as a visual art show (Leonard 2007, 155). An example of this is the David Bowie Is exhibition curated by the Department of Theatre and Performance at the Victoria & Albert Museum in London. The artifacts chosen were meant to 35 specifically highlight his innovation in design, though his costumes, videos and staging (Broackes and Morley 2013). In addition, some music historians have also criticized music in museums, arguing that it goes against what some genres in popular music were fighting against, the “establishment.” Leonard describes this by stating, “the tendency of museums to isolate and reify material goes against the dynamic, experiential, transient and often anti-establishment nature of popular music cultures” (Leonard 2007, 147). As discussed in chapter 3, rock and roll grew popular because of teenage rebellion. Additionally, punk was developed from a hatred towards the establishment and the world. To some, museums are the epitome of the establishment, taking objects such as instruments, which were made to be played, and putting them in enclosed cases with curators providing their own interpretations of them. With criticism coming from all angles, the curators face their share of issues when attempting to develop and design an exhibition concept on popular music, notably how to display an intangible media. Leonard directly addresses this question in her article, “Constructing Histories Through Material Culture: Popular Music, Museums, and Collecting” (2007). She asserts that in order to do this, curators need to “capture or properly reflect the experience of listening to music and participating within its associated cultures in the static space of a museum” (Leonard 2007, 148). To experience the music, either by a personal listening device or in a live concert, plays a significant role in the culture of the music. By nature, museum curators look towards artifacts to help interpret history. As Leonard explains however, “the curation of popular music artefacts cannot stand in for, or be detached from, the sonic and bodily experience of music and the emotional and social ways in which it is experienced in time and space” (Leonard 2007, 36 148). The curator is then tasked to continuously develop new ways to incorporating the act of listening to the music within the exhibition. Another issue Leonard discusses is the “overproduction” of popular culture, meaning “that there is a glut of recordings and promotional material produced by the recording industry,” which can be displayed in the exhibit (Leonard 2007, 150). When feasible, museum collections try to represent all aspects of the history. Leonard argues that overproduction makes it impossible for any museum to collect all such artifacts (Leonard 2007, 150). Overproduction, as discussed in chapter 3, can misrepresent what is popular. Consequently, the surplus of ephemeral artifacts “might skew notions of what is worth keeping and preserving” (Leonard 2007, 150). The question then becomes: what should be collected and how should it be interpreted? It is the curator’s responsibility to make decisions on what object to add to the museum’s collections. Music museums should have a set collections policy in which the terms of collecting are predetermined, while the curators are responsible for developing the interpretation of such artifacts to correspond with the museum’s mission (Leonard 2007, 152). This may be difficult for traditional non-music museums, as often they are not as well versed in the subject and it may not be highlighted in their collections policies. Both music and non-music museums look toward the aid of private collectors to supplement the exhibit display through the loan or donation of objects. Although it can be beneficial to cultivate a relationship with private collectors, Leonard (2007) argues that this can prove challenging, as most private collectors have an emotional connection to the objects they have collected and may be unwilling to part with them. Furthermore, “high financial value accruing to many historical popular music artefacts may in itself encourage collectors to consider 37 selling these materials” at a cost some institutions may not be able to afford, “rather than donating them to a museum” (Leonard 2007, 164). Working diligently to develop and maintain relationships with collectors can be beneficial to gathering information on the subject history; however, it “does require an investment of human resources as developing relationships with collector’s place demands on curatorial time” (Leonard 2007, 165). Although interacting with private collectors can be difficult, often there are benefits to working with these types of collectors. Once a curator has finalized the exhibition checklist, he or she faces the difficulty of developing a compelling exhibition design that will wow audiences. Producing such an exhibit means that the design and interpretation must entice audiences to visit and inspire them to explore the subject further. As Leonard writes, curators often pull away from the everyday context of the music because they are attempting to provide a “blockbuster” exhibition, displaying highly desirable artifacts or display the artifacts in relation to art (Leonard 2007, 155). This, in turn, leads to the next issue, how can the curator tell the history in a new way? No matter which method a curator takes to displaying an exhibition on popular music history, they all encounter the problem of “attempting to reconstruct a tru[e] social history of popular music” (Leonard 2007, 156). They face the dilemma of replicating “versions of history constantly circulated by journalists, the media and in common critical discourse” (Leonard 2007, 156). Therefore, they can be accused of not developing new interpretations of the history, but instead, regurgitating what is already known of the subject. 38 Lastly, and quite possibly the most significant challenge curators face, is the lack of recognition of popular music as being culturally important (Leonard 2007, 164). Leonard believes that popular culture, be it music or something else, “might only be acknowledged, attributed or valued retrospectively” (Leonard 2007, 165). As with most historical artifacts, items associated with popular music may not be considered significant to an era until much later; therefore, such items can be difficult to find. A change in the definition of “historical artifact” may therefore be necessary when discussing popular music: “once we come to the realization that everything has potential value, depending on the perspective of the viewer, the focus for a curator changes” (Brabazon and Mallinder 2006, 98). As contemporary history continues to be seen in museums, the idea of “historical artifacts” in museums must adapt. Curators should pay attention to objects that hold potential value and significance to contemporary histoiy. For example, curators may want to accession listening devices to their collection, such as mp3 players or iPods, which can later be displayed in an exhibit of the evolution of music devices. Currently, these devices may not be considered significant because they are readily available to consumers and may not yet hold historic value. But within five to ten year, these devices may seem like archaic technology. Then, music museums will want to have these objects in their collection to help tell the story of the past. This is similarly seen with the museums now collecting objects such as vinyl records, cassette tapes, and compact disks. Teaching Popular Music History Musicology in academia habitually centers on music prior to the early 19th century. The history has been taught with a focus “on the development of styles and genres and the progress of musical techniques from primitive to highly evolved forms” (Burkholder 2009, 117). Music 39 courses are separated as music history and music theory. Peter Burkholder distinguishes the two components in his article, “Changing the Stories We Tell: Repertoires, Narratives, Materials, Goals, and Strateies in Teaching Music History” (2009). Burkholder states that “music theory classes focused on the methods and procedures behind this music” while the “music history classes focused on the history behind it and on understanding the pieces themselves” (2009, 122). Both are important to note when discussing the history of music. Over the past few decades, there has been a change in the study of popular music. Burkholder mentions this change in the field by stating, “very familiar music that we would never have considered including in our music history courses is now widely accepted as an integral part of the music history curriculum” (Burkholder 2009, 117). He was specifically speaking about popular music. To teach popular music, professors review a variety of related resources, including “chart books, A-to-Z directories, yearbooks, 1955-to-1975 type chronologies, almanacs, who’s whos, family trees and encyclopedias are by far the most common type of popular music publications” (Thornton 1990, 87). As an interest in popular music studies develops in the academic community, more publications become available for continuous study of the subject. Museums have also developed an interest for popular music history, and over the last two decades, have begun offering “temporary exhibitions focused upon popular music venues, artifacts, artists, and contexts” (Leonard 2007, 153). As a result, there have been new design and interpretation methods to develop these types of exhibitions in museums. Interpreting Music History 40 Leonard identifies three categories of ways museums have interpreted popular music history in exhibitions: “canonic representations, contextualization as art[,] and the presentation of popular music....represented as social or local history” (Leonard 2007, 153). Canonic representations can be defined as the presentation of culturally significant movements or events (Leonard 2007, 153). As Thornton notes, these types of events are recognized as significant because their importance is represented in “sales figures, biographical interest, critical acclaim, or amount of media coverage” (Thornton 1990, 87). When determining what to represent in the exhibit, a review of existing information on “events that have been given high levels of media and critical attention” is used as a primary source (Leonard 2007, 153). Leonard’s second method, contextualization of popular music as art, is most often the tactic used by traditional fine art or contemporary art museums. These museums curate the exhibit as “a visual art show or indeed to provide a justification for such a display by linking it to an historical art movement” (Leonard 2007, 155). The Contemporary Arts Center in Cincinnati, Ohio presented an exhibition with this method titled, Spectacle: The Music Video, the exhibit was later on display at the EMP. As the website describes, the exhibition “explores music video [s] as an important and influential art form in contemporary culture” (Contemporary Arts Center, 2016). Their Image 1. Music video interactive at the interpretation of the music videos shows its EMP. Photograph courtesy of the author. “influence on popular culture, music, cinema, 41 fashion and advertising” (Contemporary Arts Center, 2016). In one interactive experience within the exhibit, visitors are able to experience the music video “Take on Me” by the band A-ha by stepping into a life-size 3D scene from the video (Image 1). The exhibit is one of the first of its kind to highlight the historical aspect of music videos, a vital source to promoting popular music. The last method identified by Leonard when interpreting music history is presenting popular music as social or local history. When non-music museums have presented an exhibition on popular music, they do so “within their displays on the basis of the connection that certain musicians and music scenes have with their locality” (Leonard 2007, 156). Relating it to the local history of a town provides the museum with a justification for the subject because it is a piece of the city’s wider history (Leonard 2007, 156). One example of this is the exhibition, When Art Rocked: San Francisco Music Posters 1966-1971, presented by the SFO Museum located in San Francisco, California. At the height of the psychedelic music phase, a vast amount of graphic art was transforming the promotional marketing of music and becoming an art form in its own right. The exhibit presented posters, handbills and flyers “advertising rock concerts and dances in some of the city’s oldest ballrooms, most decrepit sports arenas and sweatiest dives” (SFO Museum, 2016). The exhibit, located in the international terminal of the San Francisco airport, served as a representation of a specific time in San Francisco history and visible to anyone walking through the terminal. When displaying popular music history, museums often choose to illustrate the history with artifacts exhibited in cases. Recognized as a necessity for preservation, vitrines, or cases, can hinder a public appreciation of an object’s context, particularly musical instruments. The object becomes detached from its history and in the process loses its original purpose as an object to be 42 played. When displayed in this way, the interpretation of the instruments is that they are only “to be gazed at” and visitors are to “focus on the art and craft of the musical instrument maker” (Edge 2000). In the article, “Music in the Museum: Some Problems in Collecting & Interpreting the Technologies of Pop,” author Kevin Edge highlights this problem by arguing, “all musical instruments upon entering a museum are effectively silenced and decontexualised” (Edge 2000). He says the music itself is not being address in museums because curators are still learning how to induce it in a museum setting. In doing this, the “musical text is lost; the context of performer, performing space and audience obscured [are] lost” (Edge 2000). Removing the music and placing historical objects in a conventional museum setting changes the interpretation for the visitor. So what are museums doing to change this? With the inclusion of interactive media, sound recordings, and other sensory tools, music museums are breaking the mold of a traditional museum. Curators can reinsert the musical context by using audio and video interactives in unique ways that open the door to learning about the history of music, rather than looking at the instruments in a case and reading didactic panels of hefty text (Edge 2000). The information presented should be visitor friendly. This means didactic text should be limited, written for all reading levels, and keeping the general knowledge of the visitor in mind in regards to the subject (Leonard 2010, 176). Museum exhibitions should support engagement. As Leonard emphasizes, “Studies of the ways in which people engage with exhibitions show that visitor interpretation draws on the existing experiences and knowledge base of visitors beyond the content of the exhibition[,] thus contributing to the overall learning experience” (Leonard 2010, 176). As chapter 2 discussed, evaluations, can aid in determining visitor’s knowledge base when preparing for an exhibition. When designing exhibitions, we must 43 provide an overall learning experience. This can be done through the inclusion of a variety of interactive elements, as discussed below. Interactive Media in Music Exhibits To effectively present exhibitions on music history, curators consider different methods to providing sensory tools for the visitors. People retain more information when they use multiple senses, as opposed to just sight (Dean 1994, 27). Hands-on science museums have been exploring this method more actively with exhibits that involve using all senses. The same principal approaches can be taken in music museums. One approach is to allow visitors to learn how to play musical instruments within the museum. The Experience Music Project demonstrates this with their permanent gallery, the Sound Lab. The gallery is a multimedia installation with “hands- on interaction so that visitors can explore the tools of rock ‘n’ roll through electric guitar, drums, samplers, mixing consoles, and more” (EMP 2016g). Visitors can step in to open booths with glass walls were they can view others playing different instruments and even play along with them. A list of well-known songs is provided with instructions on how to play them with the instrument that has been selected. Enclosed soundproof rooms allow visitors to practice their vocals, play instruments or learn to manipulate music through professional sound boards used in the studio. Additionally, there is a Jam Studio in which a group of people can play and record a song. After the recording process is completed, a ticket prints out with an online link and a code to download the song on a computer; allowing the visitor to remember their experience long after leaving the museum. In the book, Connecting Kids to History with Museum Exhibitions, John Russick analyzed the exhibit in the chapter titled “Making History Interactive” (2010). He emphasized that playing the instruments taught him the significance of “learning by doing” 44 (Russick 2010, 223). Although he is not an experienced musician, he understood “the ideas, the emotions, and the history that inspired that museum” (Russick 2010, 223-224). Through the Sound Lab, visitors can experience firsthand what it is like playing, recording and mixing music (Russick 2010, 223). By teaching how the music was created, the visitor is compelled to appreciate the process when listening to their favorite song. Other interactive components may include documentary-style videos displayed throughout the exhibit, which provide historical context and additional information on the subject. At the All Eyez on Me: The Writings of Tupac Shakur exhibition at the Grammy Museum in Los Angeles, California, the exhibition featured six videos playing interviews with Tupac, his family and friends, as well as some of his music videos (Image 2). Each video station had two sets of headphones attached so visitors could hear the interviews better, over the music playing through the exhibition. An enclosed booth, with a Image 2: Video screens with headphones cushioned seat, also plays additional displaying interviews and other footage of Tupac at the Grammy Museum. Photograph interview footage of the rapper. Some of courtesy of the author. the videos displayed include rarely seen videos of the departed rapper, giving visitors and fans something new to see (Grammy Museum, 2016a). Some exhibitions can also provide a fully immersive environment by encouraging the visitor to engage in physical activities to experience different aspects in the music culture. 45 Interactive technologies can be used that “attempt to evoke the emotional kinaesthetic experience of being in a gig venue, for example” (Knifton 2012, 23). In addition, perhaps the design of the exhibition looks like a music venue with the focal point being the stage. As is the case of some historical site museums. The Grand Ole Opry and the Ryman Auditorium, both in Nashville, Tennessee, provide a visitor experience with the stage as the wow factor. As mentioned in chapter 3, the Grand Ole Opry was a broadcast showcase for country musicians. Originally recorded at the Ryman Auditorium, the Opry later moved to its current location a few blocks away. Both buildings are considered historical sites and provide tours daily. The Grand Ole Opiy stage is a pivotal part of the tour, as visitors get to walk on the iconic stage, hold the microphone and can have a photograph taken. Standing on the stage invokes emotion for any country music fan who knowns the artists that have also stood and performed on that very same spot. Another interactive experience involves the visitor dancing to the music being discussed. Although it is an unorthodox design element for a museum setting, encouraging dancing can allow the visitors to enjoy a less formal setting. An example of this is was done at the Museum of History and Industry in Seattle, Washington in the exhibit, The Legacy of Seattle Hip Hop. Within the exhibit is a break dancing floor adjacent to a tablet station with a “how-to” video on the basics of break dancing. The video incorporates the step-by-step tutorial with popular hip-hop music from Seattle artists. The exhibit aims to communicate Seattle’s “growing Hip-Hop culture through audio recordings, photography, artwork, artifacts, and more” (Museum of History and Industry, 2016). As the website describes, the mission of the exhibit is to explore the city’s “Hip- Hop scene, including graffiti, deejaying, break dancing, production, and emceeing, linking our region to the continuously evolving global Hip-Hop movement” (Museum of History and 46 Industry, 2016). Providing a break dancing floor gives the visitors a fully immersive experience of the culture of hip-hop; however, as in any museum, curators must decide what the appropriate level of content is for the exhibit. When an abundance of content is available on a popular music musician, it is the curator’s responsibility to filter the narrative of the exhibit to the visitor. The curator may also integrate additional material for the visitor through a tablet device. At Graceland, the home of Elvis Presley, tablets are used to present all interpretative material. As the website declares, Graceland is the second most visited home in America, after The White House, and in 1991, was listed on the National Register of Historic Places (Elvis Presley Enterprises, Inc., 2016a). Having over 500,000 visitors a year, the estate arranges every aspect of the tour to ensure a cohesive and memorable experience for every single visitor. Once visitors choose their tour experience from one of the five available options, each guest is given an iPad and headphones, and they are then shuttled to the mansion. The mansion tours are advertised on the website as follows: As you step inside Graceland Mansion, you will follow in the same steps as Elvis himself on a multimedia iPad tour narrated by John Stamos, featuring commentary and stories by Elvis and his daughter Lisa Marie. See where Elvis lived, relaxed and spent time with his friends and family. Graceland tours offer a very personal look inside the home of the King of Rock fnf Roll (Elvis Presley Enterprises, Inc., 2016b). As visitors walk through each room of the estate, the iPad, linked wirelessly, starts the narration about the room and the objects in the room. After a sufficient amount of time passes, the iPad directs the visitor to move forward, detailing the steps to take; specifically guiding visitors through a hall way, stairwell or outdoor garden area towards another building on the estate. As the visitor goes through each area, the iPad provides exact images of the space and links to obtain 47 additional information, or to see photographs or video footage. The visitor can decide how much material they want to look at independently. Using Sound One of the biggest challenges to developing an exhibition on popular music is the inclusion of the actual music. As Edge notes, “sound itself is a temporal, immaterial and subversive phenomenon that rarely permeates the spaces of the orthodox museum unregulated” (Edge 2000). Sound is often omitted in museums because it is considered distracting “noise” that “disrupts scholarly concentration” (Edge 2000). Exhibits are often quiet spaces where visitors can enjoy the displays and read the didactic panels with minimal distractions. This makes curating an exhibit focused on popular music difficult to execute. Many curators are concerned with the potential of “sound 'leaking5... thereby distracting and misleading visitors” (Edge 2000). When visitors are standing in one section of an exhibition and hear music permeating from another area, they are more likely to lose interest in reading informational panels and walk towards the music, especially if they recognize it. Additionally, the concern of the “technical reliability of reproductive audio equipment in the gallery” is raised (Edge 2000). This could be aided with the addition of a technical sound engineer hired on staff to monitor the equipment. However, it is often the case that the budget only allows for the funding of equipment during installation and not for additional staff to monitor it or to purchase replacement equipment (Edge 2000). Although this can be a legitimate concern for the curator, they must not be deterred from integrating music into the design of the 48 exhibition. Including music is vital to its interpretation because it invokes a reaction from the visitors, “often demanding] a physical, toe-tapping, sociable response” (Edge 2000). When introducing sound in an exhibition, it is imperative to consider the “creation, quality, and presentation” (Reddick and Stefancic 2014, 341). Michael Stocker provides suggestions to sound design in his article, “Exhibit Sound Design for Public Presentation Spaces” (1994). He writes: If sound is an exhibit element, consideration should be given to: whether the quality of the sound is easy to listen to; whether the sound presentation conflicts with other perceptual cues of the exhibit; whether the amount of spoken information is too cumbersome to convey easily the objectives of the exhibit; and whether the sound presentation captures the listener and does not just add to the overall noise level in the exhibit environment. (Stocker 1994, 178). Considering each of these elements can provide an enjoyable, educational experience for the visitor. The inclusion of sound can “be used as an enhancement to a visual or tactile exhibit, or act as a complete presentation in itself’ (Stocker 1994, 178). When the presentation requires listening to the music, curators can create another immersive environment for the visitor (Reddick and Stefancic 2014, 341-342). For example the exhibition, Vinyl: The Sound and Culture of Image 3: Turntable station at the Records, at the Oakland Museum of Oakland Museum of California. Photograph courtesy of the author. California, explored “the social and cultural 49 phenomenon of listening to, collecting, and sharing records” and provided a complete hands-on experience (Oakland Museum of California, 2016). The exhibit “invite[d] visitors to become a part of the exhibition itself,” by flipping through crates of records, which the visitor could then play on one of the six turntable listen stations (Oakland Museum of California, 2016). The exhibit taught visitors how to use a turntable and how to deejay (Image 3). It also encouraged the visitor to notice the album art, with a section of the exhibit dedicated to photographing yourself with the album, creating humorous photos in which the visitor covered themselves with album art featuring faces or other body parts. For curators, incorporating the element of sound in a museum setting involves a series of trial and error approaches. To experience the music, curators may include direction speakers, which may contribute to ‘sound bleeding.’ However, using speakers “involves less structural change to the museum than sound booths and are potentially more cost-effective” (Baker, Istvandity and Nowak 2016, 74). Sound booths are enclosed spaces and are commonly seen in larger music museums, such as the Grammy Museum’s permanent interactive exhibit, In the Studio. The enclosed glass booths offer touch-screen interactives with film footage explaining different aspects of the recording process. The website describes the experience as being “just like in a real studio” where guests are able to “hear the consequences of the creative and technical choices they make, and experience firsthand the challenge and satisfaction of making great music” (Grammy Museum, 2016b). Another way to limit the potential of sound bleeding while watching videos is with a sound dome. The idea is that the visitor must stand in a specific spot under a small dome with a speaker attached (Image 4). The Johnny Cash Museum, in Nashville, Tennessee has an example 50 of this in their Legends o f Sun Records exhibit. The domed speaker plays oral histories and music samples, while visitors watch a video monitor in front of them. The sound is contained within the space of the dome and cannot be heard by others standing nearby. The most commonly used equipment in a music exhibition is headphones. Headphones “allow for the inclusion of multiple sound experiences within a single gallery” (Baker, Istvandity and Nowak 2016, 75). For example, music and oral history can play simultaneously Image 4: Domed speakers in the Johnny Cash Museum. on a recording. Additionally, headphones allow visitors to Photograph courtesy of the listen at their own pace. The Rock and Soul Museum in author. Memphis, Tennessee embodies this method with self- guided headphone tours. Numbers on displays, didactic panels with music samples and certain artifacts correspond to tracks loaded onto provided listening devices. This allows visitors to “tune in” to as much as they want, giving them the freedom to continue through the entire museum independently from their group. Computer kiosks or video monitors can also be a useful source to include multiple people. Stocker describes them as “talking boxes” that “try to maintain a ‘sound field’ in an exhibit space” (Stocker 1994, 180). Stocker argues against the use of the talking boxes; however, saying, even if the information is compelling “a visitor will be easily distracted from this type of presentation unless the talking box is isolated from other interesting sensations in the museum” 51 (Stocker 1994, 181). He suggests placing it in the comer of the exhibit or as a rest area with seats (Stocker 1994, 181). This method, along with extra seating, is useful in eliminating museum fatigue for the visitors, thus encouraging them to stay longer. All the methods mentioned above for incorporating sound in an exhibition are beneficial to telling the history of popular music. Watching video footage or listening to oral histories have “the advantage of carrying subconscious information without the ‘list of facts’ feel that a scripted production may have” (Stocker 1994, 178). Additionally, oral histories become a part of the museum’s collection that may be used in further research (Stocker 1994, 178). If the videos are shared publicly through the museum’s website or YouTube, visitors are able to go back and watch something they missed or can continue to learn about the exhibition subject. As we can see by the examples of exhibitions mentioned, playing music in the exhibits provides an outlet for the content in an informal format. This is important because “music is a rich and versatile tool for museums and communicates on multiple levels to visitors - intellectually, emotionally, and personally” (McRainey 2010, 164). When the visitor has fun and feels comfortable with the material, they will be more eager to learn more about it. In some cases, fans of the music are brought back to a memory of a specific time and place they first heard the music and are enthusiastic about telling their story to others in their group. This makes the music a “stimuli for cross-generational conversations and sharing of memories about ‘when I was your age’” (McRainey 2010, 165). To tell the full story of the history, objects are often used as the focal point of an exhibition. However, “the problem with the vast array of objects that make up popular music culture is that their effusive display can create a different form of ‘noise’ which might exacerbate the effects of sound bleed” (Baker, Istvandity and Nowak 2016, 77). 52 Collecting Music Objects Collecting and displaying objects representing music history requires a general knowledge in the types of objects that can be included. The visual display of a popular music exhibition usually includes “a range of material culture related to music which can include instruments and sound carriers through to stage costume and ticket stubs” (Leonard 2010, 173). These types of objects are used to contextualize the intangible music (Baker, Istvandity and Nowak 2016, 77). Considered the “ephemera of popular music culture,” these objects are often criticized for being labeled historical. It is the curator’s responsibility to display the objects in a way that signifies the “personal, cultural and collective memory” these artifacts evoke (Baker, Istvandity and Nowak 2016, 79). The curator must therefore “attempt to give music the place it deserves in these spaces, by associating memorabilia with sound in ways that produce perspectives of popular music history that can be viewed as both common and rarified” (Baker, Istvandity and Nowak 2016, 79). Displaying the artifacts as commonly used objects, allows the audience to relate to the history, however, highlighting the rarity, gives the artifacts historical significance. To further comprehend the significance of music exhibitions, the types of objects found in these exhibitions will be reviewed below. Types of Music Objects Leonard lists six categories of materials which are typically found in music collections (2007, 151). The first type of objects she mentions are those made for general commercial sales. This may include records, posters, and other merchandise (Leonard 2007, 151). The second category of objects are “manufactured material which was originally available only to a select 53 group (such as fan club releases, material sent to retailers and promo material sent to journalists and DJs)” (Leonard 2007, 151). These tend to be rare to find, as only a selected number of people had access to these objects. The third category is material created within the music culture, objects “by fans, promoters, artists, enthusiasts, etc.” (Leonard 2007, 151). They may also include materials “by a musician (lyric sheets, set lists, demos, etc.) which was not sold commercially in its original form” (Leonard 2007, 151). For fans, material by musicians are highly desired. Fourth, is “material which has a transitory exchange or promotional purpose such as concert tickets or billboard posters” (Leonard 2007, 151). Fans often collect these as inexpensive souvenirs and reminders of the concert experience. The fifth category, which is often the most seen in music exhibitions, is “clothing worn by musicians (including stage costumes) or by others which might typify the style of an era, music movement or following” (Leonard 2007, 151). The clothing not only tells the story of the musician but of the style and culture of time. These types of objects can also be seen in fashion exhibitions or as discussed earlier, exhibitions of canonic representations of culturally significant events. The last category of objects is those that have a “contextual relationship with a musician or music scene and which might not otherwise have a popular music association and may, in fact, otherwise be a mundane item” (Leonard 2007, 151- 152). This can be any object the artist may have touched or associated with, for example a sweaty towel used on stage. Although not mentioned on Leonard’s list, another category can arguably be instruments used by the musicians. Instruments are often seen in any music display. fn addition to the types of objects described, vinyl record collecting has become a main source for documenting the musicians’ work and their fans enthusiasm for collecting: “Vinyl not only embodies personal history, it also represents the original historical artefact” (Shukar 2010, 54 65). Initially, vinyl records were specifically for listening to the music. With ever-changing technology, however, buying music online has become the more common way of listening to albums. While vinyl records may no longer serve as the primary listening source, they continue to be purchased by fanatical collectors or music listeners who prefer the authenticity of vinyl. The history of the vinyl record is significant because it played a central role in the growth of the music industry. Vinyl recordings, such as the 45-rpm records were “particularly important as it was aimed at the pop market and [were] far more robust than the fragile 78-rpm disc which it replaced. Thus, the 45-rpm record could be distributed much more easily by smaller record companies” (Longhurst 2007, 93). This mass distribution of the records allowed people to buy them at an affordable rate. Many music fans kept the records throughout the years as memorabilia of the past, leading collectors today to continue the search for vintage records for their personal collections. In some cases, serious collectors, known as a completest, feel the need to acquire “every release by an artist or of a particular label’s catalogue” (Long, 2015, 68). The idea of consumption is not the primary act, as collectors have participated in the “private rituals of consumption including] (re-)cataloguing the collection; handling, playing and listening to recordings; and reading sleeve notes and admiring album cover art” (Shukar 2010, 109). Their adoration of the music and collecting practices have made it easier for historians and museums to find vinyl records for display, sometimes in pristine condition. Music fans have taken it upon themselves to archive popular music history. Their DIY collecting and archiving techniques are being viewed as vital to telling the complete story of popular music. Music collectors have their own communities of fellow fans in which they are able to share personal stories of the music or items collected . Some of these people have taking 55 the archiving process on themselves by “establishing places to store, and in some cases display publicly, the material history of music culture” (Baker 2015, 46). Collectors that strive to accomplish a complete history of the music by gathering every object associated to it are considered activist archivists (Carter and Collins 2015, 128). They focus on all aspects of the history and attempt to “construct archives of popular culture texts that might be ignored by those who curate formal archives or those that are commercially unavailable” (Carter and Collins 2015, 128). To make these archives available to others, activist archivists use “a variety of online platforms and digital tools, such as blogs and bulletin boards/Internet forums” (Carter and Collins 2015, 130). Providing public access allows other fans to interact with them and encourages them to share their personal relationship to the music (Carter and Collins 2015, 130). Working with such collectors can be very useful when picking objects for display in an exhibition. As Leonard points out, “for the purpose of popular music curation[,] private collectors must be seen as a resource in themselves” (Leonard 2010, 179). Therefore, the museum, and the curator, will first need to cultivate a relationship with the music community and collectors. Gathering information from them will ensure that the museum begins their archives with an abundance of information on the subject, before they even begin to receive object donations (Baker 2015, 54). A private collection “often consists, or at least contains, the ‘unspectacular’” (Leonard 2007, 157). Leonard describes these objects as the “everyday object,” as oppose to the “star objects” (Leonard 2007, 157). Everyday objects may be posters, tickets stubs, or any other objects related to a musician that were saved by fans. Star objects are legendary stage or video costumes, instruments used for special performances or other objects, usually those not publicly seen and therefore carrying more intrigue for audiences. Personal collectors cherish all of these 56 types of objects. Although these objects may have had a lower monetary value at the time of distribution, “it is precisely this nature of the collections that enable them to be so valuable for the historians or curator” (Leonard 2007, 157). Popular music collectors keep “throw away” objects that would have been lost over time because of their personal attachment to them or a memory of an event. As Leonard notes, “these materials would not normally find their way on the collectors market due to their cheap reproducibility which would accord them low financial value and their ‘throw away’ nature which means that such items are usually lost to time” (Leonard 2007, 157). However, the growth in the collecting market has changed museums’ perception of these memorabilia type objects: “second-hand records stores and fairs, online auction sites such as eBay, retailers specializing in posters and prints along with pop memorabilia sales by auction houses such as Christie’s and Sotheby’s are testimony to the substantial collectors’ markets for popular music” (Leonard 2007, 151). With limited funds to purchase these objects from auction houses, museums can borrow star objects from private collectors to fill in the exhibition displays (Edge 2000). When borrowing the objects, curators work closely with the lending collector to gather any historical background or personal history on the subject. Objects related to music history have rich stories but “often they are hidden, personal and implicit” (Knifton 2012, 23). Because of this, it is the curator’s responsibility to collect these stories from the collectors. To do this, the curator may document “their memories, experiences and systems of value” to help with the interpretation of the material (Leonard 2007, 163). These oral histories are firsthand accounts that can also play a role in the exhibition. “Indeed, it is these very stories and recollections which can aid the social history curator in constructing a sense of 57 what it was like to have lived through a particular period or participated in a particular music scene” (Leonard 2007, 162). Curators use these stories to “explore the different ways in which people make meaning through music and thus present voices and narratives that bring the subject alive and highlight the important role that music plays in everyday life” (Leonard 2007, 163). In addition, these histories provide “the socio-cultural contexts in which popular music has been produced and experienced as well as specialist knowledge on different music scenes, genres and practices” (Leonard 2007, 165). Although there is plenty of information that show the historical value of telling the history of music in museums, there are still many critics that argue against its ephemeral nature, as discussed below. Ephemera & Memorabilia vs. Historical Artifacts Often overlooked as noteworthy historical artifacts, popular music memorabilia has only recently entered into the museum collections as a significant part of our cultural history. Curators are continuously concerned with deciding what objects to add to the collection because they may later be consider a historically significant. This is often difficult with contemporary subjects since it cannot be determined until a later time. To comprehend history, we look at the objects that remain from the past and assess their value to our cultural history. We as humans have been saving musical artifacts for thousands of years: “The earliest traces we have are surviving musical instruments, the oldest a bone flute dating back before 36,000 BC” (Burkholder 2009, 123). For the history of music, we have four types of evidence that tell us about the past: “physical remains; images; writings about music; and music itself’ (Burkholder 2009, 123). As mentioned earlier, the physical remains can be 58 instruments used, clothing worn, album art, or any physical object relating to the artists. Some of the most commonly collected are paper objects, known as ephemera. According to the Merriam-Webster Dictionary, ephemera is defined as “paper items (as posters, broadsides, and tickets) that were originally meant to be discarded after use but have since become collectibles” (Merriam-Webster 2015a). Dr. Robert Kniftons supports this definition in his article, “Popular Music Beyond Text: An Academic Perspective on Popular Music in the Museum,” in which he identifies empherma in three ways (2012). Knifton states that ephemera is “the intangible nature of music itself’ (Knifton 2012, 22). Secondly, ephemera is “the fleeting production, realisation and experience of live performance” (Knifton 2012, 22). And lastly, he argues that it is “the tangible material culture which has not been designed to last and is often treated as throwaway - concert posters, tickets, handbills, stage banners, set lists, tour itineraries” (Knifton 2012,22). Although these objects were meant to have temporary significance, they are often the one thing kept by fans and collectors as keepsakes of their experience at a concert or a memory of their favorite musician. Like these objects, there is a “common cultural understanding or assumption that popular music is intrinsically ‘throw-away’ and ‘disposable’” (Leonard 2007, 150). This explains the “relatively small number of museums and arch i ves that are specifically concerned with the preservation and collection of these materials” (Leonard 2007, 150). With the rise of rock and roll, and the culture of consumption, record companies exploited the market by plastering objects such as, toys, posters, food items, with the faces of the musicians. In some cases, “the music wasn’t actually the most important thing, it was the context that was the most important thing, it was the records sleeves, the artwork, the photographs, the 59 costumes that the musician wore, the performance” (Broackes and Morley 2015). The accumulation of all these ephemeral objects are what we now see as priceless in telling the story of music history. Although these objects are considered memorabilia or “souvenir[s] of a particular experience,” they are also a part of a rich history (Leonard 2007, 160). Fans and collectors have made it known that these types of objects, although once considered to be a provisional piece of the music, play a significant role in reconstructing the past. Music fans have placed “considerable value on these objects because of their associations with their own lives relating perhaps to activities of music making, fan practice, work or leisure” (Leonard 2007, 162). Museums have begun to appreciate the cultural significance of popular music and are using memorabilia and/or ephemera to illustrate popular music history in exhibitions around the world. Once considered taboo, ephemeral objects, clothing and instruments used in popular music can now be seen alongside paintings from art masters because they too tell the story of how music, or the musicians themselves, have had an effect on our cultural history. Conclusion Curating exhibitions on popular music requires museums to adapt their traditional design methods in order to provide insightful interpretation of the rich history. Although popular music in museums was criticized for many years, museums are now supporting the idea of displaying it because of its strong representation of our cultural history. With the new interpretation techniques developed by curators, and the use of interactive media, visitors are able to appreciate popular music, while music fans finally get validation by having their favorite musician or band discussed in a formal museum setting. Using objects as a tangible representation while incorporating a sound element, with limited sound bleed of course, the exhibits provides the visitors with an 60 overall experience of the music history. As non-music museums continue to accept the idea of ephemeral objects as a legitimate representation of history, music museums will gain more acceptance in the museum sector for their representation of popular culture. The next chapter will outline the methods used in conducting research for this thesis. It will also describe how the case studies were selected and review the questions asked of content experts during interviews. 61 CHAPTER 5 METHODOLOGY In this thesis, curatorial practices in exhibiting popular music history in music museums are examined. Key questions to be investigated in this thesis include how curators and exhibit developers work to emphasize the significance of musicology as cultural history, and how interactive interpretation can engage visitors immersively. An important goal was to offer recommendations to museums that are considering integrating popular music history into their curatorial efforts. To examine curatorial practices in exhibiting popular music history, a literature review and case studies were conducted, as outlined below. Literature Review A literature review, presented here in chapters 2 through 4, was first conducted. Chapter 2 examines curatorial roles in museums, the exhibition design process, and steps to conducting evaluations. Key sources included chapters from The Manual of Museum Planning (1999) and The Manual of Museum Exhibitions (2002), both edited by Berry Lord and Gail D. Lord, Museum Exhibitions Theory and Practice (1994) written by David Dean, and the standards document developed by the American Alliance of Museums titled, “Standards of Museum Exhibition and Indicators of Excellence” (2012). In Chapter 3, popular music is defined, and a brief history of three music genres, rock, country and punk, is presented. These three genres were selected because each relates to an exhibition displayed in a case study, and because each is an important part of music history. Key sources included The Rise and Fall of Popular Music (1995) by Donald Clarke, Sonic Boom: The History of Northwest Rock, from “Louie Louie ” to “Smells Like Teen Spirit” (2009) by Peter Blecha, and Country Music, U.S.A (1985) by Bill Malone. In 62 Chapter 4, the curation of popular music exhibitions in museums is outlined. Key sources included two articles written by Marion Leonard titled, “Constructing Histories Through Material Culture: Popular Music, Museums, and Collecting” (2007) and “Exhibiting Popular Music: Museum Audiences, Inclusion and Social History” (2010), and an article by Sarah Baker, Lauren Istvandity, and Raphael Nowak titled, “The Sound of Music Heritage: Curating Popular Music in Music Museums and Exhibitions” (2016). In addition, the online article “Music in the Museum: Some Problems in Collecting & Interpreting the Technologies of Pop” by Kevin Edge (2000), and Michael Stockers (1994) chapter, “Exhibit Sound Design for Public Presentation Spaces” in the book Museum Management and Curatorship. A range of exhibitions that involve popular music is also discussed in this chapter to supply a framework for understanding curatorial and exhibition design approaches. As outlined above, books, journal articles, essays and websites in both museum best practices and music history were reviewed. In addition, several exhibitions mentioned in the literature review were visited to conduct an informal survey of the current landscape of music-themed exhibits. While visiting the museums in person, an assessment of the overall design, interactive media used, and objects chosen for displayed was done. The web pages associated with the museums visited were also reviewed to gather information on the museums’ mission, exhibitions, programs and collections. The exhibitions reviewed highlighted music history, and were located in art and history museums, music museums, and historical sites. Art and history museums that were visited included: 63 • The Legacy of Seattle Hip Hop exhibit at the Museum of History and Industry in Seattle, Washington. • Vinyl: The Sound and Culture of Records at the Oakland Museum of California, in Oakland, California. • When Art Rocked: San Francisco Music Posters 1966-1971, presented by the SFO Museum in San Francisco, California. The music museums that were visited included: • Spectacle: The Music Video, traveling exhibition originally exhibited at the Contemporary Arts Center in Cincinnati, Ohio, but exhibited at the Experience Music Project, in Seattle, Washington and visited by author at the EMP. • Sound Lab, also at the Experience Music Project. • All Eyez on Me: The Writings o f Tupac Shakur and In the Studio at the Grammy Museum in Los Angeles, California. • Legends of Sun Records at the Johnny Cash Museum in Nashville, Tennessee. • The Rock and Soul Museum in Memphis, Tennessee. Historical sites visited included: • The Grand Ole Opry in Nashville, Tennessee. • The Ryman Auditorium in Nashville, Tennessee. • Graceland, the home of Elvis Presley, in Memphis, Tennessee. Case Studies 64 Case studies of three museums in the United States that focused on presenting popular music history exhibitions were also conducted. Case studies consisted of three parts: information on a case study museum’s background, including its mission, history, educational programs, and recent exhibits; the results of interviews with curators, who served as content experts; and an assessment of the information presented above. Interviews were designed to provide insight into curatorial practices and exhibition design when popular music is involved. Case studies were selected through the following process. First, a search of music museums accredited by the American Alliance of Museums (AAM) was conducted (AAM 2015). However, very few museums were identified, so a search using the Google search engine was then conducted, using terms that focused on identifying non-profit music museums that displayed exhibitions on popular music. A preliminary list of twelve museums was then generated, focusing on the three most commonly identified musical genres: rock and roll/pop, country, and punk. Museum catalogs and websites for each of the twelve museums were next reviewed to examine each museum’s mission and scope, the specific subject emphasis of its exhibitions, and its budget. The exhibits on display, determined from catalogs and websites, as well as the museum’s curatorial team, were also reviewed as part of narrowing down the twelve potential case studies to a final list of three. An important consideration in selecting the final three case studies was access to the curatorial team that had actually developed and implemented the exhibit. In some cases, members of curatorial teams moved on to new positions, and if they were indeed no longer associated with the organization, they were eliminated from consideration. 65 In the end, The Rock and Roll Hall of Fame and Museum in Cleveland, Ohio, the Country Music Hall of Fame and Museum in Nashville, Tennessee, and Experience Music Project in Seattle, Washington were selected as case studies. Each organization focuses on general music history and their current exhibitions are relevant to one of three musical genres examined in the thesis. All three case study museums were visited in person. An informal visual assessment of the exhibitions was conducted reviewing the design, use of interactives and sound components, and the types of objects chosen for displayed. Content experts at each case study museum were then identified, based on their curatorial positions and their involvement in specific exhibitions. The first study focused on The Rock and Roll Hall of Fame and Museum in Cleveland, Ohio. Associate Curator Meredith Rutledge-Borger was interviewed via email concerning the exhibition, Right Here, Right Now, on September 2, 2015. Right Here, Right Now is an ever- changing space which displays contemporary musicians in the rock and pop scene, and is a part of a larger gallery space that encompasses the history and development of rock and roll. The second case study focused on the Country Hall of Fame and Museum in Nashville, Tennessee. Curatorial Director, Mick Buck, and Museum Editor, Michael Gray were interviewed in person on October 6, 2015 regarding the exhibition, Dylan, Cash and the Nashville Cats: A New Music City. The exhibition highlights folk musician Bob Dylan’s time in Nashville, and country musician Johnny Cash, who used his television variety show to infuse the genres by having artists such as Bob Dylan perform with him. The heart of the exhibition is in the displays and histories of the lesser known studio musicians, known as the “Nashville Cats,” who worked with countless musicians across both country and rock genres. 66 The third case study focused on Experience Music Project in Seattle, Washington. Senior Curator Jacob McMurray was interviewed in person on November 16, 2015, regarding the exhibition Nirvana: Taking Punk to the Masses. The exhibition includes a history of the music scene in the Pacific Northwest in the early 1990s, which is specifically known for popularizing punk music. It displays artifacts from the band Nirvana and their rise to fame, as well as interactives that highlight the evolution of punk music. Interview Questions A selection of thirteen questions developed for the interviews with the content experts are presented in detail below. Four key areas were examined in the questions: curatorial, research, exhibition development, and evaluation. Each of the content experts were asked the same set of questions to keep information gathered consistent. Curatorial. The first question in the curatorial section asked why the museum decided to tell this story at this particular time. This question was asked because it is crucial to understand why certain musical artists were chosen over others. With popular music being very selective and changing constantly, it is important to understand why an exhibition topic and its context are significant at a particular time. The second curatorial question asked who the target audience for the exhibition was. This question was asked because it identifies the specific audience the curators were targeting such as historians, fans of the musician(s), or a specific age group, etc. The third curatorial question focused on how the curators and exhibit developers structured the history of the musicians in the exhibit, and how or why were these decisions made. 67 This question was asked because examining the structure of an exhibit helps in understanding what information is essential to include in an exhibition about music history. Research. Question four asked what primary methods of research were used in developing the exhibition. This question was designed to examine what materials were used, such as books, articles or oral histories, in gathering information for text panels, exhibition catalogs or books, or for general context. The next research question asked if the curator or exhibition development group assembled a panel of advisors in developing the exhibition, and if so, what type of advice did they give the team. A follow up question asked if the team was involved in content development, including an outline of the exhibition, selection of items, etc. This question was asked because it is important to know if advisory panels were used because such panels may exert great influence in the exhibit theme or content. In cases of a strong advisory panel, with people who may have even known the artist, the curatorial role might be changed to become more of a project manager who looks to the panel more for general themes, design and context. Exhibition Development. The third set of questions focused on the exhibition development stage. Question six asked what the timeline was for the planning of the exhibition. This question was asked because larger institutions often have more time to plan the exhibit compared to smaller ones. The size of the curatorial team can affect the timeline as well. Question seven asked which member of the staff at the museum finalized the exhibition object checklist, and why. This question was asked to provide insight into the organizational structure of the museum, and specifically into the curatorial department. 68 The next exhibition development question asked if there was an exhibition design plan. If so, the question also asked if the plan was fully documented, and whether it was formal or informal. This question was designed to access and assess the curatorial process. Question nine asked how sound and other sensory tools were used or developed in exhibition development. This question was asked because music museums have unique opportunities for including sound within exhibits that directly correlate with the theme or artist. It is important to understand the different methods curators may use with sound or interactive sensory tools because they allow the visitors to engage in the exhibit and perhaps find more ways to engage with the exhibit. The last exhibition development question asked if staff consulted with artists or music experts in the design, object displays, and or interpretation of the exhibit. The artists whose objects or stories are being told may want input in the design. Curators may also seek advice from music experts to ensure the interpretation of objects and the artists are being written and presented factually to the museum audiences. Evaluation. The final set of questions discusses the evaluation process. First, curators were asked if an evaluation of the exhibition had been completed and if so, was it a formal or an informal evaluation. Evaluations of the exhibitions allow the team to ensure they are providing the audience with exhibits that are unique, comprehensible and interactive. To do this, the team will need to review the evaluation results. Question twelve followed up by asking, if the evaluation was conducted, how were the results used and what conclusions were drawn? 69 The last question of the interview asked the following: “What curatorial or design issues did the museum face in developing and presenting an exhibit that focuses on popular music?” This question was asked to explore issues that are specific to music museums in light of the ever- changing nature of popular music. Assessing these issues will also allow for recommendations to museum professionals on future exhibitions. The following three chapters present the case studies mentioned above, and as mentioned previously, include an overview of the museum’s history and mission, the results of the interviews with the curators, and an analysis of each case study. 70 CHAPTER 6 ROCK AND ROLL HALL OF FAME AND MUSEUM Museum Background The Rock and Roll Hall of Fame and Museum (Rock Hall) is a 501(c) (3) non-profit museum located in Cleveland, Ohio. It opened its doors in September 1995 (Rock Hall 2016c). The museum was created by the developers of the Rock and Roll Hall of Fame Foundation. The museum displays “a brilliant retrospective on the emergence and consolidation of rock and roll as the most popular music form of the second half of the twentieth century” (Reising 2001, 497). As indicated in the mission statement, “The Rock and Roll Hall of Fame and Museums’ mission is to engage, teach and inspire through the power of rock and roll” (Rock Hall 2016d). The website continues by stating the mission is carried out “through its operation of a world-class museum that collects, preserves, exhibits and interprets this art form...through its library and archives as well as its educational programs” (Rock Hall 2016d). To understand the background of the museum, we must first review the history and purpose of their parent organization, the Hall of Fame Foundation. Hall o f Fame Foundation The Rock and Roll Hall of Fame Foundation was founded by Ahmet Ertegun, the cofounder and chairman of Atlantic Records, now part of the Warner Music Group. In 1983, Ertegun sought to group together executives from the music industry, and cleverly named them, “the Funky Nine” (George-Warren 2011, 7). The group was comprised of a Rolling Stone publisher and editor, the cofounder and president of Sire Records, music producers, a music 71 attorney, and a record executive, to name a few (George-Warren 2011, 7). The idea of the foundation was to honor artists “twenty-five years after the release of his or her first recording and whose work has had a long-lasting significance and made an impact on the history of rock” (George-Warren, 2011 7-8). They also included honorees such as, “DJs, producers, journalists, songwriters, inventors, and music executives- nonperformers whose work perpetuates rock & roll” (George-Warren 2011, 8). The first induction ceremony was held in 1986, the same year the site for the museum was determined (Rock Hall 2016a). With the foundation located in New York, the location of the museum was highly debated. Many cities were competing to host the museum, and some offered to financially support it (Hiatt 2009, 102). In the end, Cleveland won the bid by offering “$65 million in municipal aid” (Hiatt 2009, 102). In addition to proving funds, “more than half a million of the city's residents signed a petition” of support (Hiatt 2009, 102). In addition, well-known musicians helped by writing letter of support for Cleveland to be the museum’s home (Hiatt 2009, 102). Some believe that the city rallied for support because Cleveland is said to be where former radio DJ Alan Freed coined the term rock and roll. In September, 1995, the museum opened to the public (Rock Hall 2016a). The project took over nine years to complete. Nearly two-thirds of the $92 million of funds it took to build the museum came from Cleveland businesses and political communities (Harrington, 1996, D07). To celebrate its opening, the museum had a special benefit concert event that included performances by the “Allman Brothers, Chuck Berry, James Brown, Johnny Cash, Bob Dylan, Aretha Franklin, A1 Green, Jerry Lee Lewis, John Mellencamp, Iggy Pop, the Pretenders, Bruce Springsteen, Brooker T. & the MG’s and others” (Rock Hall 2016a). 72 The Architecture The Rock Hall sits at the waterfront of Lake Erie. The 150,000 square-foot building was designed by international architect I.M. Pei (Rock Hall 2016b). A 162-foot tower is adjacent to “a dual-triangular-shaped glass ‘tent’ that extends (at its base) onto a 65,000 square-foot plaza, providing a dramatic main entry facade” (Rock Hall 2016b). According to the website, the museum contains over 55,000 square-feet of exhibition space, administrative offices, a museum store and a cafe (Rock Hall 2016b). Visitors can spot the first artifact in front of the museum before even entering; a tour bus owned by Johnny Cash. An interpretative panel details Cash’s career and tour life. Collections The collections at the museum include, “instruments, lyrics, stage costumes, diaries, albums, stage sets, concert programs, rare photographs, and old film footage, among thousands of other items” (Santelli 1997,97). As described by Reising, the museum’s collection contains the “‘crazy diamonds’ of the rock and roll era” (Reising 2001, 490). Former curator, Jim Henke, discusses collecting the objects at the developing stages of the museum in Brian Hiatt’s article, “Hall of Fame: Inside the Hall” (2009). Hiatt noted that Henke had to specifically inform artists of the museum’s need for collections, stating, “We don't just want autographed guitars on the wall - we want real stuff that you used and was important to your career, and we want to tell stories with this stuff’ (Hiatt 2009, 102). With their wide collection and abundance of space, the museum provides over 8 permanent exhibitions and 5 temporary exhibitions. Exhibitions 73 As the leading museum of rock and roll history, the curatorial team needed to create its own mold to designing engaging music exhibitions. The museum contains six levels of exhibition space with numerous displays that can keep a visitor captivated for hours. Some exhibits are separate and contain their own gallery space; however, a majority of the exhibits flow continuously from one to the next, providing a chronological overview of rock and roll history. The Exhibit Guide, which is provided to visitors when entering the museum, lists all the exhibitions in the order they appear so that visitors may follow the intentionally designed layout of the museum (Appendix Q.9). Some of the museum’s permanent exhibitions include: Experience the Music: One Hit Wonders and the Songs that Shaped Rock and Roll, in which visitors can scroll through and listen to music on touch screen computers; Kick out the Jams: The Music of the Midwest, exhibit that highlights the music scene all over the Midwest; Cleveland Rocks, which displays artifacts from artists who emerged from Cleveland; Cities and Sounds, which looks at about nine cities and the musical movements and developments from the early 1940s to the late 1990s; The Roots o f Rock and Roll: Blues, Gospel, Country/Folk/Bluegrass and R&B, a chronological history of rock and roll and its beginnings; Listen to Music: The Evolution o f Audio Technology, where one can track technological advances and their effects on music; and lastly, Right Here, Right Now, which discusses contemporary artists and will be reviewed in more detail later in this chapter. In addition to these exhibits, there are at least seven exhibitions that highlight individual artists, bands or key people in the industry who have made a significant impact to rock and roll. These exhibits include: The Legends of Rock exhibition, which contains display cases featuring the Beatles, the Rolling Stones, Jimi Hendrix, the Doors, U2, David Bowie, Michael Jackson, the 74 Who, and the Supremes; Elvis, featuring guitars and clothing he wore; The Architects o f Rock and Roll featuring Les Paul, Alan Freed and Sam Phillips, which looks at the careers of these three iconic people in music history; and Pink Floyd: The Wall, a larger than life model of scenes and characters from the film and album art. The museum also continues to commemorate those inducted to the Hall of Fame with a display in the Hall of Fame Inductee Gallery. The gallery continuously plays the previous inductee ceremony on a large theatre screen. A long hallway displays signatures from all the inducted artists. At the end of the hallway is “a modest amount of wall space dedicated to [the] careers” of the current inductees (Reising 2001, 492). Although named after the foundation, the Hall of Fame Inductee Gallery is only one exhibit area, which take up less than 20 percent of the museum’s total space (Hiatt 2009, 102). With the abundance of exhibitions available, it is of no surprise that the museum offers public programs that also fit with the context of the museum. Public Programs The museum has successfully established itself as an educational institution with the focus to “interpret rock and roll history and identify how rock has affected society” (Santelli 1997, 97). They do this through their various public programs. Over the last decade, there has been a rise in popular music studies in schools and the museum actively supports education by sponsoring teacher and academic conferences, and student internships. In addition, it hosts in- house debates between rock’s major critics and historians, offers classes in rock history and is home to a library and archival research center (Santelli 1997, 98). According to the website, they also offer “performances, artist interviews, lectures, community festivals, film screenings, and 75 conference in venues both on and offsite to help the Museum reach expanding audiences” (Rock Hall 2016g). The Rock Hall also invites inductees to participate in programs including lectures, performances and open forums with fans and scholars (Santelli 1997, 98). In the “Legends Series,” some of the biggest names in rock history are invited for “an intimate interview session and sometimes impromptu performances” (Rock Hall 2016g). There is also the program, “Songwriters to Soundmen: The People Behind the Hits.” This lecture series discusses what happens in the studio, from writing a song, to recording it, and playing it live on stage, all from the perspective of the men and women behind the scenes (Rock Hall 2016g). As noted by Santelli, the original goal of the museum was to be “first and foremost, an educational institution” (Santelli 1997, 97). Through these programs and exhibitions on display, they continue to do what they can to be a leader in rock and roll education. Library and Archive The library and archives were developed in partnership with the Case Western Reserve University (CWRU) (Rock Hall 2016f). As stated by the website, “the resources of the Rock Hall’s Library and Archives will support various curricula at Tri-C [Cuyahoga Community College], CWRU, Cleveland State University, Kent State University, and other institutions of higher learning in Northeast Ohio” (Rock Hall 2016f). The library is located at Cuyahoga Community College. The 22,500 square-feet of space sits in the Center of Creative Arts building on campus, which is two miles away from the museum (Rock Hall 2016f). The mission of the library and archives, as stated on the website is: 76 To collect, preserve, and provide access to these resources for scholars, educators, students, journalists, and the general public in order to broaden awareness and understanding of rock and roll, its roots, and its impact on our society (Rock Hall 2016e). With one of the most comprehensive collections of research material on the history of rock and roll, they strive to provide the public with as many resources as possible on the music’s history, the people associated with it or anything else related to rock and roll. In addition to the books available, the library also has three to four display cases highlighting a few objects in the museum’s collection. Right Here, Right Now Exhibition The exhibition, Right Here, Right Now focuses solely on contemporary musicians (Image 5 & 6). It is located in one gallery, with 1018 square feet of floor space and approximately 90 feet of wall space (Rutledge-Borger, 2015). The space follows after the displays of Jimi Hendrix and the Doors in the Legends o f Rock exhibit. As Image 5: View of the right side of exhibition the museum describes- * * * Here’ RIZhl when entering gallery, Rock and Roll Hall of N ow detai]s the ..evo|ution of rock and ro|| Fame and Museum. Photograph courtesy of author. and its impact on the next generation of artists by taking visitors on an intimate journey into the stories of chart-topping acts” (Rock Hall 2016h). The exhibit discusses 16 contemporary musicians and bands through artifacts on display 77 and interpretive panels for each act. The artists and bands currently featured are: Lady Gaga, The Black Keys, Rihanna, Bruno Mars, Taylor Swift, Fitz and the Tantrums, Silversun Pickups, Katy Perry, Chvrches, Ledisi, Drive-by Truckers, Janelle Monae, Jason Isbell, Grace Potter and the Nocturnals, Fall Out Boy, and lm aSe 6: View of the left side o f exhibition when entering gallery, Rock and Roll Hall Alabama Shakes. of Fame and Museum. Photograph courtesy of author. A text panel for each musician provides a brief biography and lists four to six facts about them, including their influences or other musicians to whom they have been compared (Image 7). According to Associate Curator, Meredith Rutledge-Borger, the details on the panels were intended to highlight the idea of music being part of a continuum (Rutledge-Borger, 2015). The main text panel details the rise of technology and its effects on shared music. The panel also encourages visitors to listen to the music of Image 7: Display case and text panel, Rock and Roll Hall of Fame and Museum. contemporary artists and find the Photograph courtesy of author. connections to their predecessors, most of 78 whom are discussed throughout the museum. In the larger display cases (Image 8), video screens are also included to show the artist in action, usually wearing the clothing on display (Rutledge- Borger, 2015). The exhibit was designed to be concise and comprehensible (Rutledge-Borger, 2015). Curatorial Practices Right Here, Right Now was developed in 2000 and was previously known as On the Charts (Rutledge-Borger, 2015). The goal of the exhibit was to reach out to younger audiences and artists (Rutledge-Borger, 2015). Although the target audience is the younger Image 8: Display case with objects and demographic, the curatorial team tried to video screen, Rock and Roll Hall of Fame and Museum. Photograph courtesy make the exhibit appeal to all the museum of author. visitors, but especially those who has an interest in rock and roll history (Rutledge-Borger, 2015). This may include general visitors, fans, musicians, and historians, among others. With music constantly evolving, the curatorial team wanted the exhibit to recognize that rock and roll is a living art form and it is not exclusive to the past (Rutledge-Borger, 2015). To ensure this, the exhibit itself continuously evolves, displays are regularly changed to keep up with current popular music. Research 79 The development and research for the exhibit’s theme was exclusively done by the museum’s curatorial team, a panel of advisors was not consulted (Rutledge-Borger, 2015). When researching the topic, all and any types of sources available were used (Rutledge-Borger, 2015). As noted by Rutledge-Borger, sources included books, newspapers, periodicals, scholarly journals, oral histories and interviews, and television and film documentaries (2015). Exhibition Design The timeline for the exhibit, from design to execution, was about six weeks (Rutledge- Borger, 2015). As an evolving exhibit, the curatorial team alternates objects when there is a mass of new objects from a new musician that come to the museum (Rutledge-Borger, 2015). Therefore, the team is always looking to collect new objects for inclusion in the exhibit (Rutledge-Borger, 2015). The exhibits object list is finalized by the Vice President of Collections and Curatorial Affairs, Karen Herman, with input given by the Associate Curators (Rutledge- Borger, 2015). This format has allowed the team to work cohesively and efficiently to maintain the exhibition goals and shape the narrative (Rutledge-Borger, 2015). The curatorial team did, however, work with some of the musicians who are highlighted in the exhibit. Although the majority of the narrative was created by the curatorial team, some of the musicians wanted to be more hands-on with specific content (Rutledge-Borger, 2015). In some cases, this involved simply removing content the musician did not want detailed (Rutledge- Borger, 2015). Other situations were more complex, and involved more attention from the staff. Rutledge-Borger provided one example of an artist who wanted to include a career detail that was not consistent with the exhibit content and themes discussed with other artists (2015). The team 80 reconciled this by working with the artist to find a compromise that would be agreeable to all parties (Rutledge-Borger, 2015). The design plan was developed by the museum’s exhibit design team (Rutledge-Borger, 2015). The designer submitted several concepts for review (Rutledge-Borger, 2015). Once again the decision for the final design plan was made by the Vice President of Collections and Curatorial Affairs (Rutledge-Borger, 2015). With a formal design created, the team was able to begin work executing the exhibit. Sensory tools were used throughout the exhibit to engage the visitor with the content. Audio and video were incorporated as forms of context, as well as tools to illustrate examples of an artist’s work, sound, look and style (Rutledge-Borger, 2015). The main interactive media in the exhibit are two large touch screen televisions (approximately 45 inches) adjacent to the large object cases (Image 9). The screens are connected to the online resource Playback.fm, which allows visitors to play music videos of their favorite artists. Visitors can choose Image 9: Touch screen interactive featuring between several genres, then narrow Playback.fm, Rock and Roll Hall of Fame and their search by decades ranging from Museum. Photograph courtesy of author. the 1960s to 2010s, and narrow it further by year (Image 10). A list of songs is given in these categorizes for selection. When a video is chosen, everyone within the space can hear the music. This was problematic when two different videos were selected at the same time. The noise from 81 both screens, as well as from the music playing in the adjacent exhibits, was loud and often bled from playback.fm one space to the next. This, however, did not deter Chart: Rock visitors. The interactives were used frequently 60* 70* 80> 90 00* while observing the exhibit. Visitors looked 2001 comfortable exploring the touch screen and some i‘m Stupid (Don't W orry ‘Bout 98 displayed feelings of nostalgia watching music Me) P StH videos they have not seen in years. Others were Between Angels and Insects /1 Papa Ro , n also excited to share with their children some of Youth of the Nation 11 POD. their favorite songs from previous decades. 1 A live VI » ' ' Evaluation Image 10: Detail of selection screen, Rock and Roll Hall of Fame and Museum. Photograph Although the design and the research for courtesy of author. the exhibit was thorough, no formal or informal evaluations have been conducted at the Rock Hall (Rutledge-Borger, 2015). There was no reference as to plans for future evaluations on exhibitions. As a result, the success of the exhibition cannot be formally assessed. Challenges One of the main challenges facing the curatorial team is deciding which musicians are significant enough to include in the exhibit. Rutledge-Borger noted that with the constantly changing nature of popular music it is challenging to distinguish who will have a sustainable career and will therefore be worth highlighting within the museum (2015). The team is tasked 82 with determining if the audience will continue to know or care about the musician within a few months’ time (Rutledge-Borger, 2015). Considering that the process of implementing changes may take a few months, it is understandable that the team would want to ensure the artists they choose will be relevant to the museum’s audience at least a year or more after they are added to the exhibit. Analysis As the leading museum of rock and roll history, the Rock and Roll Hall of Fame and Museum provides an abundance of exhibition displays for their visitors to explore. Their comprehensive displays provide the visitor with an overall education of the history of rock and roll, including the music that preceded it and the other genres and musicians it inspired. The exhibit, Right Here, Right Now, tells the story of contemporary artists in a way that effectively relates them to the musicians of the past. When developing the content of the exhibit, the Rock Halls curatorial team implicitly followed AAM’s Standards o f Museum Exhibitions and Indicators o f Excellence (2012) by displaying an exhibition that is engaging and accessible to their visitors. When the visitor approaches the exhibit, for example, the first thing they see is a display case featuring the highly engaging and controversial meat dress worn by Lady Gaga on MTV’s Video Music Awards. The display draws the visitor into the exhibit space because they are intrigued by the outfit and want to see what else is on display. In addition, the curatorial team follows another important best practice outlined by AAM in the 2012 Standards by effectively communicating content through interpretative media (2012). 83 The Rock Hall does this by their use of video screens and photographs throughout the exhibit. The curatorial team’s decision to add these elements was done primarily to provide the visitor with a complete depiction of the artists. As stated earlier in the chapter, the video screens and photographs show the musicians wearing the clothes or playing the instruments on display. As Belcher (1991) argues, video footage is helpful in providing extended contextual information. Seeing the objects in use adds to their context making them more than just a static object in a display case. Furthermore, the large Playback.fm touch screens allow the visitors to hear different songs and see music videos throughout the decades. The curators are using the music itself as additional content. As Edge (2000) describes in chapter 4, using music and interactive media is one of the most effective ways to interpret music history, as it adds to the context and eliminates the need of lengthy text panel. Music videos can offer the viewer with an understanding not only a visual interpretation of the song, but perhaps the fashion at the time as well. Through these types of interpretative media, the Rock Hall’s curatorial team provides visitors with a significant amount of context on the exhibit theme. The issue detailed by Rutledge-Borger regarding the significance of a new artist, is a challenge often found by curators specializing in popular culture. As Leonard noted, the importance of most topics in popular culture is not acknowledged until sometime later (2007, 165), making it difficult to determine what to display when it comes to contemporary culture because it has not been given historical significance yet. As Brabazon and Mallinder suggest, curators need to be the first to realize the potential historical significance of popular music (2006, 84 98). The curators at the Rock Hall are doing just that by exhibiting contemporary musicians and identifying them as a significant part of history. In regards to the layout of the exhibition, the Rock Hall effectively designed the space to flow from the previous exhibit, Legends of Rock. One issue noted throughout the museum, however, was the undeniable sound bleeding through the exhibit spaces. Both Reising (2001) and Edge (2000), as noted earlier, characterized the issue, with Edge emphasizing how it can be distracting to visitors trying to immerse themselves in a display they are viewing, thus confusing the context of the object and the content of the exhibit. With music being a vital part of the story, the Rock Hall may want to look at the example at the Johnny Cash Museum mentioned in chapter 4. This museum used domed speakers located above the visitor to control the sound. Having control of the sound allows visitors to enjoy the displays and didactic panels without being easily diverted and losing interest in what they were viewing. Overall, the Rock and Roll Hall of Fame and Museum delivers a remarkable amount of content in their numerous exhibits and programs. The exhibit, Right Here, Right Now, provides visitors a way to understand the historical significance of a range of contemporary musicians to music’s general history. Through the objects on display, and especially the interpretive media and video footage, the curatorial team delivers an abundance of accessible content for the visitors. Furthermore, since the exhibit is at the end of the lower level of the museum, it completes the visitor’s journey through rock history. This allows visitors to reflect on what they have observed historically from the roots of rock, to rock legends, and finally to contemporary music. 85 In the next chapter, consideration of the Country Music Hall of Fame and Museum’s curatorial practices will conducted. 86 CHAPTER 7 COUNTRY MUSIC HALL OF FAME AND MUSEUM Museum Background The Country Music Hall of Fame and Museum, located in Nashville, Tennessee, originally opened in April 1967. The museum is a 501(c) (3) non-profit organization and is acknowledged by the American Alliance of Museums (AAM) as an accredited museum meeting best practice museum standards (2015). Their mission is outlined on the website as follows: The Country Music Hall of Fame and Museum seeks to collect, preserve, and interpret the evolving history and traditions of country music. Through exhibits, publications, and educational programs, the museum teaches its diverse audiences about the enduring beauty and cultural importance of country music (Country Music Hall of Fame and Museum 2015a). The Country Music Hall of Fame and Museum provides various exhibitions highlighting country musicians, an accessible collection of objects and sound recordings through the library and archives, and public and educational programs. The museum’s collection includes over “eight hundred stage costumes, over six hundred instruments, and hundreds of other objects-from microphones to automobiles-documenting the history of country music” (Country Music Hall of Fame and Museum 2015j). Public Programs The museums public programs include songwriter sessions, instrument demonstrations, film screenings, and an artists-in-residence program (Country Music Hall of Fame and Museum 2015b). Unlike an art museum, which might choose an artist such as a painter for their residency program, the Country Music Hall of Fame and Museum selects musicians to perform a series of 87 small performances that “highlight their career and explore their artistry” (Country Music Hall of Fame and Museum 2015c). To be selected, the artist-in-residence needs to have a “strong connection to country music or has a sense of country music's contribution to American culture” (Country Music Hall of Fame and Museum 2015c). The educational programs are held in the Taylor Swift Education Center. The Center includes: “Three classrooms, a videoconference lab, an interactive gallery, and more creating] an exciting learning environment for all ages” (Country Music Hall of Fame and Museum 20151). Open to all museum guests, the center offers hands-on activities and “programs that include curriculum-connected activities for school groups, tailored programs for toddlers, afterschool workshops for teens, and book talks for curious adults” (Country Music Hall of Fame and Museum 20151). There are also youth art installations and special artifact cases to view within the center. Architecture With its growing collection and need for more space, the museum moved in May 2001, to a 40,000 square foot building centrally located in downtown Nashville (McCall 2015, 3). After ten years, the museum needed to expand once more within its current location. The second expansion totaled its size to 350,000 square feet (McCall 2015, 3). The design of the building “celebrates country music’s origins and inspirations through many architectural details” (McCall 2015, 4). From above, the museum outlines a large bass clef (McCall 2015, 4). Windows in the front, which are positioned vertically, are meant to represent the black and white keys of a piano, while the “the dramatic sweep of the building’s concrete roofline recalls the tail fin of a late 88 1950s Cadillac" (McCall 2015, 4). The rotunda represents the small-town charm of water towers and grain silos. Compact discs, 78-, 45-, and 33-rpm records are represented by four concentric circles on the top of the rotunda, and "stone bars on the outside of the Rotunda symbolize the musical notes of the classic Carter Family song 'Will the Circle Be Unbroken"' (McCall2015, 5). Lastly, on the roof of the rotunda sits a replica of the WSM radio tower, which not only pays homage to the first station to broadcast country music across Nashville, but also looks like a church steeple, symbolizing the roots of country music's spiritual beginnings (McCall2015, 4). The Hall ofFame Although it is the home to the Hall of Fame, the museum is a separate educational organization and has no involvement in the election process of the Hall of Fame (Country Music Hall of Fame and Museum 2015h). However, "through a licensing agreement with the CMA, the Museum exhibits the bronze plaques commemorating membership in a space and fashion befitting the honor" (Country Music Hall of Fame and Museum 2015h). The Country Music Association (CMA) oversees the Hall of Fame. The CMA was created to honor the "significant contributions to the advancement of country music by individuals in both the creative and business communities" (Country Music Hall of Fame and Museum 2015h). To be recognized is considered one of the highest honors in country music. Members are elected by an anonymous panel and are inducted during an invitation-only ceremonies held at in the CMA Theater located within the museum (Country Music Hall of Fame and Museum 2015h). Exhibitions 89 The museum contains permanent and temporary exhibition gallery spaces. Currently, there are two permanent exhibitions on display: Sing Me Back Home: Folk Roots to the Present and Stringbean: Going to the Grand Ole Opry (to Make Myself a Name) (Country Music Hall of Fame and Museum 2015d). Five temporary exhibitions are currently on display, all focusing on individuals who have made contributions to country music. The titles of these exhibitions are: Eric Church: Inside the Outsider, Flyin ' Saucers Rock & Roll: The Cosmic Genius ofSam Phillips, Trisha Yearwood: The Song Remembers When, Luke Bryan: Dirt Road Diary, and Dylan, Cash and the Nashville Cats: A New Music City (Country Music Hall of Fame and Museum 2015d). For the purpose of this thesis, a detailed look at the exhibition Dylan, Cash and the Nashville Cats: A New Music City will be considered. Dylan, Cash and the Nashville Cats: A New Music City Exhibition Dylan, Cash and the Nashville Cats: A New Music City opened on March 27, 2015, and closes December 31, 2016. The exhibition follows Bob Dylan's decision to travel to Nashville in 1966 to record his album Blonde on Blonde, and the studio musicians he worked with known as the Nashville Cats. It also highlights Dylan's friendship with Johnny Cash and his appearance on The Johnny Cash Show years later, which influenced other musicians to make their own pilgrimage to Nashville in hopes of acquiring the unique Nashville sound. The exhibit is in one large gallery space with numerous didactic panels throughout, three large artifact cases with over a dozen objects in each and multiple single artifact cases spread throughout the exhibit, in addition the office of Owen Bradley's, a well-known country music producer, is reassembled and displayed in the exhibit. 90 The exhibit is located on the museums second floor. It is in a single gallery that is approximately 5,000 square feet (Buck and Gray 2015). Objects on display include clothing, instruments, master tape boxes, photographs, records, sheet music and posters. Upon entering the exhibit, museum visitors are greeted with seven double-sided, self- standing didactic panels (Image 11 ), with a brief biography of Bob Dylan' s career and the different events that led to him to Nashville, and various quotes from Dylan. Ten of the panels chronologically outline Dylan's life from 1941 to 1970. Visitors walk in order of the panels to understand hjs story before viewing any artifact cases. A video of interviews with Dylan Image 11: Exhibit view of Dylan didactic panels at and Cash play on the wall of the Country Music Hall of Fame and Museum. Photograph courtesy of the Author. the exhibit next to the panels. In 1965, Dylan was in New York recording his album Highway 61 and working with former Nashville resident and producer, Bob Johnston. Johnston often hired Charlie McCoy, a multi-instrumentalist, to work on sessions other artists in Nashville. Knowing his talent, Johnston invited McCoy to New York to play on one of Dylan' s songs (Country Music Hall of Fame and Museum, 2015e). Dylan immediately was impressed with McCoy's musicianship and was encouraged by Johnston to go to Nashville to continue recording (Country Music Hall of Fame 91 and Museum, 2015e). In 1966, Dylan traveled to Nashville and recorded his album, Blonde on Blonde, which became known as one of the "great achievements of Dylan's career and a benchmark of American popular music." (Country Music Hall of Fame and Museum, 2015e). For many, Nashville seems like an unlikely place for Dylan to record. Dylan, however, appreciated the city's studio musicians and their versatility. The musicians, often referred to as the Nashville Cats, "rarely toured or acted as members of professional bands; instead, they were on constant call to back up any singer who happened to need them for recording purposes" (Malone 1985, 256). They were so talented they "could hear a song once or twice and create a great arrangement on the spot" (Finney 2015, 15). These musicians gained notoriety amongst musicians of all backgrounds because of"their versatility and improvisational skills" (Malone 1985, 257). The exhibition highlights the Nashville Cats with 16 listening booths devoted to 16 Nashville Cats: David Briggs, Kenny Buttrey, Fred Carter Jr., Charlie Daniels, Pete Drake, Mac Gayden, Lloyd Green, Ben Keith, Grady Martin, Charlie McCoy, Wayne Moss, Weldon Myrick, Norbert Putnam, Jerry Reed, Hargus "Pig" Robbins and Buddy Spicher. The booths (Image 12) sit in the center of Image 12: Nashville Cats listen the exhibition space and are the heart of the station at the Country Music Hall exhibition, much like the musical contributions of Fame and Museum. Photograph courtesy of author. made by these musicians where the heart of the 92 songs they recorded: “Each booth provides biographical information, archival photos and audio samples of the musicians’ signature licks on both rock and country recordings from the late 1960s and early ’70s” (Country Music Hall of Fame and Museum, 2015e). Museum guests can select between six song samples for each musician to hear their stylistic contributions to the song. Providing samples of country and rock songs recorded by the musicians shows the growth of country music and its influence on other genres. Country music continued to gain popularity outside of Nashville and more artists where interested in having the Nashville sound in their music. As news spread of the talent of the Nashville Cats, musicians traveled from across the country to Nashville wanting to “hang out in a relaxed and convivial atmosphere, and make great records with musicians who were adept at many musical styles and incredibly quick at learning songs” (Finney 2015, 19). A major advocate for the blending of genres was Johnny Cash. After years of recording, performing and gaining much of his own success, Cash began hosting his own variety show titled The Johnny Cash Show, airing from 1969-1971. Recorded at the Ryman Auditorium, the original home of the Grand Ole Opry broadcast, the show “became an outlet for country artists and for folk, pop and rock musicians trying to reach new audiences” (Country Music Hall of Fame and Museum, 2015e). In 1969, Bob Dylan performed as the first guest on the show. Following Dylan’s appearance, numerous other rock and roll artists performed on the show, including Linda Ronstadt, Neil Young, and Eric Clapton’s band Derek & the Dominos (Country Music Hall of Fame and Museum, 2015e). In two separate comers of the exhibition, large video screens play scenes from The Johnny Cash Show and other footage. These screens are in partially enclosed 93 spaces with the screen against the wall and a partial wall positioned behind the visitor to keep the sound in the enclosed area, while also providing photographs on the opposite side (Image 13). The videos are separated by a long object case against the wall and four large two-sized panels Image 13: Wall enclosure, large video (Image 14). The cases display shows screen and watching area behind wall. instruments, clothing, song manuscripts, Country Music Hall of Fame and Museum. Photograph courtesy of the author. recording tape boxes, and photographs of the musicians who were going to Nashville. After Dylan performed on The Johnny Cash Show, the city began needing to accommodate the growing number of musicians arriving in Nashville. The didactic panels (Image 14) provide histories of musicians and record companies from New York, Los Angeles, San Francisco, London, Montreal, Toronto and other cities who came to Nashville. A wall of object cases with artifacts related to the musicians is against the back wall behind the Image 14: Didactic panels detailing panels. Throughout the exhibition, different cities musicians came from to photographs of Dylan and Cash are displayed record in Nashville. Country Music Hall of Fame and Museum. Photograph courtesy of author. 94 from floor to ceiling. Quotes by the two, or about them, are also plastered across the walls of the exhibition. Programs and Merchandise Special programs associated with the exhibition were held in conjunction with the exhibit. For the exhibitions opening weekend on March 28th and 29th 2015, two days of special programs were scheduled, including a curator talk, a concert event titled “Listen to the Band: The Nashville Cats with special guests,” a harmonica demonstration with Charlie McCoy, and showings of the first The Johnny Cash Show featuring Bob Dylan (Country Music Hall of Fame and Museum, 2015i). Additional programs continued to be held after the opening weekend. On April 4th, 2015, a family program teaching Johnny Cash style songwriting was held, detailing the fundaments of songwriting (Country Music Hall of Fame and Museum, 2015g). On April 11th, 2015, a Guitar 101 session was held teaching guests the basics to guitar playing using Johnny Cash songs (Country Music Hall of Fame and Museum, 2015f). An exhibition catalogue, with the same title of the exhibition, was also published. The book includes numerous images of objects, photographs of the musicians and a detailed history of the story of Dylan in Nashville, his relationship with Cash and the individual biographies of the Nashville Cats that are seen throughout the exhibit. The end of the book provides the reader with a list of books, recordings and DVDs for further research. A CD was also released which included unreleased recordings by Bob Dylan and “celebrates the compelling music made by the Nashville Cats in support of the artists drawn to Nashville by Dylan’s example” (Country Music Hall of Fame and Museum, 2015e). The CD 95 includes two discs with a total of 36 tracks. As is common in the music industry, an album release party followed. Hosted by the museum, a free concert was held on the street to the left of the museum on July 7th, 2015 to celebrate the album (Country Music Hall of Fame and Museum, 2015e). In addition, on September 16th, 2015, a panel discussion was held regarding the book, Dylan: Disc by Disc, written by Jon Bream. The book outlines the firsthand experiences of fifty- five musicians, journalists, and scholars that worked on each of Dylan’s albums (Country Music Hall of Fame and Museum, 2015k). Curatorial Practices After displaying previous exhibitions that focused on R&B entitled Night Train to Nashville: Music City Rhythm & Blues, and I Can’t Stop Loving You: Ray Charles and Country Music, the museum decided to showcase the exhibition Dylan, Cash and the Nashville Cats: A New Music City, because it explored Nashville’s role as one of the cultural centers of country music and highlighted country music’s significance throughout the country (Buck and Gray 2015). Thus following the museums mission to provide exhibits that emphasize country music’s evolving history and traditions. The curatorial team for this exhibition consisted of Mick Buck, the Curatorial Director, Michael Gray the museum’s Editor, and guest Co-Curator Pete Finney. Mick Buck and Michael Gray were interviewed to gain more perspective on curatorial practices used at the museum. A Bob Dylan exhibition had been discussed for years, but with the exhibition schedule already determined well in advance, the opportunity did not present itself until now (Buck and Gray 2015). After a few discussions with the exhibition team, Gray formally proposed the idea 96 for the exhibition (Buck and Gray 2015). As a musician himself, Finney noted that there were no exhibitions or books written about Bob Dylan’s time in Nashville, the hit records that transpired from this period, and the influx of musicians that flocked to the city after the album’s release (Buck and Gray 2015). A major theme of the exhibition became to relate the changes occurring in Nashville with those that took place during Dylan’s time in the city. Musicians with a rock, pop, or blues background are still moving into the city in order to incorporate the Nashville sound into their music (Buck and Gray 2015). The idea was to show that this blending of musical styles has been happening since the 1960s; however, the exhibition clearly acknowledges Dylan as one of the pioneers. The museum welcomes over one million guests a year (Buck and Gray 2015). The target audience for the exhibition was the general visitors with diverse backgrounds in music. The curatorial team understood they needed the exhibition to be accessible to everyone, even though it was believed it would probably appeal greater to fans of the big name artists, Bob Dylan and Johnny Cash (Buck and Gray 2015). With numerous publications written about Dylan’s life, there were plenty of resources readily available to the curatorial team. However, they needed to use nontraditional research methods to collect new information on Dylan, as well as, the Nashville Cats. Research The primary methods of research for the exhibit included oral histories, books, newspapers from the 1960s, recording studio session sheets, reviews of the Sony photographic archives in New York, and meetings with collectors of Dylan memorabilia (Buck and Gray 97 2015). Known as a very private person, even to most media sources, it was assumed Dylan would not provide any input himself (Buck and Gray 2015). Through his manager, the museum received Dylan’s permission to use his likeness, recordings and personal stoiy for the exhibition (Buck and Gray 2015). In an unconventional form of research, the staff reviewed studio session sheets from local recording studios. Session sheet logs are equivalent to a check-in log, in which musician names are written to keep track of those who were working each day. This was a useful tool for the museum staff to identify who was recording on which songs, providing them with a list of musicians, who they would later decide to contact for oral histories (Buck and Gray 2015). Oral histories played a pivotal role in the research for this exhibition. With over half of the Nashville Cat musicians still alive and available for interview, they became the primary source for information on the era and stories about Dylan (Buck and Gray 2015). The curatorial team met with a few of the musicians to discuss the theme of the exhibition, in an informal meeting in the museum. In some cases, the staff also met with family members of the musicians who have passed away. These meeting were recorded to ensure the stories were documented accurately (Buck and Gray 2015). After building a relationship with surviving Nashville Cats and their families, the team approached the artists to ask if they would be willing to loan photographs or objects to the museum for the duration of the exhibition (Buck and Gray 2015). It was crucial for the staff to ensure that the musician s knew that they could trust the museum in presenting their stories (Buck and Gray 2015). 98 Buck, Gray, and Finney made most of the decisions regarding the exhibition, including finalizing the exhibition object list; Additional input was provided by Vice President of Museum Services, Carolyn Tate (Buck and Gray 2015). The museum also worked with outside companies to assist in design and installation. Exhibition Design The staff of the museum worked directly with an exhibit project manager from the multimedia and design firm Anode. Anode is well known among the Nashville museum community for their innovative exhibition designs; the museum had employed Anode previously (Buck and Gray 2015). Their primary objective is to combine media, stories and technology to transform “challenges into engaging and memorable experiences” (Anode, 2015). By doing this, they are changing the way audiences “look at objects and information, [and] encouraging shared experiences and exchanges.” (Anode, 2015). In the Dylan, Cash and the Nashville Cats exhibit, they accomplished this by designing four listening booths, each with four separate sides. As mentioned earlier in this chapter, the listening booths allow the audience to hear snippets from 16 different musicians. Each listening station is partially enclosed by a wall covered with shag carpeting. Not only does this detail conform to the interior design elements of the 1960s, the era at the heart of the exhibit, it also acts as a sound barrier and reduces the potential sound bleed throughout the space. In addition, each listening booth (See Image 12) is dedicated to a specific Nashville Cat and features a short biography highlighting career milestones, overall significance and contribution to music; the text explains to the public why they were included in this story (Buck and Gray 2015). Other panels and objects, located on the back wall of the exhibit and 99 behind the Nashville Cats sound booths, related to those who traveled to Nashville after Dylan were designed to illustrate the journey each musician took from their home city to Nashville. The museum also commissioned artist Jon Langford to design two images to display in the exhibition and catalogue (Buck and Gray 2015). One is the promotional cover of the exhibition which features a bust drawing of Dylan and Cash separated by an acoustic guitar and the Nashville skyline underneath them. The second image is dedicated to the Nashville Cats. There are 16 images of their faces and names. This image is projected on the floor of the exhibition and a two-page spread in the catalogue. The exhibition planning process took a total of 18 months (Buck and Gray 2015). According to Gray, most of the staff already had an informal background in the topic, making the development and design process easier (Buck and Gray 2015). The exhibit design, as with most of the museum’s exhibits, was meant to look original (Buck and Gray 2015). The staff strives to make each exhibit look completely different from the last display (Buck and Gray 2015). They are constantly looking for new and innovative ways to display the exhibits so that the museum does not appear monotonous and redundant (Buck and Gray 2015). For the production and installation of the exhibit, 1220 Exhibits, Inc. was contracted. The mission of 1220 Exhibits is to help create “unforgettable experiences and environments” through their exhibition designs (1220 Exhibits, 2015). During the course of designing for the Dylan, Cash and the Nashville Cats exhibit, they provided floorplans to the curatorial staff, in which the staff was able to provide feedback and changes (Buck and Gray 2015). This process occurred multiple times until the final floorplan was confirmed. To document the exhibit after installation was completed, a professional 100 photographer went through the gallery and photographed each section of the exhibition (Buck and Gray 2015). Evaluation As outlined in Chapter 2, evaluations are essential to understand audience takeaway in museums. This can play a significant role in future planning of exhibitions. At the Country Music Hall of Fame and Museum evaluations are conducted by the marketing department. The curatorial staff, however, does not review the results of these evaluations (Buck and Gray 2015). A questionnaire is presented by a volunteers monitoring iPod stands at the end of the exhibit galleries while guests are walking towards the lobby and gift shop area. The 18 questions (Appendix G.14) are largely focused on demographic information. There are two questions that are specific to the exhibits, one being, “What MOST motivated you to visit the Museum Today?” This included answer options such as exhibition titles, museum programs, or if they were referred from a friend. The second question mentioning the exhibits was, “Which of the exhibits listed below did you enjoy the MOST today?” All exhibits were listed, as well as the following two options, “I enjoyed all of the above exhibits equally” and “I did not enjoy any of the above exhibits.” Both questions ask the visitor to select only one option. Challenges One of the final interview questions asked the curatorial team to reflect on challenges they may have faced from a curatorial or design perspective while developing and presenting an exhibition that focuses on popular music. Buck and Gray outlined three main challenges while designing popular music history exhibitions. The first is the use of sound. They mentioned the 101 need to always be mindful to ensure there is no noise bleed within the space or carrying over to the next exhibit (Buck and Gray 2015). Sound is vital to telling the story, as it is the intangible legacy of the musician’s work. After years of experience, and trial and error, the curatorial team, with the help of contracted design teams, worked diligently to develop partially enclosed spaces in the Dylan, Cash and the Nashville Cats exhibit. Videos presenting The Johnny Cash Show are walled with panels and positioned in the comers spaces of the exhibit. The Nashville Cats listening stations, as mentioned earlier, have sound absorbing materials that also serve as decor relevant to the exhibition theme. The second challenge is measuring the extent of knowledge the museum visitors might have on the topic (Buck and Gray 2015). The team wants to ensure they meet audience’s expectations and therefore must find a balance between providing too much or too little information (Buck and Gray 2015). Without this balance, visitors may feel overwhelmed with information, or the contrary, not having enough background information on the subject. Either situation may result in the visitor not returning to the museum in the future. In addition, with the advent growth of internet, the team is challenged to present material that adds a new perspective to the story (Buck and Gray 2015). The third challenge for the staff is framing the material within a sociopolitical context for the museum audience (Buck and Gray 2015). Balancing the story’s historical aspect while presenting it within a musical context can affect the design and themes of popular music exhibits. The museum needs to be sure they are presenting both aspects to give the audience an accurate history of music and culture. 102 Analysis As an AAM accredited museum, the Country Music Hall of Fame and Museum provides an array of exhibitions, programs and educational resources for its visitors. The curatorial team follows museum best practices in regards to their preparing, developing and designing exhibitions on popular music. Not taking their responsibility lightly, they ensure each exhibition is unique and well researched. Although the curatorial staff does not use an advisory board for the development of their exhibitions, they possess a vast knowledge of the history of country music and are comfortable making decisions as a team. Having an extended knowledge of the subject, as discussed by Barry Lord, is credible for concept development of exhibitions (Lord 2014). Through extensive research from books and oral histories, they were able to gather substantial information to provide an accurate history. Following the thematic research method outlined by John Nicks (2002), the exhibition concept initially focused on Bob Dylan’s time in Nashville, and eventually the storyline developed further to include additional themes. The exhibit design complements AAM’s Standards of Museum Exhibitions and Indicators of Excellence by displaying objects, didactic panels and using sound and video as interactive media that are accessible and engaging to the visitors (AAM 2012). While walking through the space the visitors are immersed in the history of Dylan, Cash and the 16 Nashville Cats. Photographs and quotes cover the walls of the exhibit, providing dynamic visuals everywhere the visitor turns. The curatorial team’s collaboration in the design and installation with contracted companies allows the team to develop a variety of ideas for their exhibition 103 spaces. Although this can be very helpful, it can also be expensive for the museum. Often in larger museums there are in-house staff members who are solely responsible for this. The organic design plan, however, allows the staff and contractors to be free to explore new design elements and floorplan templates. The museum can therefore market the exhibitions as unique and provide a new experience each time. Innovative use of audio and video displays throughout the exhibit also provide the visitor with a clear understanding of the music that was produced during this era. For music museums, coming up with new techniques can be challenging. The Country Music Hall of Fame and Museum does a successful job at ensuring their visitors get a chance to experience the music, along with telling the history. The exhibition successfully wows audiences by headlining Bob Dylan and Johnny Cash, and displaying objects associated with them. As expressed by Marion Leonard, displaying special or rare objects draws in larger visitor attendance (Leonard 2007). Once the visitors explore the exhibition, they can see that the exhibit also highlights the influences other musicians gained from the local Nashville music scene and working with the Nashville Cats. The exhibit reflects Bill Malone’s description of country music in which musicians who settled in the area learned from each other and created the style by mixing these influences (Malone 1985). The rock and roll artists discussed in the exhibit were changing their instrumental sound to embody more of the country style. Oddly countering, as Malone discussed, what musicians were doing a few years early, when country musicians were radically altering their sound to correspond to the rock and pop charts (Malone 1985). The exhibit does a compelling job of highlighting the significance of the collaboration that was occurring. 104 Lastly, when reviewing their evaluation process, it was concerning that the curatorial team does not utilize the evaluation process to its full potential. Evaluations can be extremely helpful when accessing the success of an exhibition. As argued by Duncan Grewcock, evaluations are helpful to determine the success of the original objectives of the exhibitions and the museums (Grewcock 2002). The staff can gain more perspective on the visitor’s response to the material and whether it is necessary to include more or less background on the topic. The right questions in an evaluation can also reveal if the topic itself was something of interest for the visitors. In some cases, an open-ended question can be asked, for example, “What musician/band or theme would you like to see displayed at the museum?” If there are common interests, the curatorial team can explore this to appeal to their target audience. Furthermore, questions concerning the accessibility of the objects cases, text panels, videos and interactives informs the staff if the design of the exhibition was accessible for all. To conclude, the Country Music Hall of Fame and Museum demonstrates a range of effective methods in exhibiting country music history by conducting thorough research on exhibit topics and by providing numerous programs for additional education. Moreover, the exhibit team for Dylan, Cash and the Nashville Cats worked to showcase Dylan and Cash, as well as underscoring the significance that the Nashville Cat musicians played in the histoiy of both country and folk rock music. Along with the interpretive media used, the exhibit provides a comprehensive and engaging history that is understandable to all audiences. The next chapter will look at curatorial practices to developing an exhibition on punk and grunge music at the Experience Music Project. 105 CHAPTER 8 EXPERIENCE MUSIC PROJECT Museum Background The Experience Music Project (EMP), located in Seattle, Washington, is a nonprofit, experiential history museum committed to displaying and encouraging interaction with popular culture. It opened in June 2000 and is located in Seattle Center, adjacent to the Space Needle. Through its architecture design and innovative exhibition designs, the EMP promotes the ‘“do-it- yourself creativity of rock and roll music through rare collections, audio and video experiences, and interactivity” (Russick 2010, 223). The museum was originally developed as a tribute to Jimi Hendrix, and had conducted extensive research and development started for the Hendrix theme (Bruce 2008, 133); however, it was decided that the museum should showcase exhibitions on popular music and culture, as well as paying homage to musicians of Pacific Northwest. With extensive resources provided by its founder, Paul Allen, also a cofounder of Microsoft, the museum “has realized an expansive vision that combines the most popular art form on earth (pop music) and an unprecedented use of technology, with visitor experience at the forefront” (Bruce 2008, 132). As the mission states on the EMP website: EMP is a leading-edge nonprofit museum, dedicated to the ideas and risk-taking that fuel contemporary popular culture. With its roots in rock 'n' roll, EMP serves as a gateway museum, reaching multigenerational audiences through our collections, exhibitions, and educational programs, using interactive technologies to engage and empower our visitors. At EMP, artists, audiences and ideas converge, bringing understanding, interpretation, and scholarship to the popular culture of our time (EMP 2016a). The EMP is unlike any traditional museum and strives to push the limits of what art and history museums personify. It does this first by excluding the title “museum” in its name. 106 Although it “abandoned] the term ‘museum’ in favor of the more dynamic ‘project’” it does not neglect the basic features of a museum with artifact displays at its core (Bruce 2008, 133). As Museum Studies scholars Tara Brabazon and Stephen Mallinder argue, institutions that omit the title of museum aim to distance themselves from “a perception of a static, sedentary, space that despite its intention of being highly technological and interactive” exude “a mausoleum ambience” (Brabazon and Mallinder 2006, 101). And as Chris Bruce, EMP’s former Curatorial Director, discusses in his chapter “Spectacle and Democracy: Experience Music Project as a Post- Museum” in the book New Museum Theory and Practice: An Introduction, it is more common today for museums to reformat traditional approaches and considered to be in “the ‘experience’ business” (Bruce 2008, 131). Providing the “experience” is precisely what the EMP aims to do. Bruce highlights four primary notions which led the design and concept during the institution’s development. First, he states that “rock ’n’ roll is the world’s most popular art form, and therefore EMP would have a built-in audience” (Bruce 2008, 134). Ensuring that there will be an audience, and therefore a need for the museum, justifies the concept. Secondly, with Jimi Hendrix as the central artist for the idea of the museum, Bruce relates Hendrix’s approaches to music and culture to the museums mission saying, “Hendrix manifested an expansive sense of freedom, flamboyance, and commitment to music that crossed musical genres and racial boundaries” (Bruce 2008, 134). With this example in mind, Bruce continues by saying “the attitude of EMP should reflect the rebellious, irreverent nature of rock and the self-expression of Hendrix” (Bruce 2008, 134). The third notion refers to the name and using the title “museum.” Bruce notes, “The term ‘museum’ has biases that are not consistent with the dynamic quality of rock ’n’ roll” (2008, 134). This is to say that museums are often known for displaying art, history 107 or science themes and not the rebellious culture of rock and roll. Until the last decade, popular culture was a taboo subject for museums. Therefore, Bruce suggests that the EMP should model itself after amusement parks, as they “are more successful at engaging large numbers of people than museums are” (Bruce 2008, 134). Lastly, he suggests that audience-learning styles are diverse, and “technology has created multi-layered ways of dispensing information” (Bruce 2008, 134). As a result, “EMP’s presentations should engage people in as many different ways as possible” (Bruce 2008, 134). The EMP continues to incorporate these principles into its design process and mission and thus provides visitors with innovative exhibits that embody the roots of popular music, specifically rock and roll. Russell Reising, who has studied both the EMP and the Rock and Roll Hall of Fame and Museum, argues that the EMP successfully follows its original intention. He writes, “The EMP has shattered traditional notions of what a ‘museum’ should be, much like Jimi Hendrix or Pete Townshend smashing] their guitars” (Reising 2001,498). Reising intentions are to say that the EMP encourages creative imagination within their exhibits, in the same way that Hendrix or Townshend did by allowing for new ideas to emerge from the wreckage of their guitars (2001, 499). He notes that EMP “could become a medium for the visitors' exploration of innovation and creativity,” which is done with their collection of “sounds, images, visions, and materials from the past” (Reising 2001, 509). The opening of the EMP in June of 2000 celebrated its musical inspirations by staging a three-day concert series which was broadcast on two television music networks, MTV and VH-1, and included performances by “Metallica, Dr Dre, Snoop Dogg and Eminem, Alanis Morisette, Beck, No Doubt, Patti Smith, and the Red Hot Chili Peppers” (Bruce 2008, 144). This mega 108 concert opening ensured EMP’s promotion to all music fans. During the first few months the museum was open, visitors lined up for “two to three hours just to get inside the building” (Bruce 2008, 144). In the first year, the museum had 820,000 visitors (Bruce 2008, 144). Although the concert event undoubtedly brought in large numbers of visitors, the exhibitions and collections within the museum are what kept visitors coming back. The artifacts on display and the interactive media were unlike anything visitors were used to seeing in a museum setting. As quoted in the souvenir book titled, The Experience, the EMP former Senior Curator Jim Fricke states: If we were an art museum, we’d be looking for art. If we were a traditional history museum, we’d be looking for traditional historical artifacts. But we’re something in between: a museum focusing on pop culture. For us, ‘artifacts’ are things like magazines, posters, records, instruments and stage apparel (EMP 2000, 34). The EMP adapted design techniques to show the objects in ways that are essential to telling the history of popular music. They created a new museum environment in which visitors become active participants. Visitors are allowed touch, play, sing and interact with the history which gives them “a manic sense of freedom to jump into the fray and participate in a way they might not otherwise” (Bruce 2008, 140). By doing, rather than viewing, the EMP “empowers the visitor to have the confidence to perhaps uncover untapped wells of creativity and self- expression” (Bruce 2008, 135). The Architecture The building itself exudes creativity with it organic design. Designed by Frank O. Gehry, the EMP building is a one-of-a-kind art form and a must-see destination in and of itself. Before 109 visitors enter, the exterior of “the building announces that you’re going someplace different, someplace a little weird but also exciting” (Bruce 2008, 137). The architectural design was inspired by a pile of guitar parts from a local guitar maker (Reising 2001, 499). Gehiy purchased the guitars, cut them into several pieces, then assembled the pieces randomly to form a building model (EMP 2016a). Each facet of the design was inspired by rock and roll: “the gold section was inspired by a Les Paul ‘Gold Top’ guitar, the blue from a Fender Thunderbird guitar, the red from old vans that bands would tour in, the purple reflective surface from Jimi Hendrix’s famous song ‘Purple Haze’” (Bruce 2008, 136). Gehry mostly used models rather than drawing for the design, and relied on the 3D technology through the computer system CATIA (Bruce 2008, 136). As the EMP website describes, “CATIA allows a sculptural form to be digitized into a 3-D electronic model that can be used for the engineering of building systems and the fabrication of building elements” (EMP 2016b). Unlike most structural design, the EMP building contains 280 steel I- beams, each formed in different organic shapes (Bruce 2008, 137). Acoustic engineers and sound specialists contributed to the interior design in order to ensure that all gallery spaces were comprised of “digitally pure and powerful sonic quality” (Reising 2001, 500). Exhibitions The EMP features numerous exhibitions ranging from topics in music, pop culture and sci-fi. For the purpose of this thesis, we will focus on the exhibitions related to music. Through exhibitions and programs, the EMP personifies “what popular music is all about as visitors gaze, listen, play, perform, read, ride, learn, mix, scratch, drum, strum, thump, move, feel, and ‘dance to the music’” (Reising 2001, 499). Each exhibit includes some type of interactive media. Presenting the subject in this method ensures that the visitor “leaves knowing a great deal more 110 about music, but feeling less like having had a ‘learning experience’ than having participated in the whole experience of entertainment excess” (Bruce 2008, 139-140). The idea of interactive media and entertainment go hand in hand with the exhibitions at the EMP because of their popular culture focus. Before entering the exhibition galleries, visitors are greeted by a large floor-to-ceiling sculpture titled, IF VI WAS IX, Roots and Branches Sculpture, by longtime Seattle resident, artist- composer Trimpin (EMP 2000, 18). The 40-foot sound sculpture includes “more than 500 previously used string instruments and a few keyboards and drums” (EMP 2000, 18). All the custom-made instruments are computer-controlled and include self-tuning guitars (EMP 2000, 18). Synchronized together, the sculpture “play[s] a continuous series of original compositions, journeying through a variety of American popular music styles: blues, jazz, country, folk and rock” (EMP 2000, 18). The sculpture was designed to symbolize “the collision and commingling of various genres of American popular music” (EMP 2000, 18). Reising’s description goes one step further by labeling it a mythical “Guitar Tree of Life” that “suggests volcanic eruptions of the constituents of musical creativity and genius” (2001, 500). The sculpture exemplifies the blending of music and technology, themes visitors will encounter throughout the galleries. Just beyond the sculpture is an event space with a wall-sized screen known as Sky Church The space was “inspired by a term Jimi Hendrix used to describe a place where people of all ages and cultures could come to collectively celebrate musical experiences” (EMP 2016f). The screen plays performance videos, light shows and music videos (Reising 2001, 500, and Bruce 2008, 141). It is considered to be one o f‘"the world’s largest indoor LED screens” (Bruce 2008, 138). In addition to displaying videos, Sky Church is also used as event space that may I l l accommodate approximately 800 people. The space contains a stage with “a host of theatrical lighting effects used in stadium-sized concerts,” and when at full capacity, it provides guests with the feeling of being at an arena rock show condensed into a space the size of a club (Bruce 2008, 138). The area also “acts as a performance space, cinema, and dance hall for various events hosted by the museum throughout the year” (EMP 2016f). One of the EMP’s permanent exhibitions is the Guitar Gallery: The Quest for Volume. The gallery educates visitors on the “evolution of guitar design, technology, materials, and sounds . . . [and] tackles the whole range of popular music's evolution in ‘Milestones’ (Reising 2001, 501). Of the 236 guitars in the museum’s collection, 55 are displayed in the gallery dating from the 1770s to present (EMP 2016c). The guitars in the collection include, “early-nineteenth- century Martins, the Hawaiian guitars that created such a splash at the 1915 Panama Pacific Exposition in San Francisco, and plenty of Vivitones, Gibsons, Fenders, and Rickenbackers” (Reising 2001, 502). EMP’s extensive collection of guitars allows the visitors to appreciate the history of the instrument and its significance. An interactive touch-screen, found in the gallery, allows visitors to learn more about the different guitars and play audio samples of them to hear the difference in their sound. Another permanent gallery focused on music history is, Wild Blue Angel: Hendrix Abroad, 1966-1970. Centering on Jimi Hendrix’ time on the road performing around the world, the exhibit is “an immersive gallery soundtrack featuring rare Hendrix interview clips” (EMP 2016d). In addition, objects on display include his passport, diary, artwork, photographs and “an Electric Lady mixing console from the personal recording studio he used during the last weeks of 112 his life” (EMP 2016d). Separated into two or three rooms, the exhibit continuously changes to accommodate other temporary exhibitions that need additional space (McMurray 2015). The EMP has two hands-on interactive exhibit spaces, the Sound Lab, and On Stage. The Sound Lab, previously discussed in chapter 4, is a multi-media interactive space in which visitors learn to play various instruments; they also learn aspects of recording and engineering. In this exhibition, objects in display cases are not as significant to teaching about music, rather “the visitor is the creative force” and learns about music by playing the instruments (EMP 2000,40). The visitors learn by experiencing the instruments. Mixing consoles permit visitors to remix popular songs, and experiment with “volume, equalization, panning and fading” (Reising 2001, 507). When they are finished they can compare their version with the original. Visitors can also choose to explore the DJ console, where one can spin and scratch songs to create their own dance mix (Reising 2001, 506-507). Once confident in their newly learned skills, visitors can move to the On Stage exhibit. In this space, visitors can form and name their own band with other visitors and perform a popular song to a virtual audience of 10,000 fans (Reising 2001, 507). With a full set of instruments on the stage, the band can appreciate the sensation of performing to an audience. To commemorate the experience, photographs are available for purchase. Nirvana: Taking Punk to the Masses Exhibition One of the EMP’s most popular exhibitions is Nirvana: Taking Punk to the Masses, which opened on March 24th 2011 (Image 15). The exhibit discusses the development of Seattle’s grunge and punk music scene and its integration in to mainstream popular music, through the rise of the band Nirvana. As the website describes, the exhibit “explores the public and personal story 113 of a single band, but it also invites visitors to discover the underground music scene in which Nirvana developed” (EMP 2016e). As discussed in Chapter 3, the punk and grunge movement developed from a do-it-yourself attitude, meaning anyone could make the music. The exhibit explores this by outlining the different national music scenes and reviewing some of the specific bands, events and even Image 15: Exhibit gallery with interactive club venues that embodied the punk media on the left and artifact cases visible on rock scene (EMP 2016e). the riShL EMR Photograph courtesy of the author. The exhibit is located on the second floor of the EMP. The original exhibition occupied two galleries: the main exhibition space and a second gallery for audience participation. The main gallery is organized in an organic “L” shape and is 2,200 square feet (Appendix J.9). The second gallery, was 700 square feet of space and was used only temporarily for the Nirvana confessional titled, “Share your Nirvana Story” (McMurray 2015). The main gallery featured a wide variety of objects, including over 150 “instruments, original poster artwork, photographs, albums, films of performance footage, and 100 new and archived oral histories from key figures in the independent music scene (including Nirvana band members Dave Grohl and Krist Novoselic)” (EMP 2016e). Most of the content is provided through didactic panels and interactive media. Merchandise 114 A book was published to accompany the exhibition titled, Taking Punk to the Masses: From Nowhere to Nevermind, A Visual History from the Permanent Collection of Experience Music Project written by Senior Curator, Jacob McMurray (2011). The book provides images of objects in the collections along with a brief history of the object and written oral histories related to the object. The oral histories contextualize the objects significance, by recounting what was happening at the time with a band or venue, to which the object may have belonged. A DVD, included with the book, shows over 35 oral history interviews of individuals who lived and experienced the punk and grunge music scene. Curatorial Practices The EMP has a curatorial team of three curators: Director of Curatorial Affairs, Jasen Emmons; Senior Curator, Brooks Peck, who focuses on the science fiction and fantasy exhibitions; and Senior Curator, Jacob McMurray, who facilitates most of the music and other pop culture exhibition topics (McMurray 2015). McMurray developed the Nirvana exhibition. In June 2000, the museum held an exhibition centering on the Northwest Passage, but had not had an exhibit since with the city’s music scene as the focus (McMurray 2015). McMurray felt it important to develop an exhibit that showcased the band Nirvana, especially because of their Seattle roots. With the EMP welcoming over 600,000 visitors per year, the exhibit’s target audience was the general public (McMurray 2015). The subject matter had to relate to any visitor, whether they were fans, musicians, historians, or anyone else. McMurray’s goal was to tell the story in a way that ensured that the audience, and more importantly the fans, felt it was their story, not his (McMurray 2015). When developing the exhibition concept, McMurray had a basic 115 idea of the narrative, however, he developed the extent of the exhibit keeping in mind that it needed to fit in a small gallery space (McMurray 2015). Research The research for the exhibition came from a variety of sources, including books, websites and oral histories. Book sources included writings from Seattle music journalist Charles Cross and author Jillian Gard (McMurray 2015). McMurray also enlisted the help of super-fan blog, Nirvana Live Guide, which provides a chronological list of Nirvana’s live performances, circulated and uncirculated recordings, other bands that performed at their concerts, and images and memorabilia from performances (McMurray 2015 and Sproul and Ziegler 2013). McMurray used this as a starting point to researching the band’s performances in Seattle and follow their success as they performed across the country. The bulk of the research gathered for the exhibition came from an oral history project McMurray began a few years earlier, in which he videotaped interviews with 100 musicians that played a role in the punk music movement (McMurray 2015). With hundreds of hours of footage, the rich stories provided in the oral histories helped to develop the exhibition concept and provided an abundance of first-hand stories for the exhibition narrative (McMurray 2015). McMurray developed the exhibit concept on his own and drafted a detailed exhibition brief that included details of the exhibition goals and narrative, interactive media to be used, planned public programs, and marketing techniques (Appendix J.8). Several drafts were developed, with McMurray continuously updating the information throughout the planning of the exhibition. As the curator, he was also required to produce a curatorial brief in the form of a 116 PowerPoint presentation, in which he presented the concept to the museum’s executive director and the board of directors (McMurray 2015). Initially, they were wary as to the community’s acceptance of the exhibition, as many fans have personal attachments to Nirvana and Kurt Cobain’s story. Additionally, displaying punk rock in a museum setting seemed to go against punk music’s rebellious foundation (McMurray 2015). However, after presenting the significance of the band and the music scene, McMurray’s concept was approved and the process of designing the exhibition began. Exhibition Development With the concept of the exhibition in development for a few years, McMurray began working slowly on the theme and gathering resources (McMurray 2015). Once the exhibition was approved, he started working more diligently on the concept in late 2008 into 2009 (McMurray 2015). From January to April, 2010, the gallery space was renovated to accommodate the new exhibition (McMurray 2015). Initially, over 500 objects were chosen to be displayed, however McMurray finalized the object list to about 200 objects (McMurray 2015). Although the EMP does not have a formal design process, McMurray documented as much as possible by saving copies of draft layouts, email correspondences, and concept meeting notes (McMurray 2015). With the design of the exhibition, it is evident that thought went into every single aspect of the gallery space and concept. 117 When entering the space, visitors first see oversized images on the walls of the three band member in Nirvana: Kurt Cobain, Kris Novoselic and Dave Grohl (Image 16). In front of the images are the personal Image 16: Entrance to Nirvana exhibit at the EMP. Photograph courtesy of the author. instruments they used including Cobain’s guitar, Novoselic’s bass, and Grohl’s drum set. McMurray designed the entrance this way to draw in visitors (McMurray 2015). Didactic panels describe the goal of the exhibit and the Nirvana’s early roots in Aberdeen, Washington. As you walk through, a video plays with clips of Nirvana and other musician’s performing and some of the oral history interviews mentioned earlier. There is a total of three video monitors throughout the exhibit playing documented interviews. In front of each monitor are small couches and seats for visitors to sit and watch. To the left of the first video are original artworks by Kurt Cobain completed in his high school art classes. From here, the interpretive panels introduce the beginning of the underground music scene in the 1980s. A graphic panel, titled the “Ingredients for a Thriving Local Music Scene,” detail that the music scene needed key individuals, bands, venues, record labels, a source of youth, and modes of communication to grow. As an introduction to the underground scene, the visitor can learn more at one of the three interactive touch screen tables (Image 17). The table provides hours of video footage, again most from the oral history project, in which visitors may independently choose material on a topic, 118 band or venue. Each table has two sets of headphones for visitors so they may listen without being distracted or distracting those around them. McMurray felt these interactive tables were necessaiy to make more information available to the audience (McMurray 2015). Acknowledging that only about 1% of visitors would probably watch the videos, he nevertheless wanted to show that the museum was well versed in the subject, and providing additional information helps to establish Image 17: Interactive touch this (McMurray 2015). screen tables at the EMP. Photograph courtesy of the On an adjacent wall, there are record walls author. with 20 record covers images displayed and two iPod listening stations, each with two sets of headphones (Image 18). Dispersed throughout the exhibit are 4 of these record walls with a total of 7 iPods to listen to music, one by the entrance, two in the middle and the last one at the very end of the exhibit. The record walls were designed to add more context and f.y^Wr'a\ t% incorporate the actual music from various underground punk bands (McMurray 2015). The team chose IPods as the listening devices because it was felt that most Image 18: Record wall with listen stations and U.S. map. EMP. Photograph courtesy of visitors would already know how to use author. them (McMurray 2015). An interpretive 119 panel, by the first record wall, provides a chronological time frame starting with the early 1980s. A map of the United States is shown and cities with a growing underground music scene are labeled with numbers that correspond to the bands records on display. The record panels found later in the exhibit move forward through the years to describe what was happening and the evolution of Nirvana’s fame. Another large-scale panel located next to the first record wall and behind the first interactive table, displays a map of the Pacific Northwest including Washington, Oregon and parts of Idaho. The map labels cities with local bands listed, showing that the punk scene was developing independently, and not just in Seattle. There are two additional listening stations with headphones, in which visitors can hear more music from the bands being discussed. The interpretive panels return to discussing Nirvana and describe their influences from these underground bands. A curved encased wall holds artifacts of the band, including clothing, posters, instruments, video and stage displays and equipment and other memorabilia (See Image 15). In front of the large case are smaller reading rail cases with additional photographs, set lists, demo cassette tapes and handwritten lyrics. When the exhibit originally opened, about five to six additional vignette films were shown on monitors positioned just beneath the object cases (McMurray 2015). These video monitors have since been removed, as most were not functioning correctly or broken, and the staff decided it was best to remove them and not replace them (McMurray 2015). The exhibition originally extended to a room next to the current gallery space, however the extra space has since changed to make room for another exhibition. According to McMurray, 120 the extra room consisted of the Nirvana confessional titled, “Share your Nirvana Story.” Here visitors had approximately two minutes to video record themselves telling their thoughts or personal connection to the band and their music (McMurray 2015). As they are recording, a larger video monitor, positioned just outside the main exhibit room, played the live video (McMurray 2015). Between recordings, interviews of the band were shown so that the audience may watch alternative footage of the fans and band interviews on the screen (McMurray 2015). It was noted that participation mostly came from fans that grew up with the music, those in the mid- to early thirties and new fans, mostly middle school ages (McMurray 2015). As mentioned, the interactive confessional has since been removed, however, the museum now has hours of footage from the fans detailing their connection and admiration for Nirvana. Although headphones were used for most of the interactive media, McMurray decided it important to include ambient sound fitting to the theme of the exhibit. He commissioned a customized music score to play in the galleries (McMurray 2015). The score is a deconstructed Nirvana song produced by renowned local audio engineer, Steve Fisk (McMurray 2015). Fisk incorporated sounds to the score representing Seattle’s history and climate by including industrial sounds such as hammering and natural environmental sounds like rain (McMurray 2015). This was the first time a customized score has been used at the EMP. As a subtle addition to the exhibition, visitors are not distracted by loud music and it sets the tone of the exhibit to be a place of exploration. Because of its successful design technique, the museum has since used this idea in other spaces (McMurray 2015). To help with the exhibition design, the museum contracted the design firm Belle and Wissell. They aided in designing the overall space and the interactives (McMurray 2015). In 121 addition, Ken Bums, with the design firm Curious Beast, helped with the graphic design and the exhibit’s thematic design (McMurray 2015, and Curious Beast 2016). The team also consulted extensively with Nirvana bassist, Krist Novoselic. McMurray had the privilege to visit Novoselic at his home and review his personal collection of photographs, instruments and other memorabilia to loan for display (McMurray 2015). This included at least 20 ofNovoselic’s personal collection of vinyl records displayed in the temporary secondary gallery (McMurray 2015). The collection was chosen to show Novoselic’s musical influences at the time Nirvana was developing as a band (McMurray 2015). While reviewing the objects at Novoselic’s home, McMurray informally recorded Novoselic reminiscing the memories of each artifact (McMurray 2015). This was used as the content for the audio guides, in which visitors were provided with personal devices and able to correspond a number on an object to the guide and listen to Novoselic tell its story (McMurray 2015). Unfortunately, these audio guides are no longer available, as they were malfunctioning throughout the museum and the staff are currently updating the devices (McMurray 2015). Novoselic also assisted the design team by providing wood materials for the object case structures. According to McMurray, Novoselic had recently cut down a few trees on his property. Being environmentally conscious, he offered to donate the wood to the museum (McMurray 2015). The lumber was used to make the wooden structures seen throughout the exhibit, including the interactive tables and object cases. Fabrication of the structures were completed by the museum’s in-house fabrication team (Curious Beast 2016). The natural unfinished wood and incorporated metal elements were meant to provide a sense of Seattle’s industrial history as well as symbolize punk music’s DIY mentality (McMurray 2015). 122 Evaluation Currently, there is no evaluation process in place for the EMP. The curatorial team, however, is hoping to move forward with using informative evaluations in the near future (McMurray 2015). Since no evaluation is conducted, no formal conclusions have been made in regards to the effectiveness of the exhibition. To supplement this loss of information, McMurray reviews visitor feedback from emails sent to him (McMurray 2015). Most of these emails provide positive responses from the exhibition, however others are criticisms as to how the history of punk music was told. Challenges Music fans feel strongly about the story of their beloved band or musician and insist that it must be told in a way that accurately portrays them. For example, certain groups criticized the exhibition’s title, which indirectly identified Nirvana as a punk band rather than a grunge band (McMurray 2015). McMurray responded by explaining the exhibition’s intent to outline the history of punk music and Nirvana’s role in bringing it to the forefront of popular music (McMurray 2015). In addition, he invited these critics to see the exhibition for themselves and gave them free passes; he also offered to sit and talk with them further about their grievances if they were displeased with the exhibit (McMurray 2015). Another challenged faced was the size and layout of the exhibition space (McMurray 2015). With limited space, the exhibition team found it difficult to fit everything in the space and make it flow (McMurray 2015). Having a curved wall in the exhibit helped and hindered the 123 design because it forced the visitor to move from front to back easily, but provided less space for objects to be displayed. Finally, McMurray was confronted with opposition getting lenders to speak to him and from Kurt Cobain’s friends and family regarding the exhibition (McMurray 2015). He noticed the closer someone was to Cobain, like a family member or close friend, the harder it was to get them to return his calls (McMurray 2015). McMurray was persistent and worked to develop relationships with the lenders so they knew the story of Nirvana would be told in an honest way (McMurray 2015). Analysis The EMP has paved the way for legitimizing popular music in museums. Although the EMP encompasses topics in popular culture, such as syfy and fantasy, their approach to exhibiting popular music is ground-breaking. With multiple exhibitions allowing the visitor to experience the art of making music, as well as learning about musicians associated with popular music, the EMP is providing a well-rounded educational space for music history. With the concept of the exhibition solely developed by the curator, an exhibition brief was vital to communicating information to the board of directors and other staff members. McMurray’s brief follows Hugh Spencer’s suggestions for inclusion in the brief, including summarizing the theme, exhibition objectives and interpretation strategies for the exhibition (Spencer 1999, 158). Knowing things may change along the way, McMurray updated changes to the brief and saved previous drafts for his own records. The drafts may be useful to look back at 124 previous ideas as the exhibition develops, and can be used for the development of future exhibitions. The interactives used throughout the Nirvana exhibition and elsewhere in the museum are worthy examples of the types of hands-on exhibits described by David Dean (1994). Dean suggests that when learning about a topic, humans retain more information when they use multiple senses, specifically touching and hearing, as opposed to just seeing (Dean 1994, 26). The EMP provides visitors with videos, listening devices and instruments to learn how to play. At the same time, exhibits such as Sound Lab and On Stage argue against Kevin Edge’s analysis that museums are decontextualizing instruments because they only have them on display and not being played (Edge 2000). These interactive exhibitions promote the use of instruments as a vital learning tools and accommodate visitors who want to “rock out” to their favorite song. Sound is an effective tool in the Nirvana exhibit. As Michael Stocker suggested, when developing exhibitions with sound, consideration should be taken in regards to its quality, its potential to conflict with other parts of the exhibit, and whether it successfully captures the listener’s attention (Stocker 1994, 178). The exhibit having a customized music score playing in the background, lends the space an ambience that does not distract visitors reading the didactic panels. Significantly, because the curatorial team is currently lacking a process for conducting evaluations, it is not possible to analyze the success of the exhibition in connection with its audience. As outlined by AAM, evaluation is considered a best practice so that the audience can be understood, and to ensure that project goals are being met (AAM, 2012). With evaluation, the 125 information gathered can be analyzed when developing future exhibitions or to brainstorm exhibition concepts. Acknowledging the role of evaluation, McMurray did mention the team is hoping to begin using evaluations in the near future (McMurray 2015). To summarize, the EMP provides visitors with stimulating interactive media throughout their exhibitions that promotes multisensory learning while also allowing fans to feel connected to their favorite musicians. The exhibit, Nirvana: Taking Punk to the Masses details the significance of the underground punk and grunge music scene, not only in Seattle, but across the country. Displaying Nirvana as a poster band for the exhibit allows their fans to see where their roots developed. The numerous oral histories made available help the visitor to learn about the history of underground bands, most perhaps not recognized in popular music. The parallel of the historical developments of punk music, with Nirvana’s rise to fame, provides visitors with a complete history of how punk and grunge music went mainstream, leading to their inclusion as a genre of popular music. The next chapter will review key themes from museum literature and case study findings. An analysis of these themes will be conducted. 126 CHAPTER 9 DISCUSSION The Rock and Roll Hall of Fame and Museum (Rock Hall), the Country Music Hall of Fame and Museum, and Experience Music Project (EMP) are all museums with exhibits highlighting popular music. In each of the exhibits discussed in the case studies, visitors were presented with a comprehensive history of the different genres related to popular music. Interestingly, with no specific museum standards written for music museums in the United States, these three museums, in their efforts to curate and exhibit popular music history, have created a pathway that mines the unique characteristics of music in innovative ways. At the same time, these museums all inadvertently follow the AAM’s Standards of Museum Exhibitions and Indicators of Excellence, by providing “physically, intellectually, and emotionally engaging and accessible” exhibitions to their visitors (2012). In this chapter, four keys themes in the case study exhibits that successfully present the history of popular music will be presented: exhibit narratives tend to emphasize historical context; audience engagement through sound and interactive media is a common aspect of interpretation; a thematic approach to curatorial research is often employed; and evaluation could play a more prominent role in these exhibits. Each of these themes will be briefly discussed below. Exhibit Narratives Emphasizing Historical Context First, the case studies highlight that exhibits of popular music history tend to emphasize historical context in the development of exhibit narratives. An approach that demonstrates 127 historical context, as detailed by Lord, may be a retrospective exhibition on a popular musician’s life or work (Lord 2014, 24). Doing so not only brings in a larger audience, but also provides the visitor with a broad historical background of the artist or historical context of the timeframe the exhibit is highlighting. The exhibition concepts in the three exhibits discussed in this thesis all display a historical overview of a genre and a musician or band. The case study exhibits all demonstrated an understanding of what Leonard described as the “wow factor” (2007). An exhibit with the “wow factor” is meant to intrigue the audiences by the theme and objects on display. In the case of the Rock Hall, they use a single historical object to draw in audiences. As mentioned in the case study chapter, the controversial meat dress worn by Lady Gaga is positioned at the beginning of the exhibit and is used to draw visitors in from the previous exhibit. This design method can be used as a tool to provide further context to the artist and their musical or cultural style. Furthermore, a “wow” theme can have built in context in which the audience already has some level of knowledge of the subject. With all exhibits, the curators found ways to bring in fans, while also drawing the interest of the general public. The exhibit narrative should also be clear and comprehensible for all audiences (AAM, 2012). To be consistent with the standards set by AAM, museum curators need to interpret the narrative in a way that is well-defined for audiences that have different levels of knowledge of the subject. When conducted effectively, the overall narrative is easily processed by visitors and the historical context can be recognized. Music curators may help demonstrated this through audience engagement by including aspects of sound and interactive that relate to their exhibits theme. 128 Audience Engagement through Sound and Interactive Media The case studies have shown that including sound in the exhibit provides additional context to the exhibit and helps to deliver the history in a method that is fitting to the themes. In addition, when paired with objects or didactic panels, it aids the visitor in relating the intangible music as a tangible concept. Although the concept of music in museums is still a relatively new idea, sources in the literature review show that sound can be incorporated within a museum setting if done properly. Some authors, such as Edge, argue that the context of the instruments on display may be lost in a museum setting (2000). However, institutions similar to the EMP, are fighting against this by including hands-on exhibits that teach visitors how to play these instruments. The EMP is therefore paving the way for new museum strategies to exhibit popular music history. Moreover, most curators are still concerned with the inevitable sound bleeding. When sound bleeding occurs, visitors may become distracted and overwhelmed. This is why most traditional museums avoid including music in their exhibits. However, as seen through analysis of music history exhibits, inclusion of music is absolutely necessary to providing a complete history. To avoid the issue of sound bleeding, exhibits can have alcoves spaces where the sound can be contained in a specific space or employ the use of headphones. Whether curators decide to use either of the mentioned forms, or others detailed in chapter 4, the case studies all suggest that the exhibit themes cannot successfully tell the history of popular music without the inclusion of the music. 129 Additionally, the use of interactive interpretative media is an effective way to present the history of popular music and is recognized as a standard of excellence, as defined by AAM (2012). As a leading tool for curators in the 21st century, interactives can provide additional content, photographic or musical examples, hands-on learning, and much more. They can also be entertaining to visitors, who all too often seem to be drawn to the technology first, before walking over to a display case or text panel. As argued by Reddick and Stefancic, technological devices for hands-on exploration are openly presented and allow visitors to explore on their own (2014). Moreover, interactives may also be more useful to educate the visitors. As Dean argued, humans learn more when using multiple senses (1994). Therefore, exhibits that encourage visitors to touch and listen, in addition to seeing, are often what the visitors remember after walking out of the exhibit. The curators at the Rock Hall, EMP and Country Music Hall of Fame and Museum address this with different forms of interactives throughout their exhibit spaces. The interactives in the exhibits are associated with listening to music samples or watching video footage of oral histories. Both types of interactives are effective ways to add to the context and are detailed as techniques for museum best practices by Belcher (1991) and Stocker (1994). Thematic Approach to Curatorial Research is Often Employed Successful exhibits of popular music history use a thematic approach to curatorial research. As Nick notes, curators use two forms of research when developing an exhibition, thematic and object research (Nicks 2002). In the thematic research approach, the exhibition storyline or subject is the starting point. From here, curators develop the content further and chose objects for display around the theme. 130 With museums that possess large collections and access to oral histories, such as the case study museums examined here, it is perhaps easier to use the thematic approach and to narrow down the object list around that theme. This is consistent with Nick’s outline of thematic research, in which he details that this approach provides a broad base and framework of the narrative (Nicks 2002, 347). Once the broad ideas are formalized, the curator can decide on what type of objects they would like to include in the exhibit, as well as the key themes they want to highlight. It is noteworthy to mention that the literature does not reference an approach taken by all the case study museums, in which the curatorial teams worked directly with the musicians and/or their families when researching an exhibit. Although they also used typical sources such as books and journals, their primary sources were oral histories. This allowed curators and exhibit developers to provide the visitors with first-hand experiences and expertise in the exhibit theme. The fact that the literature does not mention this approach highlights that there is a gap in the museum literature regarding effective ways to research music history. An example of this was seen at the Countiy Music Hall of Fame and Museum, in which they extensively used the musicians and their families for the content of the exhibition that focused on the Nashville Cats. With little written about these musicians, direct interviews were vital for the curators when developing the interpretation. Furthermore, the curators cultivated relationships with the musicians, which made the musicians trust the museum to tell their story. Evaluation is Necessary to Exhibit Development 131 As outlined in chapter 2, evaluation is considered to be a significant part of the exhibition process today because it provides an understanding and commitment to the museum audience (Grewcock 2002, 44). By using evaluation, curators are able to learn what is effective before, during, and after exhibits, with respect to a range of areas, including design, content, and objects Evaluations also reveal if the museum’s mission is being followed, because exhibits should be mission-based and consistent with the goals and objectives of the museum, as Grewcock indicates (Grewcock 2002, 51). Despite the acknowledged benefit of evaluation, none of the case study museum exhibits conducted comprehensive evaluation on their exhibits. To make their exhibits more successful, the museums should to consider using one of the three types of evaluation methods outlined by Grewcock (2002). Ideally, the museum needs to first identify their target audience (Grewcock 2002, 47). AAM supports this concept saying that audience awareness provides the curator with a base of the level of interpretation and historical background needed to interest the museums target audience (AAM, 2012). Some museums may not have the time to do extensive evaluation at the beginning stages of exhibit development. To supplement this, summative evaluation, as suggested by Belcher, is conducted after the exhibit opens to measure its success (Belcher 1991, 203). Caulton builds on this, outlining that this information can be gathered through open-ended or structured interviews, surveys or visual observations (Caulton 1998, 47). Museums can choose a method that is consistent with their staff’s capabilities. 132 Museums attempting to present any topic that is related to popular music have even more reason to conduct evaluation in developing exhibitions, so that they may correct any misunderstandings on the significance of popular culture. As Grewcock indicates, the evaluations help the team to understand the audience’s personal and shared experience with a subject (Grewcock 2002, 49). From here they are able to develop exhibit themes around the audience’s pre-existing knowledge and answer any questions or present new layers of information to the history that may not have been explored before. Overall, proper review of the results are useful for curators when setting goals for future exhibitions. In conclusion, the case study museums have shown that popular music history has its place in a museum setting if the curators provide exhibit narratives emphasizing the historical context, includes audience engagement through sound and interactive media, use thematic research methods, and deploys a form of evaluation. Through careful planning, research and collaboration with musicians, the exhibits can be presented to visitors in a way that is both engaging and educational. As seen in the case studies, the use of intriguing objects, interactive media and the inclusion of sound all play significant roles. Curators must keep these key themes in mind when curating popular music exhibits. The next chapter will review final conclusions from the research and offer recommendations to the field for exhibiting popular music exhibitions. 133 CHAPTER 10 CONCLUSION AND RECOMMENDATIONS The number of museums that display popular music exhibitions in the United States is small, and the idea of exhibiting popular music history in traditional museums is still a relatively new concept. Exhibits that emphasize popular music are likely to be of increasing interest, as museums seek to be relevant and to engage audiences. Popular culture continues to permeate many aspects of daily life. The ubiquity of musician lives as front page news indicates their significance in our culture. Curators in music-focused museums carry the authority of interpreting musicians’ stories because of their experience and knowledge of the subject. However, it is noteworthy to acknowledge that there is no model for popular music curators to emulate when designing exhibitions with the contemporary theme of popular music. Consequently, museums working with popular music are tasked with developing their own curatorial standards. Curators, therefore, need to be open-minded with design techniques when preparing contemporary culture exhibitions. By reviewing existing standards set by the museum community, curators will have a basic understanding of best practices for their exhibits. Furthermore, learning from the challenges previous music curators have faced is an effective way for curators of both music and non-music museums to produce compelling exhibits and to educate themselves on best practices. In this chapter, three conclusions will be presented: the history of popular music in museums is an emerging curatorial topic; exhibits on popular music highlight how curators can connect with visitors through innovative interactive media; and specific curatorial challenges must be considered when developing exhibits of popular music. Following these conclusions, five 134 recommendations for the museum community that is concerned with exhibiting popular music exhibitions will be outlined. Conclusions First, the success of popular music exhibits highlights the significance of the history of music as a curatorial theme. Popular music exhibits are not developed with the same methods as art or even classical music history. Popular music is often meant to be loud, tell a story and have an impact, no matter what specific genre it is. Curators should not only have an understanding of the genres history, and their audience’s reaction to popular music, but most importantly a passion for the subject. When displaying the popular music, curators are tasked with emphasizing its importance to society in order to legitimize the subject in a museum setting. To ensure this, curators should present the interpretation by emphasizing it as “our history.” In other words, establishing an emotional connection with the visitors and the subject matter. Museum visitors want to see popular culture themes because it gives them a sense of nostalgia and allows them to relate their personal experiences to the history. The music, along with seeing the display of objects, takes the visitor back to a specific time in their lives, and in some cases allows them to reminiscence about a person they shared those memories with. Curators, whose main goal is to create a connection between exhibit ideas and audiences, can use this emotional connection to tell the story or to provide new details about the history. Second, popular music history can be used as a way to engage the broader public in museums. As the theme of popular music continues to emerge in museums, music-focused 135 museums can pave the way to educate the public and non-music museum curators about the significance of the subject. Music-focused museums have the expertise and experience with how to best display different themes of popular music. With the progression of music exhibitions, curators are breaking down the walls of traditional exhibitions and implementing new methods of interpretation. This may lead curators to beg the question: What does this mean for non-music museums? Curators in non-music museums may want to take a closer look at curatorial practice in music museums, not only when developing music exhibitions, but also to provide more engaging elements to traditional themed exhibitions. As the music museums continue to gain more recogn ition in the museum field because of their innovati ve design techniques, non-music museums need to remain competitive and develop exhibitions in ways that similarly appeal to those audiences. Significantly, curators in non-music museum can learn from the non-traditional methods of presenting content in music exhibits and use them as a resource when they do display exhibits with a popular music theme. Lastly, specific curatorial challenges must be considered when developing exhibits of popular music. With a contemporary subject such as popular music, music curators are bound to face many challenges with respect to interpreting the history in a museum setting. It is important that these curators stay current with new technology that may help with the interpretation of music and provide a tangible experience for the visitor. Moreover, the exhibits should acknowledge the subject knowledge of the museum’s audience, which can be gathered by evaluations. Most importantly, curators need to keep the music fans in mind when developing the 136 interpretation. In doing so, they will avoid negative criticism about the interpretation and show that they are mindful of the personal nature of the history. Recommendations First, it is clear that the curatorial process for developing music exhibitions needs to be further explored and documented. Literature that focuses on curatorial practices for American popular music exhibitions is almost non-existent. By consulting research on the subject of music in museums in Europe, such as Leonard’s work, museum curators in the U.S. can refer to examples and guidelines to best display the subject. Although this thesis examined a range of American museums that are music-based or that exhibit elements of music, it is recommended, that further extensive analysis of music museums and exhibits be conducted. Additional research can provide curators and other staff with standards for developing exhibitions, educational and public programs, collection acquisition recommendations, and strategies to cultivating relationships with musicians. If further research is not done and available to curators, they may develop exhibits using standards set for traditional art or history exhibits, which may not always be conducive to the theme of popular music. Second, popular music curators need to consider integrating more hands-on interactive elements. Providing visitors with hands-on exhibits that involve learning to play an instrument, recording the music, and practicing music engineering techniques allows visitors to learn from doing, and therefore, to gain a greater appreciation for the process. Real instruments and recording equipment can be quite expensive to purchase and maintain. Edge suggests, however, a museum might request for loans or donated instruments as examples from multinational 137 manufacturers (Edge 2000). Working with manufacturers allows the museum to save costs while also promoting their collaboration with well-known companies in the music industry. Additionally, if attaining real equipment is not feasible, curators can use touch screen devices to substitute for them, so that visitors are able to explore samples of different instruments on the devices and play audio samples to understand the unique sounds they produce. While interactive media can be an effective educational tool for curators to provide additional content in general, it can be particularly important in exhibits that display popular music. Interactive media can help visitors establish an emotional connection to the exhibition subject if they are listening to a familiar song or watching video footage they remember seeing before. As technology continues to develop, new techniques will continue to evolve and be available. Therefore, it is necessary for curators to stay up-to-date with current technology to appeal to a generation that puts technology at the forefront of activities. If museums do not have an in-house design team, design firms can be contracted to assist with contemporary designs elements. Third, with the idea of integrating music in exhibitions still emerging, a set of recommendations or new museum standards would be greatly beneficial to popular music curators. Further research of Edge’s ideas of music inclusion can provide curators with design recommendations based on current technologies and successful examples. Curators can also actively help by documenting designs that were effective, as well as elements that were not successful. Fully documented plans may also benefit future staff members, curators, directors or board members would benefit from looking back at what the curatorial team has done 138 successfully in the past, and to do this, museums must conduct evaluations regularly and review the information gathered before developing subsequent exhibits. Fourth, evaluations are essential to determining the success of an exhibition’s subject, narrative, and design. It is in the best interest of the museum’s audience if procedures are implemented for curators to analyze evaluation results specific to music exhibits. Perhaps new procedures can be established so that evaluations of music exhibitions are customized to fit contemporary themes, as opposed to standards set for traditional museums. Questions can include elements regarding sound, interactive media, and the effectiveness of the narrative. The curator may consider front-end, formative or summative evaluations processes, as outlined in chapter 2. Any or all options, if chosen, show that the curatorial team recognizes their audience as a priority and that they address community needs. In some cases, staff constraints may make it difficult to perform consistent evaluations. Curators, however, need to emphasize with the staff and the board that evaluation is important, and to ask for assistance in conducting or collecting data, if necessary. Lastly, when beginning to research for this thesis, it was noted that only eight music museums are accredited by the American Alliance of Museums (AAM 2015). Although this may be due to these types of museums not applying for accreditation, it can also be because the theme of popular music in museums has only been developed within the last decade. As with any topic involving popular culture, museums are slowly starting to recognize contemporary culture as legitimate subjects for exhibitions. Curators and board members should consider applying for this prestigious accreditation. By making an effort to become accredited, music museums may gain more recognition and respect from other museum professions because they are following set 139 standards of excellence. This will also supply such museums with a network of other museums to learn from when developing new elements to their exhibits. Final Remarks The emergence of popular music exhibitions and museums show the overall evolution and acceptance of contemporary culture in a traditional museum setting. Curatorial practices involve a balance of education and entertainment in these exhibitions. 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Accessed February 10. http://library.rockhall.com/home/about/partnerships. —. 2016g. Public Programming. Accessed February 16. http://rockhall.com/education/outside-the-classroom/. —. 2016h. Right Here, Right Now. Accessed February 16. http://rockhall.com/exhibits/right-here--right-now/. Russick, John. 2010. “Making History Interactive.” In Connecting Kids to History with Museum Exhibitions, edited by D. Lynn McRainey and John Russick, 219-239. Walnut Creek: Left Coast Press, Inc. 147 Rutledge-Borger, Meredith. Interview by Rebecca Ramirez. Interview through email correspondence. September 3, 2015. Santelli, Robert. 1997. “The Rock and Roll Hall of Fame and Museum.” Popular Music and Society 21, no. 1: 97-99. SFO Museum. 2016. Exhibitions: When Art Rocked: San Francisco Music Posters 1966- 1971. Accessed January 13. http://www.flysfo.com/museum/exhibitions/when-art-rocked-san- francisco-music-posters-1966%E2%80%931971. Shukar, Roy. 2010. Wax Trash and Vinyl Treasures: Record Collecting as a Social Practice. Surrey: Ashgate Publishing Ltd. Smethurst, James. 2001. “How I Got To Memphis: The Blues and the Study of American Culture.” In New Approaches to the Twentieth Century American Popular Music, edited by Rachel Rubin and Jeffrey Melnick, 47-64. Boston: University of Massachusetts Press. Spencer, Hugh A.D. 1999. “Exhibition Development.” In The Manual of Museum Planning, edited by Barry Lord and Gail D. Lord , 155-173. Walnut Creek: North America by Altamira Press. Spicer, Al. 2006. The Rough Guide to Punk. London: Penguin Books Ltd. Sproul, Kris, and Mike Ziegler. 2012. Site Information. April 26. Accessed February 2, 2016. http://www.nirvanaguide.com/info.php. Stocker, Michael. 1994. “Exhibit Sound Design for Public Presentation Spaces.” Museum Management and Curatorship 13, no. 2: 177-183. Stokes, Geoffrey, Ken Tucker, and Ed Ward. 1986. Rock of Ages: The Rolling Stone History of Rock & Roll. New York: Rolling Stone Press. Strong, Catherine. 2011. Ashgate Popular and Folk Music Series: Grunge: Music and Memory. Famham, Surrey: Ashgate Publishing Group. Accessed November 29, 2015. ProQuest ebrary. Tchen, John Kuo Wei. 2013. “Who is Curating What, Why? Towards a More Critical Commoning Praxis.” Museum and Curatorial Studies Review 1, no. 1: 5-25. Thornton, Sarah. 1990. “Strategies for Reconstructing the Popular Past.” Popular Music (Cambridge University Press) 9, no. 1: 87-95. Accessed January 20, 2015. Jstor http://www.jstor.org/stable/852885. 148 APPENDIX ALPHABETICAL LIST Appendix A: 1220 Exhibits Inc. 2015, Mission Appendix B: AAM 2015, List of Accredited Music Museums Appendix C: AAM 2012, Standards for Museum Exhibitions and Indicators of Excellence Appendix D: Anode 2015, Mission Appendix E: Billboard 2015, About Us Appendix F: Contemporary Art Center 2016, Spectacle the Music Video Appendix G.l: Country Music Hall of Fame and Museum 2015a, About Appendix G.2: Country Music Hall of Fame and Museum 2015b, Activities Appendix G.3: Country Music Hall of Fame and Museum 2015c, Artist-in-Residence Series Appendix G.4: Country Music Hall of Fame and Museum 2015d, Current Exhibits Appendix G.5: Country Music Hall of Fame and Museum 2015e, Exhibition: Dylan, Cash, and the Nashville Cats: A New Music City Appendix G.6: Country Music Hall of Fame and Museum 2015f, Family Program: Guitar 101: Johnny Cash Appendix G.7: Country Music Hall of Fame and Museum 2015g, Family Program: Song Writing Session 101: Johnny Cash Style Appendix G.8: Country Music Hall of Fame and Museum 2015h, Inductees: Election Process Appendix G.9: Country Music Hall of Fame and Museum 2015i, Museum Celebrates New Exhibit Dylan, Cash, And The Nashville Cats: A New Music City, Presented by Citi, With Two Weekends Of Programs Appendix G.10: Country Music Hall of Fame and Museum 2015j, Objects Collection 149 Appendix G .ll: Country Music Hall of Fame and Museum 2015k, Panel Discussion: Dylan Disc by Disc: The Nashville Recordings Appendix G.12: Country Music Hall of Fame and Museum 20151, Taylor Swift Education Center Appendix G.13: Country Music Hall of Fame and Museum, 2016 Visitor Guide Appendix G.14: Country Music Hall of Fame and Museum, Visitor Survey 2015 Appendix H: Curious Beast 2016, Hollowed Ground Appendix 1.1: Elvis Presley Enterprise 2016a, Graceland, the Home of Elvis Presley, About Appendix 1.2: Elvis Presley Enterprise 2016b, Graceland, the Home of Elvis Presley, Graceland Mansion Tours Appendix J.l: Experience Music Project 2016a, About EMP Appendix J.2: Experience Music Project 2016b, EMP Building Appendix J.3: Experience Music Project 2016c, Guitar Gallery: The Quest for Volume Appendix J.4: Experience Music Project 2016e, Nirvana: Taking Punk to the Masses Appendix J.5: Experience Music Project 2016f, Sky Church Appendix J.6: Experience Music Project 2016g, Sound Lab Appendix J.7: Experience Music Project 2016d, Wild Blue Angel: Hendrix Abroad, 1966-1970 Appendix J.8: Experience Music Project, Informational Brief courtesy of Jacob McMurray Appendix J.9: Experience Music Project, Preliminary Exhibition Layout, courtesy of Jacob McMurray Appendix K .l: Grammy Museum 2016a, All Eyez on Me: The Writings of Tupac Shakur Appendix K.2: Grammy Museum 2016b, Exhibits: In the Studio Appendix L: Grand Ole Opry 2015, About Appendix M .l: Merriam-Webster Dictionary 2015a, Ephemera Appendix M.2: Merriam-Webster Dictionary 2015b, Fanatic 150 Appendix N: Museum of History & Industry (MOHAI) 2016, Exhibits: The Legend of Seattle Hip-Hop Appendix O: Oakland Museum of California (OMCA) 2016, Exhibition: Vinyl: The Sound and Culture of Records Appendix P: Oxford University Press 2015, Popular Music Appendix Q.l: Rock and Roll Hall of Fame and Museum (Rock Hall) 2016a, About the Foundation Appendix Q.2: Rock Hall 2016b, Building Architecture Appendix Q.3: Rock Hall 2016c, History and Overview Appendix Q.4: Rock Hall 2016d, Learn about the Museum Appendix Q.5: Rock Hall 2016e, Library and Archives: About Us Appendix Q.6: Rock Hall 2016f, Library and Archives: Partnerships Appendix Q.7: Rock Hall 2016g, Public Programming Appendix Q.8: Rock Hall 2016h, Right Here, Right Now Appendix Q.9: Rock and Roll Hall of Fame and Museum, Exhibit Guide Appendix R: SFO Museum 2016, Exhibitions: When Art Rocked: San Francisco Music Posters 1966- 1971 Appendix S: Sproul and Ziegler 2012, Nirvana Live Site Information Appendix A: 1220 Exhibits Inc. 2015, Mission i 2 K » a I ABOUT US OUR TEAM OUR CAPABILITIESv PORTFOLIO CRAIG'S CORNER CAREERS CONTACT f D THE 1220 MISSION 1220 Exhibits creates unforgettable experiences and environments that inspire our clients, their audiences and our employees. 1220 Exhibits Is a nationally recognized leader in the production and installation of exhibits. We are trusted by a variety of high-profile clients in a wide array of industries including The Country Music Hall of Fame and Museum. The National Civil Rights Museum. The University of Oklahoma, Ameripath/Oermpath and Catalent. Our diversity of experience gives us the creativity, expertise and flexibility to make your exhibit extraordinary. Whether it's an interactive children's museum, a 10,000-square-foot corporate tradeshow environment or just about anything else in between, we can make it happen. Since 1972. the people of 1220 have been committed to helping you tell your story. 152 Appendix B: AAM 2015, List of Accredited Music Museums Home > A ssessm ent Programs > Accreditation > Accredited Museums Museums Committed to Excellence The following institutions are part of the Continuum of Excellence They have committed to operating according to national standards and best practices in a variety of ways. Use this search tool to find museums that have: • Taken the Pledge of Excellence • Participated in MAP (since 2002) • Completed Core Documents Verification • Achieved Accreditation Search by museum name or designation All museums on this list have taken the P led ge of Excellence Want to add your museum to this list? Leam how. 0 Accredited Museum HI Core Documents Verified Museum SI MAP M useum Accredited Museum-on probation Q Search by state Accredited Museums C J Core Documents Verified MAP Accredited Museum-on Probation There are 8 institution(s) that match your search C a lifo r n ia Museum of Making Music Carlsbad, CA M ic h ig a n Music House Museum Acm e. Ml Pennsylvania DeBence Antique Music World Oil Region Music Preservation Museum Franklin. PA South Dakota National Music Museum M ■ ■ Vermillion. SD T e n n e s s e e Country Music Hall of Fame® and Museum M C9 Nashville. TN National Museum of African American Music Nashville. TN James D. Vaughan Museum of Southern Gospel Music Lawrenceburg. TN V ir g in ia Birthplace of Country Music Bristol. VA « 1» Appendix C: AAM 2012, Standards for Museum Exhibitions and Indicators of Excellence Indicators of Excellence Developed by the Professional Networks Council of the American Alliance of Museums Updated August 2012 Introduction Exhibitions are the pubic face of museums The effective presentation of colections and information in exhibitions is an activity unique to museums, and it ts through their exhibitions that the vast m apniy of people know museums Museum exhibitions are compfex. and even modest ones require the time, energy, and expertise of many people. Museums now realize that effectwe planning, management of resources, research and interpretation, co ecfccns care, marketing. merchandising, design and fabrication, public programs, publications, and fund raising all contribute to the fulfillment of a museum's mission. However, it is vita’ that we as a profession not lose sight of the importance of the exhibition in ns own right. The Characteristics of Excellence for US Museums The standards and indicators in this docjment bufa on the AAM Characteristics of Excellence and help unpack them— particularly those in the Education and Interpretation sect on The Characteristics represent the core standards for museums and are designed to be adaptable to museums of all types and sizes. They are used in the Alliance's Accreditation and Museum Assessment Programs, and other discipline-specfic standards and assessments across the field; and underpin standards and best practices developed by the A t ances Professional Networks The Standards for Museum Exhibitions and the Indicators of Excellence also inform the Annual Excellence in Exhibition Competition— a joint proect of the follow ng Alliance Professional Networks Public Trust & Accountability 1.4 The museum staves to be indusrve and offers opportunities for drverse participation. 1.5 The museum asserts its public servce role and places education at the center of that role 1 6 The museum demonstrates 3 oomrmment to providing the pu&ic wth physical and ntellectuat access to the museum and its resources Mission & Planning 2.5 The museum establishes measures of success and uses them to evaluate and adjust rts activties Education & Interpretation 5.1 The museum clearfy stales its overall educational goals. philosophy, and messages and demonstrates that its activities are in alignment vjith them 5.2 The museum understands the characteristics and needs of its existing and potential audiences and uses this understanding to inform its interpretation 5.3 The museum's interpret ve content is based on appropriate research. 5 4 Museums conducting primary research do so according to scholarly standards 5 5 The museum uses techniques, technologies and methods appropriate to its educational goals content audiences, and rescurces. 0.6 Tne museum presents accurate and appropriate content for each of 1s audiences 5 7 The museum demonstrates consistent high qualify in its interpretive activities. 5 S The museum assesses tne effectiveness of its nterpretive activities and uses these results tc plan and improve rts activities. Standards for Museum Exhibitions An exhibition is successful if it is physicaiy, intellectually and emotionally engaging and accessible 10 those who experence it. The "ollovving outline of standards and related best pract*cesperfcrmance indicators represent exhibition features that generaly result in success A competent exhibition need not demonstrate all of these features. Each museum and each exhibition is different Tne^efore, the standards descnfced below should not be taken as prescriptive. In fad, there is little that can be—or should be prescript ve about good extufc*tion desgn We shouid atoays allow for purposeful—arc often brilliant—deviation from the norm. The following standards for museum, exhibitions are organized in seven nnajcr categones followed by deszript cns of wnat constitutes effectiveness for each category and a listing of spec ■He ways the category might be expressed in an exhibition There is overlap among the lists in the seven categories This is purposeful as the seven categories are closely linked 1. Audience awareness The exhibition is developed frith an articutated ufrierstantfmg of the Mended audiences' prior knoM'edge interests, learning styles, attitudes or expectations about the topic and the experiences planned for visitors. Some specify ways this standard is achieved and demonstrated are: * The target audience is identified during the planning process. « Dec sions about content, means of expression, and design are based on knowledge about the intended audience « The exhibition incorporates community voice in the development process and indicates a diversity of perspectives, if appropriate. Standards for Museum Cictiibitiam and indicators of Excellence Pape 2 2. Evaluation B b M o a studies are conducted during development and/or after opening the exhibition to understand £2 jnpacton audiences m relation to the project's goais Sonre scecrfic ways this standard is achieved and cemonstrated are • Front-end information is gat^e^ed to understand the intended audience including their prior interests in and-'or knowledge about the exhibition topic • Pctenta audiences are invoved in prototyping of exhibit elements particularly with interactive components. « Summative evaluation is conducted showing that the audience responded well to the completed exhibition including that audience reaming and reactions are consistent with the exhibition s intended gcals and mpacts. • Local museum practitioners are invited 10 cartidpate in seer review of the exhibition using gufctafines such as the Framework for Assessing Excellence. 3. Content Content is rkcrcughty researched ano vetted for accuracy, relevance to exhibition iheme/s e/>3 the current state of topic knowledge Some specific ways this standard is achieved and demonstrated are • The subject is appropriate to an exhibition format, with its use of collections, environments phenomena, and otne- means of physical presentation of content. • Authorship, biases, intent, and perspectives of the exhibition are revealed, demified, or attributed. « The exhibits reveal who is talk ng fact from fiction or opinion, tne real from the not real. • Content is expressed utilizing best methodologies for media choices « Media choices effectively communicate the content « Content is up to cate. • Content s jargon free. • Best efforts are made to ensure relevance to the visitors, A. Collections The selection and presentation of objects furthers !*e inteBectuat content of the exhibition. Some specific ways this standard is acmeved and demonstrated ane « The selection of fine objects expresses the significant deas of tne exhibition « Collections are successful^ utilized to re1lec: and amplify exMC lion themes and content « "Tie exhibition see'esses the authenticity of the objects presented « The exhibition, as appropriate, identifies the material nature, form and methods of production of tne objects. « Conservation arc security matters have been appropriately addressed. • Objects are mounted appropriately Standards for Museum Eichibrticms and Indicators of Excc*Me?ic«* Pape 3 5. Irvterpretation/Communication The informations'message cf the exhibition is dear end coherent if not. then* is a gccd reason why not. Some specific ways this standard is ac*eved and demonstrated are « '’“here is a dear idea or set of deas exoressed and those ideas are made clear to viewers * There are coherent easy-to-follow and consistent formats for presenting oonlent and eliding responses. * Ass-Tiptons and so nts-of-view are clearly dentified. * If appropriate 1o the subject matter the exfWfcition need not provce definitive answers Raising questions and providing a forum for ideas may suffice « A variety of interpretive strategies (includmg but not «mited to labels interactoves, wdeo, audio, etc.) a’-e ocns£ered and used when appropriate to tre exhibition’s goals content, and intended audiences * Information anc ideas in different parts of the exhibition are complementary and reinforce each other. « Tlhe exhibition's content is engaging Besides being simulating "lellecsuatfy, ePorts are made to ercourage social interaction among visitors and there are abundant opportiir ties for establishing personal, meaningful connections 6. Design and production The selection, design, and production of interpretive media effectively and engagingly communicate content Some specific ways this standard is achieved and demonstrated are « Aesthetic choices support and reflect the theme and tone of the exhibition « Exhibit media are des gned for comfort anc accessibility * Orientation spatial organization, and traffc flow are appropriate to the goals of die exhibition « “here s imaginative and inventive use c*f interpretive media: labels signage, furniture, casework, interactives, audio visual, new technologies etc. « Design motifs are well thought out and consistent throughout exhibition. « Both design and production ensure than all exhibrtry is reliable, maintainable and sufficiently robust for the length of the exhibition period. * Temporary and traveling exhibitions are designed and produced in a manner that meets the requirements necessary for frequent installation, dismantling and travel 7. Human comfort, safety, and accessibility The exhib&km is des.'gned such that the & Some scecific ways this standard is achieved and demonstrated a~e * The ptiysical space (such as layout lighting flooring} is created in such a way that aucfience members of varying physical sees anc abilifces are a£ie to navigate and interact with tne exhibition. * The content is deve cped in such a way that audience members of varying ages, cultures, and cognitive abilities a-e able to understand and learn from the exhibition SlaniSard* tar Museum Exhibitors and Indicators of Exoefence Pape* 4 « The environment is designed in such a way that audience members of varying ages and cultures feel safe and comfortable interactrng in tne exhibition. ■ If tte exhibition incudes any potentially troubling ooment or material, visitors are appropriately forewarned so they can make infcrmeo decsions atoul whether they want to see it • Labels a~e legible and easy to understand. • Visitors are given spaces to s*l within the exhibition. Indicators of Excellence in Museum Exhibitions Whie many exhibisions achieve a competent ieve; of professionalism, each year there are a few exhibitions that achieve excellence by surpassing standards of practice in scholarship interpretation, content ntegration of audience voiceevauation, and.'or design or by introducing innovations that stretch the boundaries of accepted practice Such exhibitions arehighly distinguishes and serve as models cf the capacity cf museum exhibitions to provde transformingexperiences visitors so often attribute to them . Some specific indicators of exhibition excellence are: • At ascect of the exhibition cesign is innovative • The exhibition offers a new cerspectrve or new insight on a topic « The exhibition presents new information. • The exhibition synthesizes and presents existing knowledge and*’or collection materials in a surprising or provocative way. • The exhibition includes audience voices in a new or innovatrve wary reflected through exhibition design or content. « The exhibition includes innovative uses of media, mate^als, and other design elements • The exhibition is oarticularly beautify!, exceptionally capable of engendering a persona emotional response andtor profoundly nremorsbe in a constructive way. • The exhibition evokes responses from* viewers that are evidence of a transforming experience Such experiences are often characterized in these ways. o It was haunting o The exn t tion was an absolute eye-opener, o n never see XXX in the S3me way again o I was filled with excrement, o It knocked my soc Standards fur Museum Dcftibilians and Indicators of ExcsBenc*! Pape 5 158 Appendix D: Anode 2015, Mission OUR WORK WE ARE ANODE LET'S CONNECT BLOG HISTORY & MISSION. Anode was founded in 1991 with the vision that every product we create should tell a story with a beginning, middle and an end Our mission is to provide our clients with creative, technology- driven solutions to educate, entertain, and motivate their target audience We are thinkers and makers who are passionate about blending media, stories and technology We explore and apply new ideas; transforming challenges into engaging and memorable experiences We use digital technology and visual information design to surprise and delight people of all ages-and subsequently change the way they look at objects and information, encouraging shared experiences and exchanges 159 Appendix E: Billboard 2015, About Us 1 M U U U l U S The world's premier music publication Billboard has ser/ed the entertainment business since 1894. Beginning as a weekly for the billposting and advertising business, Billboard and its popular music charts have evolved into the primary source of Information on trends and innovation in music, serving music fans, artists, top executives, tour promoters, publishers, radio programmers, lawyers retailers, digital entrepreneurs and many others As Billboard's consumer-faced online home. Billboard.com features an extensive array of searchable, playable charts, breaking music news artist interviews and exclusives, news, video and more Launched in 1995 as Billboard Online, Billboard.com now attracts well over ten million unique visitors each month in more than 100 countries and has become the de facto digital destination for popular music. Billboard is headquartered in New York with bureaus in Los Angeles and Miami, and has editorial correspondents in major cities around the globe. Billboord.com Staff 160 Appendix F: Contemporary Art Center 2016, Spectacle the Music Video exhfbstions Spectacle XARITHC fS, :--)KT The Music Video o AOD * 0 CAitNOA* March 03 through September 03, 2012 O f TtAvt, vaiXHHHffON Opens at the EMP Museum in Seattle. WA on May 17.2014 Curated by Jonathan Wens and Meg Grey Wefts of Flux This groundbreaking exhibition explores music video as an important and influential art form in contemporary culture Although it has had an enormous influence on pop culture, music, cinema, fashion and advertising- music video as an art form has yet to receive consideration in a museum context Spectacle changes all that This is the first time a contemporary art museum has examined the music video format through a diverse exhibition-employing immersive environments, photography, video screenings, objects and interactive installations Spectacle features important examples from music video history, from the early pioneers and MTV masters who expertly used the medium to define their public identities, like Devo. Beastie Boys. Michael Jackson and Madonna, to artists like OK Go and Lady Gaga who follow in their footsteps today Spectacle also reveals the important contributions music video has made across genres For example, many new filmmaking techniques prevalent today were first tested in music videos And som e of today's most innovative cinematic figures-David Fincher. Michel Gondry. Sp.ke Jorze. Mark Romanek and o thers-deve.oped their signature style through experimentation with music videos The exhibition presents the changing landscape of the art of music video, highlighting the genre s place at the forefront of creative technology, and its role in pushing the boundaries of creative production. With innovation and exploration as haltmarks-from the A-Ha Take on Me* video, to Chris Milk. Radiohead and others introducing new forms of interactivity and viewer participation-it is apparent that music video as an art form is constantly being redefined Appendix G.l: Country Music Hall of Fame and Museum 2015a, About > i € # VISIT INDUCTEES JOIN & SUPPORT EDUCATION VENUE RENTAL ' U p ' ABOUT LATEST POSTS Our Mission Museum Celebrates the Holidays with Deck... The Country Music Hall of Fame® and Museum seeks to collect, preserve, and interpret the PERFORMERS TO BE evolving history and traditions of country music Through exhibits, publications, and FEATURED THIS DECEMBER educational programs, the museum teaches its diverse audiences about the enduring beauty INCLUDE BRENDA LEE, and cultural importance of country music LONESTAR THE OAK RIDGE BOYS. AND RICKY SKAGGS AND THE WHITES... About the Country Music Hall of Fame® and Museum The Country Music Hall of Fame® and Museum adds a strikingly modem touch to the Nashville Jim Ed Brown And The skyline and is situated at the epicenter of the city's rapidly growing core, a block from the Brow ns,... popular honky-tonks of Broadway, across the street from Bndgestone Arena and Music City Mandy Barnett, Dierks Center, and adjacent to the Omni Hotel The museum, called the ’Smithsonian of country music* Bentley, Garth Brooks, because of its unrivaled collection, recently unveiled a $100 million expansion, doubling its size Jim m y Capps, Duane Eddy, to 350,000 square feet of dynamic state-of-the-art galleries, archival storage, education Vince Gill. Ben Hail Jeff classrooms, retail stores, and special event space boasting stunning downtown views Hanna, The Isaacs, Carolyn Martin,... In the museum's core exhibition, Sing Me Back Home A Journey Through Country Music, visitors are immersed in the history and sounds of country music, its ongms and traditions, and the stories and voices of many of its honored architects The story is revealed through artifacts, photographs, and text panels, with a nch overlay of recorded sound, vintage video, and interactive touchscreens. Sing Me Back Home is enhanced by several limited-engagement exhibits including Dylan, Cash and the Nashville Cats A New Music City presented by NEWSIfTTlR SIGNUP Citi; Tnsha Yearwood The Song Remembers When Luke Bryan: Dirt Road Diary presented by Citi. Ronnie Milsap: A Legend in My Time and The Duke of Paducah These Shoes are KiUm 'Me, Tne ACM Gallery and the Dmah and Fred Gretsch Family Gallery offer visitors a hands-on immersion into today's country music with artifacts from today's country stars and a series of technology-enhanced activities that allow guests to become 'Certified Country * In addition to world class galleries, the museum has the 776-seat CMA Theater, the Taylor Swift Education Center, and multi-purpose event rental spaces m high demand. Other historic properties of the Country Music Hall of Fame and Museum include the legendary letterpress operation Hatch Show Print (located inside the museum) and Histonc RCA Studio B (located on Email Address famed Music Row), Nashville’s oldest surviving recording studio, where landmark recordings by Elvis Presley, Dolly Parton, Waylon Jennings, and many others were made Interests Since 1987, the Country Music Hall of Fame and Museum has been accredited by the American / Count:? Music Kafi ©f Fate* asd Alliance of Museums, certifying that the museum operates according to the highest standards, Mtssevao Ire^uiieij manages its more than two milhon*item collection responsibly, and provides quality service to □ RCA Studio B the public Of the 17,500 museums nationwide, only some 1000 are accredited n Hatch Show Pnnt The Country Music Hall of Fame and Museum has developed multiple platforms to make its Q lw « in th*CMA Theater collection accessible to a wider audience From weekly instrument demonstrations to its Event and Meeting Planners flagship songwntmg program for schools. Words & Music, the museum offers an aggressive 0 Educators schedule of educational programs The museum also operates CMF Records, a Grammy- winning re-issue label (The Complete Hank Williams and Night Tram to Nashville Music City Group Tours Rhythm & Blues, 1945-1970).and CMF Press, a book publishing arm that releases exhibit-related 0 Dining At The Halt books in cooperation with Vanderbilt University Press and other major trade publishing houses SUBSCRIBE Appendix G.2: Country Music Hall of Fame and Museum 2015b, Activities VISIT INDUCTEES JOIN & SUPPORT EDUCATION VENUE RENTAL ACTIVITIES Calendar Songwriter Sessions Instrument Demonstrations Film Screenings Family Programs Special Programs Artists in Residence Nashville Cats Poets and Prophets Appendix G.3: Country Music Hall of Fame and Museum 2015c, Artist-in-Residence Series > mZm VISIT INDUCTEES JOINS SUPPORT EDUCATION VENUE RENTAL c ; ABOUT THE ARTIST-IN-RESIDENCE SERIES SUBSCRIBE Each year, the museum invites a noted artist or musician to give a series of original performances that highlight thetr career and explore their artistry Every artist-m-residence has a strong connection to country music or has a sense of country music's contribution to American culture. Past Artist-in-Residence performers include: • 2003-Cowboy Jack Clement • 2004-Earl Scruggs • 2005-Tom T Hall • 200-;--Guy Clark • 2007-Kris Krsstoffersoa • . ■ Jerry Dcu-iiav August 19 • August 2" • 2008-Jerry Be jgias-September 16 • 2CC8 Jet ::y Dcuglas September 30 • 2C09-Vince Giii-February 3 • 20C ?-Vince Gill*February 17 • ' 'jr.ee GiH-February 24 • 10-t uddy N!:Uer-August 10 • • ;y ; V.Her-Augu;: 24 • 2011-Ccnme Smith-August 22 • 201: Ccnrs:e Smith-Auguit 25 • 2011-Connie Smith-September 12 • 2012-Kenny Rcge r s-M ay 9 Appendix G.4: Country Music Hall of Fame and Museum 2015d, Current Exhibits Zm VISIT INDUCTEES JOIN & SUPPORT EDUCATION VENUE RENTAL EXHIBITS Current Exhibits Eric Church: Inside the Outsider This exhibit explores the life and career of Enc Church featuring stage wear, guitars, song manuscripts, photos and more from his personal collection 'Eric Church is an mdependent-mmded artist with an uncompromising attitude that is rare in contemporary country music.' said museum CEO Kyle Young "His insistence on doing things... A Flyiri Saucers Rock & Roll: The Cosmic Genius of Sam Phillips One of the most innovative and inspiring figures in the history of Amencan music, Sun Records founder Sam Phillips introduced the world to Johnny Cash, Howlin’ Wolf, Jerry Lee Lewis, Roy Orbison. Carl Perkins Elvis Presley. Charlie Rich, and many more The Country Music Hall of Fame® and Museum explores. TRISHA VEARWOOD THE SONG REMEMBERS WHEN Trisha Yearwood: The Song Remembers When Delve into the creative and personal journey of one of country music's most influential female artists. Tnsha Yearwood. with the exhibition Trisha Yearwood The Song Remembers When at the Country Music Hall of Fame® and Museum Tne exhibit chronicles Yearwood's life, career, and critically acclaimed musical achievements Hie story begins 165 Luke Bryan: Dirt Road Diary The Country Music Hall of Fame® and Museum explores the life and career of reigning CMA and ACM Entertainer of the Year Luke Bryan with the summer exhibition Luke Bryan Dirt Road Diary presented by Citi, which opened May 22 and runs through November 8 The exhibition examines the singer-songwriter's... Dylan, Cash, and the Nashville Cats: A New Music City Presented by Citi Bob Dylan’s decision to record in Nashville in 1966 provided a major catalyst for bringing many others to what must have seemed like a very unlikely destination in the politically polarized sixties In spite of its reputation as a conservative town, removed from the mam trends m popular music. Nashville. Sing Me Back Home The Country Music Hall of Fame® and Museum’s core, permanent exhibit tells the story of country music from its pre commercial roots in the nineteenth century through its vibrant life today This exciting, multi-layered experience includes artifacts, photographs, original recordings, archival video, newly produced films, touchscreen interactive media, and beautifully rendered... jg Stringbean: Going to the Grand Ole Opry (to Make Myself a Name) The Grand Ole Opry celebrates its ninetieth anniversary in 2015 The famous "barn dance* program which debuted on Nashville radio station WSM m 1925. has been the stage home of countless country music legends David 'Stringbean* Akeman (1916-73) became one of the Opry’s major stars in the 1950s A fine.. 166 Appendix G.5: Country Music Hall of Fame and Museum 2015e, Exhibition: Dylan, Cash, and the Nashville Cats: A New Music City — : > mtw\ VISIT INDUCTEES JOIN & SUPPORT EDUCATION VENUE RENTAL — ...... DYLAN, CASH, AND THE NASHVILLE CATS: A NEW MUSIC CITY March 27,2015 - December 31,2016 —— Cltl Buy Tickets Online Dylan, Cash, And The N ashville Cats: A New M usic City CD Buy Now' Bob Dylan's decision to record in Nashville in 1966 provided a major catalyst for bringing many others to what must have seemed like a very unlikely destination in the politically polarized sixties In spite of its reputation as a conservative town, removed from the mam trends in popular music, Nashville was home to musicians who had a huge influence on other music scenes of the era Explore below to learn more about Bob Dylan, Johnny Cash, and session musicians Dylan, Cash, and the known as the Nashville Cats. Nashville Cats Hatch Poster Buy Now* ^ £ 9 BOB DYLAN JOHNNY CASH HVILLE CATS 167 The exhibit opens with a bnef biographical section on Dylan's career prior to his 1966 arnval m II Nashville and on the events that drew him to Music City To record his album Highway 61 Revisited, in 1965, Dylan was in New York working with producer Bob Johnston a former Download Brochure Nashville resident Johnston often had hired multi-instrumentalist Charlie McCoy to lead 11MB. PDF sessions m Nashville At Johnston’s invitation. McCoy visited one of Dylan’s New York sessions and was asked to play guitar on Desolation Row.' McCoy impressed Dylan with his musicianship, and Johnston urged Dylan to record in Nashville, where there were many other skilled musicians Dylan took Johnston's advice, he came to Nashville m February 1966 to make the recordings that would become Blonde on Blonde The album is considered one of the great achievements of Dylan’s career and a benchmark of Amencan popular music The exhibit also looks at the subsequent albums Dylan recorded m Nashville-John Wesley Harding, Nashville Skyline, and portions of Self Portrait Further, Dylan, Cash, and the Nashville Cats A New Music City, presented by Citi highlights Dylan’s relationship with Cash Hie two cemented their friendship at the 1964 Newport Folk Festival and were reunited in Nashville, in February 1969 Dylan had recorded most of Nashville Skyline when he went into the studio with Cash They cut more than a dozen duets m two days Museum Activities One. 'Girl from the North Country.* appeared on Nashville Skyline, and Cash wrote Grammy- wmrung liner notes for the album A portion of the exhibit focuses on how Cash bridged the cultural gap between Nashville's old guard and the musical outsiders who came to town in Dylan’s wake One means for doing so was Cash's network TV show The Johnny Cash Show was shot at Nashville's Ryman Auditonum and became an outlet for country artists and for folk pop and rock musicians trying to reach new audiences Dylan and Joni Mitchell were guests on the first show, and Ronstadt, Young. Lightfoot and Eric Clapton's Derek & the Dominos appeared on subsequent shows Artists who followed Dylan to Nashville to record or to appear on Cash’s show were rewarded with the opportunity to work with world-class musicians In several cases, the visiting artists produced albums that ranked as career highlights, thanks to the accomplished Nashville players providing support One portion of the exhibit takes a look at artists who came from music scenes in New York San Francisco, Los Angeles, Toronto and London to record with the Dine at the Hall Nashville Cats A unique spin on authentic Tne centerpiece of the exhibit is a series of 16 listening booths, each devoted to a Nashville Cat Southern favorites of the era-David Bnggs, Kenny Buttrey. Fred Carter Jr.. Charlie Darnels, Pete Drake, Mac Gayden, Lloyd Green. Ben Keith, Grady Martin, Charlie McCoy. Wayne Moss. Weldon Mynck Norbert Putnam Jerry Reed. Fig Robbins and Buddy Spicher. Each booth provides biographical information, archival photos and audio samples of the musicians’ signature licks on both rock and country recordings from the late 1960s and early 70s Nashville became a new place The influx of musicians, writers, and artists dunng this era enlivened the city The political climate and the countercultural movement provided a supercharged atmosphere for creativity Nashville songwriters like John Hartford. Kris Kristofferson and Mickey Newbury approached their craft in new ways Earl Scruggs ended his association with Lester Flatt and formed a band with his sons, to explore a new repertoire New venues like the Exit/In emerged to showcase music in the new Music City The exhibit explores this transition #DylanCashExhibit Co-curated by the museum's curatorial team and guest curator Pete Finney, Dylan, Cash, and the Nashville Cats, presented by Citi includes dozens of artifacts and a generous overlay of audiovisual treasures including hundreds of archival photos, audio and video clips and rare artifacts Among them Manuscript, in Dylan and Cash's handwntmg. for “Wanted Man,' a song that Dylan wrote for Cash in Nashville, for Cash's 1969 album Johnny Cash at San Quentin Mahogany 1949 Martin 00-17 guitar and harmonica used by Dylan in the early 1960s Vintage clips from The Johnny Cash Show and rare archival footage, running in two mini theaters On display for the first tune anywhere, Lloyd Green's Sho-Bud pedal steel guitar, used on the Byrds' Sweetheart of the Rodeo (1968) and other classic recordings (The instrument traveled to the museum from Texas on a private plane) Acetates from Dylan's 1966 Blonde on Blonde sessions Charlie Daniels’s Fender Telecaster, used on Dylan's 1969 album, Nashville Skyline » Mac Gayden’s Lincoln electnc guitar and pedal, used to create the innovative wah-wah slide guitar on J J Cale’s 'Crazy Mama' Norbert Putnam's Fender Precision bass, used on recordings by Linda Ronstadt (long, Norbert Putnam's Fender Precision bass, used on recordings by Lmda Ronstadt (“Long, Long Time*) Tony Joe White (’Polk Salad Annie*), Joan Baez, Kris Knstofferson and Elvis Presley ■ Instruments that Charlie McCoy and Fred Carter, Jr used on Simon & Garfunkel's classic hit T h e Boxer' Cash's outfit and guitar featured on The Johnny Cash Show Paul McCartney's tape box for the master tapes and track sheets from his 1974 sessions in Nashville ('Junior's Farm ' *Sally G*) Rare Dylan promotional ephemera from his early career, including the handbill from his first major New York booking Snare and other pieces from Kenny Buttrey's first drum kit Ron Cornelius’s Gretseh Country Gentleman electric guitar, used on recordings and performances by Dylan and Leonard Cohen in the early 1970s Visit the museum and experience the complete story. Upcoming Dylan, Cash and the Nashville Cats: A New Music City Programs Wednesday, September 16 12:00 p.m. - 1:30p.m. Panel Discussion Dylan Disc by Disc The Nashville Recordings Learn more Album Featuring an Unreleased Bob Dylan Track Now Available This exhibition companion double CD, produced by Legacy Recordings in association with CMF Records, includes an unreleased Dylan track and celebrates the compelling music made by the Nashville Cats in support of the artists drawn to Nashville by Dylan's example and by the reputation of the city's talented pickers Exclusive Spotify Playlist with Commentary from Charlie Daniels Available Now. Get a sneak peek of new album Dylan, Cash, and the Nashville Cats with commentary from Charlie Daniels at http //spttiMbKFgW J, #!/' :•££•,<» CharBe Daniels on Bob Dylan’s • ^ Charlie Daniels s r » Dyian. Casn end Nashvflta Cats: A N«w Music Oty (Chart*# 0„ © Char he Daniels on Bob Dylan's "Absolutely Sweet Marie* 1 Ch#rS« Dennis 0 5 9 Absolutely Sweet Marie 2 4:55 Bob Dylan Charlie Daniels on Johnny Cash's *lt Ain't Me. Babe* 3 041 Charfi* Daniete It Ain't Me BaDe 4 303 Johnny Cast) Charlie Daniels on Ratt & Scruggs' "Down In the Hood* 5 1:02 Chari* Dan*stfs Down In the Rood 6 Bstti Scruggs 2:17 Charlie Danieis on Gordon Ughtfoors ‘ The Way 1 FeeT 7 0:41 Q w D tO tiM l The Way 1 Feel -1993 - Remaster 8 Gordon Ughtfoot 3:05 Charlie Daniels on Bob Dylan's T il Be Your Baby TonighP 9 0:48 Charfi* Oaniatt ra Be Your Baby Tonight 10 Bob Dylan 2:39 Char he Daniels on The Byrds* *You Ain't Goin' Nowhere* 11 0 41 169 Appendix G.6: Country Music Hall of Fame and Museum 2015f, Family Program: Guitar 101: Johnny Cash > N j&SE: VISIT INDUCTEES JOIN & SUPPORT EDUCATION VENUE RENTAL FAMILY PROGRAM: GUITAR 101: JOHNNY CASH LATEST POSTS The Museum Welcomes Saturday, April112015 - 1230pm Historian Peter Guralnick... Learn to play a Johnny Cash song Guralmck to Discuss His on the guitar! This hands-on New Biography SAM group workshop will teach the PHILLIPS The Man Who basics of guitar, strumming Invented Rock *n’ Boll techniques, and sim ple chords Discussion Is Presented in using a couple Johnny Cash Support... songs Musician and teacher Todd Woolsey will lead this introductory class He has played Keith Urban So Far... with Joe Nichols. Pam TilUs. CAREER-SPANNING Tanya Tucker, and Lee Ann EXHIBITION DEBUTS THIS W omack Guitars provided In NOVEMBER AT THE support of the exhibit Dylan. COUNTRY MUSIC HALL OF Cash, and the Nashville Cats A FAME® AND MUSEUM New Music City, presented by NASHVILLE. T enn. October Citi Ages 7 and up Takes place 29,2015-... in the Taylor Swift Education Center 170 Appendix G.7: Country Music Hall of Fame and Museum 2015g, Family Program: Song Writing Session 101: Johnny Cash Style VISIT INDUCTEES JOIN & SUPPORT EDUCATION VENUE RENTAL FAMILY PROGRAM: SONGWRITING 101: JOHNNY CASH STYLE LATEST POSTS The Museum Welcomes Historian Peter Guralnick... Johnny Cash has a unique sound Guraimck to Discuss His and lyric-writing style His songs New Biography SAM will be the inspiration for our PHILLIPS The Man Who professional songwriters and you Invented Rock 'n' Hoi! in this group songwriting class Discussion Is Presented in Learn the fundamentals of Support... songwriting. including form, rhyme scheme, and imagery, before participating in a Keith Urban So Far... collaborative songwriting CAREER-SPANNING experience For ages 7 and up In EXHIBITION DEBUTS THIS support of the exhibit Dylan, NOVEMBER AT THE Cash, and the Nashviile Cats A COUNTRY MUSIC HALL OF New Music City, presented by FAME® AND MUSEUM Citi Takes place in the Taylor NASHVILLE, T e n n . October Swift Education Center 29,2015-... PROGRAM ADMISSION Museum admission or Museum 171 Appendix G.8: Country Music Hall of Fame and Museum 2015h, Inductees: Election Process > m 2 pB VISIT INDUCTEES JOIN & SUPPORT EDUCATION VENUE RENTAL Q. 0 fd4€ •• tN D U C T E * FLECTION PROCESS ELECTION PROCESS UTEST POSTS Election to the Country Music Hall of Fame is country music's highest honor The Country Music Museum Celebrates the Association (CMA), the country music industry's trade organization, created the accolade to Holidays with Deck... PERFORMERS TO BE recognize significant contributions to the advancement of country music by individuals in both FEATURED THIS DECEMBER the creative and business communities The first members-Jimmie Rodgers. Fred Rose, and INCLUDE BRENDA LEE. Hank Williams-were inducted in 1961 LONESTAR, THE OAK RIDGE Election to the Country Music Hall of Fame is solely the prerogative of the CMA New members, BOYS. AND RICKY SKAGGS elected annually by an anonymous panel of industry leaders chosen by the CMA, are formally AND THE WHITES. inducted in special, invitation-only ceremonies held at the Country Music Hall of Fame - and A Museum's CMA Theater Jim Ed Brown A nd The The Country Music Hall of Fame? and Museum is a 501(cX3) non-profit educational organization Brow ns,... and does not participate in the election Through a licensing agreement with the CMA, the Mandy Barnett, Dierks Museum exhibits the bronze plaques commemorating membership in a space and fashion Bentley. Garth Brooks. befitting the honor Jim m y Capps, Duane Eddy, Please visit the website for more information about the election process including Vince Gill. Ben Hall. Jeff Hanna. The Isaacs, Carolyn Categories Martin,... Candidate Criteria 172 Appendix G.9: Country Music Hall of Fame and Museum 2015i, Museum Celebrates New Exhibit Dylan, Cash, And The Nashville Cats: A New Music City, Presented by Citi, With Two Weekends Of Programs The Museum Welcomes Historian Peter DYLAN, CASH, AND THE NASHVILLE Guralnick... Gurahuck to Discuss His CATS: A NEW MUSIC CITY, New Biography SAM PHILLIPS The Man Who Invented Rock ’n' Roll PRESENTED BY CITI, WITH TWO Discussion Is Presented in WEEKENDS OF PROGRAMS Support... Keith Urban So Far... CAREER-SPANNING On March 28 Country M usic Hall of Fame m em ber Charlie McCoy Will Lead an EXHIBITION DEBUTS THIS All-Star Nashville Cats Band with Special Guests NOVEMBER AT THE COUNTRY MUSIC HALL OF On April 4 Charlie Daniels,Ron Cornelius andSylvie Simmons Participate in a FAME® AND MUSEUM Panel Discussion on the Influences of Bob Dylan and Leonard Cohen NASHVILLE. T enn. October 29.2015-... NASHVILLE, Tenn,, February 26.2015 -T he Country Music Hall of Fame® and M useum will unveil Dylan, Cash, and the Nashville Cats A New Music City; presented by Citi. a major exhibition of more than 5,000 square feet, on Friday. March 27.2015 The exhibition will run through December 3 i 2016 Dylan. Cash, and the Nashville Cats A New Music City, presented by Citi is co*curated by the museum's curatorial team and guest curator Pete Finney The exhibit opening will be NEWSLETTER SIGNUP highlighted by two w eekends packed with programing Saturday. March 28. will feature a songwriter session with Ketch Secor and Critter Fuqua of Old First Name Crow Medicine Show, and an afternoon concert showcasing songs and artists highlighted m the exhibition Country Music Hall of Fam e m em ber Charlie McCoy will lead an all-star band of Nashville Cats, including David Briggs. Mac Gayden Lloyd Green Kenny Malone Wayne Moss Last Name and Norbert Putnam Special guests including Deana Carter Jon Langford, Tracy Nelson Steve Young and Old Crow's Secor and Fuqua will sit in with the all-star band Other exhibit opening programs include a special instrument demonstration with McCoy on Email Address Sunday, March 29. and a panel discussion about the Nashville work of Bob Dylan and Leonard Cohen and their impact on Nashville, with Charlie Daniels Ron Cornelius, and Sylvie Simmons on Saturday. April 4 Interests Throughout its 2i-month run. Dylan. Cash, and the Nashville Cats A New Music City, presented ■/ Cesatry Msase HiS sf Fc&c t&i ifestyas by Citi will be accompanied by related public programs, including live performances, guest lectures, family activities in the Taylor Swift Education Center, film screenings, panel C fiCAStudioB discussions, and more The schedule will be updated regularly at countrymusichalioffame org Kstch Sfcow Print With the purchase of a m useum m em bership ($45/individual. SLOO/friends and family), visitors Live m the CMA Thettet can attend most public programs free for one year, including programming related to Dylan, Event acd Meeiinj Plannets Cash, and the Nashville Cats A New Music City, presented by Citi C Educators 173 Upcoming Dylan, Cash, and the N ashville Cats: A New M usic City, presented by Citi Programs Group Touts Cm eg At The Kali ‘Songwriter Session: Ketch Secor and Critter Fuqua (of Old Crow Medicine Show) SU8SCJ3SC Sarirflay-MaisJi2B------12 30 p is. Curator Talk: Dylan, Cash, and the Nashville Cats: From Idea to Exhibition Saturday. M arch 28______I2 3 0 s m Family Program Reimagined Album Covers: The Byrds’ Sweetheart of the Rodeo Young artists will create their own version of the iconic Sweetheart of the Rodeo album cover for display in the Taylor Swift Education Center Saiurflay.»darclL28______2.0QjB.m. 'Concert: Listen to the Band: The Nashville Cats with Special Guests Guests include Deana Carter. Jon Langford. Tracy Nelson. Steve Young, and Old Crow Medicine Show m em bers Critter Fuqua and Ketch Secor and m ore Country M usic Hall of Fam e m em ber Charlie McCoy (harmonica, multi-mstrumentalist) will lead the "Nashville Cats* 3and, including David Briggs (piano). Mac Gayden (guitar), Lloyd Green (pedal steel guitar). Kenny Malone (drums), Wayne Moss (guitar) and Norbert Putnam (bass) Sunday. March 29______3rgp:a..ii3Qjja..-JL3iljLDi. Create Lab: Make a Hall of Fame Medallion or Plaque Sunday. M arch 29______ICC a m ‘Harmonica Demonstration: Charlie McCoy Sunday.M arch 29______IQ30 a m a n d 3 CO p m Film: The Johnny Cash Show, Episode 1 featuring Bob Dylan (1969) Family Program: Songwriting 101 Johnny Cash style The songs of Johnny Cash will serve as inspiration in this collaborative songwriting workshop Samrday-AMiLi------2.QQxim. ‘Conversation: Songs from a Room: the Nashville Works of Dylan and Cohen M usicians Charlie Daniels and Ron Cornelius discuss their work with Dylan and Cohen, and, along with Cohen biographer Sylvie Simmons, illuminate the influence of producer 3ob Johnston in bringing these artists to Nashville to record Sunday, ApiiLS (all Sundays m.Apiil;— 3rop-m U 3 D a.m -L^.g .m . Create Lab: Embellished Instruments, Nashville Cats Flair Explore the Nashville Cats studio musicians featured in the exhibition Dylan, Cash, and the Nashville Cats A New Music City, presented by Cui to inspire your own custom ized instrum ent design. * This program will be stream ed live at countrymusichalloffame org/si reaming. Accredited by the American Alliance of Museums, the Country Music Hall of Fame® and Museum is operated by the Country Music Foundation, a not-for-profit 501(c)(3) educational organization chartered by the state of Tennessee in 1964 The museum '$ mission is the preser/ation of the history of country and related vernacular music rooted m southern culture With the same educational mission, the foundation also operates CMF Records, the museum's Fnst Library and Archive. CMF Press. Historic RCA Studio 8 and Hatch Show PnntS More information about the Country Music Hall ofF am et‘ and Museum is available at vmwcountrymusichalloffameorg or by calling (615) 416-2001 Appendix G.10: Country Music Hall of Fame and Museum 2015j, Objects Collection HOME » EDUCATION ^COLLECTIONS AND RESOURCES * OBJECTS COLLECTION OBJECTS COLLECTION The Museum has an extensive, permanent objects collection This collecuon includes more than Museum Celebrates the Holidays with Deck... eight hundred stage costumes, over six hundred instruments, and hundreds of other objects- PERFORMERS TO BE from microphones to automobiles-documentmg the history of country music FEATURED THIS DECEMBER Historic instruments include a harmonica used by country music's first African-American star. INCLUDE BRENDA LEE. DeFord Bailey. Jim mie Rodgers's 1928 Weymann guitar, the autoharp Sara Carter used at the LONESTAR THE OAK RIDGE Carter Family's first recording sessions m 1927. Les Paul's 1941 experimental ’log" electnc guitar, BOYS. AND RICKY SKAGGS a four-necked steel guitar Barbara Mandrell played onstage as a child. Mother Maybelle Carter’s AND THE WHITES .. 1928 Gibson L*5 guitar; and Bill Monroe's Gibson F-5 Master Model mandolin As with many accredited museums with large holdings, less than one-tenth of the objects Jim Ed Brown And The belonging the Country Music Hall of Fame and Museum are on display at one time The majority Browns,... of the collection is accessioned, preserved, and stored using the best museum practices Mandy Barnett Dierks available Bentley. Garth Brooks. 175 Appendix G. 11: Country Music Hall of Fame and Museum 2015k, Panel Discussion: Dylan Disc by Disc: The Nashville Recordings VISIT INDUCTEES JOIN & SUPPORT EDUCATION VENUE RENTAL SEARCH PANEL DISCUSSION: DYLAN DISC DY DISC: THE NASHVILLE LATEST POSTS The Museum Welcomes Historian Peter RECORDINGS Guralnick... Guralnick to D iscuss His September 16,2015 New Biography SAM Jon Bream :: a m usic crm c for the Minneapolis Star-Tnbune and author of the just-published PHILLIPS The Man Who book Dylan Disc by Disc, in w hich he talks with fifty-five m usicians, journalists, and scholars Invented Rock 'n' Boll about every album recorded by Dylan. Bream hosted a conversation about the albums Dylan Discussion Is Presented in recorded in Nashville, including Nashville Skyline and Blonde on Blonde Guests included Support... smger*songwrit£ r Marshall Chapman : :eel guitarist and guest curator of the m useum exhibit Dylan. Cash, and the Nashville Cats Pete Finney suthor and producer Holly George-Warren Keith Urban So Far... m usic journalist Geoffrey Himes and smger-songwme: Robyn Hitchcock This program w as CAREER* SPANNING offered in support of the exhibit Dylan. Cash, and the Nashville Cats A New Music City; EXHIBITION DEBUTS THIS presented by Citi. and m partnership with the Americana Music Association NOVEMBER AT THE rAmrrDvvmotruAJ ? r»r 176 Appendix G.12: Country Music Hall of Fame and Museum 20151, Taylor Swift Education Center VISIT INDUCTEES JOINS SUPPORT EDUCATION VENUE RENTAL HOME » EDUCATION * YOUTH « FAMILY PROGRAMS * TAYLOR SWIFT EDUCATION CtXTtR TAYLOR SWIFT EDUCATION CENTER NEWSLETTER SIGNUP Home to the museum's award-winning educational programs, the First Name Taylor Swift Education Center offers a fun space for unique hands-on experiences connected to the museum s content Three classrooms. a videoconference lab. an interactive gallery, and more create an exciting learning environment for all ages Open during museum hours, the education center also features youth art installations and special artifact cases With programs that Email Address include curriculum-connected activities for school groups, tailored programs for toddlers, afterschool workshops for teens. ______and book talks for curious adults, the Taylor Swift Education Interests Center is a special dedicated space where visitors of all ages can ✓ C&atiy Kastc af Few tc expenence the culture of country music UsiWJR Q RCASruiicB Be sure to view our School Program Offerings as well as our Youth and Family Programs, H«ch Shaw Prat X5> SHOPPING, DINIMS, & HQRE JE W R IE S "O TICKETS & TOURS CD D CL HUSEUH AOHISSiCN: ClIU sow* «*». to if *»* fS i m m V^/ C»tt* AH* «M *’ circa Tttr* u jn tm Mils O Cltt&Affftfl fill HOME OF 1,000 HITS M r« WSttfl SI0« ft«c« sta? * DISCOUNT GENERAL HUStUH AOHISSIOH: MUSEUM Bestial t* rwNVMl Mttft It*. BMtrit *r o w SB sects *« wot.« »i a tffcai wem* U u * 'A U \ . ta ta ti.U J *77 SI tU I rt *4 •*«* ttntitof o Ife Stiff *71 SI oc r r j f rt«tr*n < * lt li KnM k > * « t KiftiSMwmfSMf #1 tfrt ■ tit tM tts fei At wW . am *t mafi *m m *wni mMkfrrm+lUtmm ?r.lm nmtK jnc* fttfcft sreatutv NASHVILLE'S ONLY HISTORIC MiFCHWtmPillt HiltICUUIT PWIIHJH SOLD PACKAGE: ?«* ftem pfstts ttidt fcsa Hifcts c Urf *3| |S iJ.it IKU»nis STUDIO TOUR c»iirtM«m4»ixtt.ttw**f «!ni c/3 UMN*MfeHife«ii^hiaiaMiMw« I *11 • • fett * fr«prtrt» ptM* •* » m m m$m4 ft csiwic pe^m o ’ ffi HATCH SHOW PRINT TOUR: *tWM)M U «fH M H W o iMtaipgiepm **%*»*tpnm ^+5 lid t MS W *13 W M M MMX * •» fUHMM m CM MdMM Uhtm*% UW> Mi'i ft**! *14 *K« -r) Tttfft M ill P3 UUO SUIO UM 3 AU0I0 TOUR « fr&{ttii«|Mt»*at»iiL-iv« *.«***» 3p ( • • j p tfCwt't W tf ltf Wtt tft • titiM M t CL P9CC81MS 1 icintitts c !1* Owafi* Hsu n*t .‘f f *!4 atm a arm cwpt. tm «w CD C l iftj a** w w } fnpim «*J «w » sit • fBRi stt£«n lpctKtst « 3 K) LA O ON < 53* cO 0SI 179 Appendix G.14: Country Music Hall of Fame and Museum, Visitor Survey 2015 * 1. Have you visited the Country Music Hall of Fame® and Museum before? * 2. How much time have you spent at the Museum today? * 3. What brought you to Nashville? ( Local Resident (Davidson, Chr itham, Robertson. Rutherford, Sumner. Williamson and Wilson counties) | , Vacation I Convention Visiting Family (wedding, reunion, etc.) Business Trip (non-convention) Other (please specify) * 4. With whom are you visiting the Museum today (select all that apply)? I am on my own (solo) With only adult family members With adults and child family members With a group tour 180 T With adult and child non-family members With only adult non-family members * 5. What MOST motivated you to visit the Museum today (select only one)? ( “Dylan, Cash and the Nashville Cats: A New Music City" Luke Bryan: "Dirt Road Diary* Eric Church: "Inside The Outsider” “Flyin' Saucers Rock & Roll: The Cosm ic Genius of Sam Phillips" Trisha Yearwood: "The Song Remembers When" Historic RCA Studio B Hatch Show Print The Hall of Fame member plaque display (in the Rotunda) - The permanent collection ("Sing Me Back Home") Referral/Recommendation from a friend/family member/etc. Q Museum Program (Songwriter Session, Instrument 1Demo, Creative Zone) Q Other (please specify) ,...... - .... - - . * 6. What is your gender? Male ( ) Female * 7. To what age group do you belong? Under 16 17-21 \^y 22-30 31-40 o 41-50 o 51-60 o 61-70 o Over 70 * 8. Which of these best describes your annual household income? O <$25,000 O $25,001 - $35,999 O $36,000 - $45,999 Q $46,000 - $65,999 $66,000 - $99,999 Over $100,000 * 9. How did you travel to the Museum today? Personal vehicle Rental car Public transportation (Bus, taxi, ride-share such as Uber) ( ) Tour bus/coach ( j On foot/walked ( ) Other (please specify) 10. Do you listen to podcasts? ( ) Yes 0 No I don't know what a podcast is 11. On which of these social media outlets do you follow the Museum (Select all that apply)? ! Facebook 1 Twitter j Instagram j I participate in social media but do not follow the Museum on any outlet I do not participate in social m edia at all : 12. Based on your visit today, would you recommend family/friends/etc. visit the Country Music Hall of Fame® and Museum? ) Yes 0 No e 13. Which of the exhibits listed below did you enjoy the MOST today (select only one)? ) 'Dylan, Cash and the Nashville Cats: A New Music City* Luke Bryan: "Dirt Road Diary' ( J ’Flyin' Saucers Rock & Roll: The Cosmic Genius of Sam Phillips' ( j Trisha Yearwood: The Song Remembers When’ ( ) Eric Church: ‘Inside The Outsider’ Q Interactive "Certified Country" ( j ’Sing Me Back Home’ (the permanent collection) (J The Hall of Fame member plaque display (in the Rotunda) Q * ©njoyed all of the above exhibits equally 183 * 14. Where are you om? Middle Tennessee? (Davidson, Rutherford, Cheatham, Sumner. Wilson, Robertson and Williamson counties) Tennessee (outside ot Middle Tennessee) I ) Out-of-state International * 15. Are you aware of the Museum's membership program? O Yes. I am a member ( Yes, but I am not a member No, I am not aware of the membership program * 16. How did you hear about the Museum? ( 3 Recommended by friends/relatives/co-workers v~" Welcome Center/Visitors' Center ( Tourist literature/brochures at a hotel/restaurant/etc. Radio Website/online O TV Newspaper/magazine Outdoor/billboards Social media Other (please specify) 184 * 17. On a scale of one to five, how would you rate yourself as a country music fan? ) 1 (not a fan at all) O 2 O 3 O'* 5 (Super fan) 18. YES! I want to (select all that apply): join the Museum 's e-news!etter list (optional), enter to win the Museum s prize pack (optional) My email is 185 Appendix H: Curious Beast 2016, Hollowed Ground CURIOUS BEAST Index Hallowed Ground Evocative of me Pacific Northwest without being cliche wooden structures for this exhibit about Nirvana and the alternative music scene are made tom rough lumber found on land owned by Nirvana bass player Knst Novoseltc Prime artifacts photomurals and composer Steve Fisk's lovely score combine with the monumental and gestural qualities of the larger fixtures to create a contemplative reverential space Smatier cases afford intimate encounters Project Nirvana Taking Punk to me Masses Type: 2.500-sq 41 tounng exhibition ZWL CHent EMP Museum Seattle WA Roles oI Curious Beasl • Exhibition design including concepts and design development • Directed process tor design of me built environment • Co-aei directed graphics m collaboration with Belle * Wisseii • Thematic design and organization of space and flow • Custom space-defining structures and casework Director of design concept designer Ken Bums Designers Dana Badeen EB Sttitson Sculpture artist-fabncator Josh Levine Partners in Development erf the Work Proiect Curator Jacob McMurray EMP Museum interactive Media and Graphic Design: Belle & Wisseii Film Producer David Wutzen Fabncatortteveloper of cabinetry EMP exhibits, lead builder Nick Rempel Exhibit score Steve Fisk Photos of this installation, iara Swimmtr 186 Appendix 1.1: Elvis Presley Enterprise 2016a, Graceland, the Home of Elvis Presley, About VISIT STAY SHOP NEWS CONNECT GALLERY EVENTS ELVIS E-NEWS SIGNUP About E23Z23Q Vernon Presley s will brought about the appointment of three co-executors/co-trustees to succeed him They were the National Bank of Commerce in Memphis, which was the bank Elvis and Vernon had done business with, Joseph Hanks, who had been Elvis and Vernon's accountant for a number of years, and Priscilla Beaulieu Presley, who had divorced Elvis m 1973. but had continued a close friendship with htm and was Lisa s legal guardian Joseph Hanks retired from his post in 1990 Upon Lisa Presley s twenty-fifth birthday m 1993, the trust automatically dissolved and Lisa chose to form a new trust. The Elvis Presley Trust, to continue the successful management of the estate, with Priscilla Presley and the National Bank of Commerce continuing to serve as co-trustees In 1998. as Usa Marie Presley s role in the management grew. Priscilla Presley chose to redirect her efforts by moving to an advisory position, continuing her close involvement and support while focusing more time on her own ever-expanding individual pursuits as a successful actress and businessperson Lisa Mane Presley became more closely involved with the management team of The Elvis Presley Trust and its business entity. Elvis Presley Enterprises. Inc (EPE), of which she was owner and Chairman of the Board until February 2005 when she sold a mayor interest in the company THE GRACELAND OPERATION Elvis Presley could have left one of the great fortunes of entertainment history, had he been one to worry about financial planning, rather than freely enjoying and sharing his wealth as he did While the estate he left was by no means broke, there was a cash flow problem, especially with Graceland costing over half a million dollars a year in maintenance and taxes It seemed logical for T n T Priscilla and the executors to open Graceland to the public In late 1981, they hired Jack Soden. at the time a Kansas City. Missouri investment counselor, to Qfiaceland plan and execute the opening of Graceland to the public and oversee the total (J THI HOME OF IIVIS FRISKY* operation Graceland opened for tours on June 7.1982 In 1983 through a long-term lease. EPE acquired the shopping center plaza across the street from the mansion From the time the plaza was built in the sixties, it had been a typical suburban stnp shopping center However, almost overnight after Elvis death, it became an unsightly blemish of tacky Elvis souvenir shops, which earned mostly bootleg items not licensed by the Presley Estate Upon assuming management of the shopping center property. EPE began policing the bootleg activities and began an overall facelift while continuing to honor the existing leases of the pla2a tenants By 1987. all the leases had expired and Graceland began major renovations, which continue to this day In 1993 Graceland purchased the property Today, all shops and attractions m what is now known as Graceland Plaza are owned and operated by EPE The land where Graceland visitor parking and the airplanes exhibit are located was already owned by the EPE (Elvis had purchased it in 1962 and had never developed it > One important development for the Graceland visitor experience was the addition of Elvis Lea Mane jet and Hound Dog II JetStar planes, which Elvis father had sold m 1978 They were brought back home to Memphis m a joint venture with the current owners and opened for onboard tours in 1984 Another major development was the opening of the Elvis Presley Automobile Museum in Graceland Plaza in 1989 Graceland Crossing, a neighboring shopping center with stores that featured Elvis-related items, situated just north of Gracetand Plaza, was built in the latter half of the 1980 s and was independently owned until Graceland purchased it in the fall of 1997 as an addition to its visitor amenities The next major development was the purchase of an existing nearby hotel property, renovating it and renaming it Elvis Presley's Heartbreak Hotel in 1999 Continued expansion and enhancement of visitor facilities and the development of new Elvis exhibition projects are planned for the Graceland complex Since opening to the public m 1982. Graceland has hosted millions of visitors from every state in the union and nearly every country of the world Prior to Graceland s opening, there was minimal tourism trade in Memphis Graceland quickly became the cornerstone of the industry for the city and the region The Memphis tounsm industry has expanded greatly with the development of attractions such as the FedEx Forum, the Stax Museum of American Soul Music, the National Civil Rights Museum, and with the continued growth and development of the Beale Street entertainment distncl Memphis in May. and a host of other attractions, museums, and special events Graceland welcomes over 500,000 visitors each year, is one of the five most visited home tours in the United States, and is the most famous home in Amenca after The White House In 1991 Graceland was placed on the National Register of Historic Places In 2006. it was designated a National Historic Landmark The peak season for visitors to Graceland is Memonal Day through Labor Day Attendance ranges from a few hundred visitors on a weekday m the dead of winter to 2.000 - 3.500 visitors per day in the spring and early summer, to over 4.000 per day in July at the height of the travel season The total economic impact on the city of Memphis from Graceland visitors is estimated to be S150 million per year or possibly much more A major part of that impact is that most Graceland visitors come from outside the city, bringing new dollars into the community, not only touring Graceland. but also patronizing other attractions in the area as well as area hotels, restaurants, shops and other businesses while they are in town Further benefiting the city is the intense worldwide publicity that Graceland and the Elvis Presley phenomenon continually bring to Memphis Contributing to the local impact is the fact that EPE employs approximately 350 people part-time and full-time year round, a number that swells to as many as 450 in the busy summer season Graceland visitors come from all walks of life, all ages, all musical tastes, all income levels, att educational backgrounds, and all parts of the world The demographics are broad Over half of Graceland s viators are under the age of 35 Graceland is a must-see for visiting dignitaries, tounng Broadway show casts, touring rock stars, and people of virtually every description coming to Memphis ELVIS PRESLEY ENTERPRISES, INC. Elvis Presley Enterprises. Inc (EPE) is the corporate entity that was created by the Elvis Presley Trust to conduct business and manage its assets EPE was wholly owned by the Elvis Presley Trust/Lisa Mane Presley until 2005 Joel Wemshanker owns the rights to Graceland s operations, with Authentic Brand Group. LLC and the Presley family as partners Lisa Mane Presley retains a 15% ownership m the company and continues to be involved in major business decisions, as does her mother Priscilla Lisa Mane Presley retains 100% sole personal ownership of Graceland Mansion itself and its over 13-acre original grounds and her father s personal effects - meaning costumes, wardrobe, awards, furniture, cars, etc She has made the mansion property and her father s personal effects permanently available for tours of Graceland and for use in all of EPE s operations Jack Soden is the President and CEO of EPE and is based m the Memphis office This top management team is supported by the vice-presidents, directors, managers and staff of the various departments of EPE. including marketing & media, sales, accounting, operations, human resources and the various sub departments within these 188 Appendix 1.2: Elvis Presley Enterprise 2016b, Graceland, the Home of Elvis Presley, Graceland Mansion Tours VISIT STAY SHOP NEWS CONNECT GALLERY EVENTS ELVIS h* Buy Tickets Graceland Mansion Tours © The Experience As you step inside Graceland Mansion, you will follow m the same steps as Elvts himself on a multimedia iPad tour' narrated by John - Graceland Mansion Stamos. featuring commentary and stories by Elvis and his daughter Lisa Mane See where Elvts lived, relaxed and spent time with - Other Museums & Exhibits his friends and family Graceland tours offer a very personal look inside the home of the King of Rock n RoU -Watch Video Tour - Graceland Virtual Tours MANSION EXHIBITS Hours of Operation Entrance to the Mansion © Plan Your Vtsit Your first stop inside Graceland Mansion will be the foyer where you can view Elvis living room, dming room, the stairways and his mother s bedroom Here in the foyer was often where special guests were recaved and shown to the living room, where they would await © History of GraceLand Elvis to greet them Elements of decor you see m these rooms today span all of the Elvis eras at Graceland. but the look is primarily the late 1960s to early 1970s incarnation Next you will ©Groups travel through Elvis kitchen to his downstairs area which includes the TV room and pool room © Student Groups Gift Shops Restaurants Jungle Room As you make your way back upstairs, you can explore the famous Jungle Room with its green shagged carpets Polynesian feel and exotically carved wood This room was once the Host An Event exterior access to the basement In the 1960s. during one of Elvis home improvement projects, it was added to the back of the house * first as a screened m porch and then closed Weddings m as a room a few years later In 1974. Elvis redecorated with the current furnishings he stumbled upon at a Memphis furniture store This room became a family favorite and Elvis liked it m part because it was reminiscent of Hawaii, where he enjoyed vacationing, film © International Visitors making and performing ECOMME’.DEOON Vernon s Office After touring the Graceland Mansion, check out the other great parts of the 14-acre estate as ®0tripadvisor you enter Vernon Presley's business office While it was Colonel Tom Parker who managed TripAdvisor Rating ® ® ® ® 0 Elvis career, it was Elvis father Vernon Presley who managed his personal business This building served as his office Mr Presley oversaw all of the details of Elvis personal finances and the management and staffing on the grounds of Graceland Outside in front of the office is a swing set Elvis bought in the 1970s for Lisa Mane to enjoy along with her cousins and friends Trophy Building Next, visit Elvis’ trophy building that houses an amazing collection of his gold and platinum records, as well as other great memorabilia from Elvis' early career, hts movies, his charitable endeavors and more This area was the large upper tier of a two-tiered patio installed as part of Elvis renovations in 1957 In the 1960s. Elvis had this area enclosed as a recreation room, which included a large electric slot car track Today, this building serves as a museum highlighting the amazing story of Elvis career Racquetball Building Then, step inside Elvis racquetball building that displays some of his iconic jumpsuits and an impressive display of Elvis posthumously received awards In 197s Elvis had this racquetball facility constructed in the backyard of Graceland The racquetball court where Elvis once enjoyed his leisure time, now serves as an exhibit space covering the 1972 * 1977 period of hts amazing career Meditation Garden The final stop on the tour erf Graceland Mansion is Meditation Garden, where Elvis and members of his family have been laid to rest Millions of fans from around the world have come to Graceland to pay their respects to Elvis - the humanitarian, singing sensation, movie star and King of Rock ri Roll Graceland tours end at Graceland Plaza, where visitors can enjoy the other great Graceland museums and exhibits that explore different parts of Elvis' life and career 'Audio-guided multimedia iPad Graceland tours are available m a choice o f languages English. Spanish. German. Italian French. Mandarin Chinese. Japanese. Portuguese, and Dutch 190 Appendix J. 1: Experience Music Project 2016a, About EMP AT THE MUSEUM PROGRAMS ♦ EDUCATION CALENDAR VISIT TICKETS ♦ MEMBERSHIP ABOUT EMP STATEMENT OF MISSION EMP is a leading-edge nonprofit museum, dedicated to the ideas and risk-taking that fuel contemporary popular culture. With its roots in rock 'n' roll, EMP serves as a gateway museum, reaching multigenerational audiences through our collections, exhibitions, and educational programs, using interactive technologies to engage and empower our visitors. At EMP, artists, audiences and ideas converge, bringing understanding, interpretation, and scholarship to the popular culture of our time. THE EMP BUILDING Frank O. Gehry looked to music for his inspiration when designing EMP. A classical music fan, Gehry wanted to understand rock W rofl, so he traded in his Bach for Hendrix and took a trip to the neighborhood guitar store. He bought several el*ctrk guitars, took them back to his office, and cut them into pieces. The guitar pieces w«re the building blocks (or on «ar!y model design. Influenced by the colors in the early model, Gehry's final design brightly displays the red and blue hues of electric guitars. PRIVATE EVENTS The museum's one-of-a-kind architecture offers numerous unique sites, from lofty and spacious to cozy and secluded. Whether your event is a corporate meeting, a concert, an intimate gathering, a film premiere, a sealed dinner or on elaborate reception. EMP offers an awe-inspiring setting for your next special occasion. 191 Appendix J.2: Experience Music Project 2016b, EMP Building When Frank O. Gehry began designing EMP, he was inspired to create a structure that evoked the rock V roll experience. He purchased several electric guitars, sliced them into pieces, and used them as building blocks for an early model design. A fusion of textures and myriad colors, EMP's exterior conveys all the energy and fluidity of musk. Three-thousand panels, made up of 21 thousand individually cut and shaped stainless steel and painted aluminum shingles, encose the outside of the building. Their individual finishes respond to different light concfitions and appear to change when viewed from different angles, reminding audiences that music and culture is constantly evolving. ARCHITECT Prank O. Gehry and Associates. Santo Monica, California EMP is the first commercial project Gehry has designed in the Pacific Northwest. ASSOCIATE ARCHITECT IM N Architects, Seattle 192 BUILDING STATISTICS » 140,000 total square feet; footprint, 35,000 square feet > High**! point: 85 feet at Sky Church » Widest point: 210 feet at West Harrison Street » Length: 360 feet at 5th Avenue N LOCATION EMP Museum is located at 325 5th Avenue N ot Seattle Center. CATIA Frank O. Gehry is the first architect to use CATIA in the creation of his highly shaped metal buildings. CATIA allows a sculptural form to be digitized into a 3-0 electronic model that can be used for the engineering of building systems and the fabrication of building elements. Invented by Dessault Corporation for the design of Mirage fighter jets, CATIA is now the primary computer design tool for Boeing and Chrysler. ACCESS INFORMATION EMP is dedicated to providing an educational and interactive experience for all visitors. EMP's designers and architects worked with representatives from the Seattle disabled community to ensure that music fans and EMP employees with disabilities could count on easy access to the entire museum. The mufti-level building is accessible via six elevators. Wheelchair accessibility » Electric door openers at all EMP entrances » 34" high interior counters » Wheelchair-accessible seats are available throughout EMP's main music venue. Sky Church Audio/visual assistance » Assisted listening system » Sub-woofers installed in the floor so patrons can feel the music » Rear window captioning system » Audio narration system PRIVATE EVENTS EMP offers an awe-inspiring setting for your next special occasion. Learn more. Share D O 193 Appendix J.3: Experience Music Project 2016c, Guitar Gallery: The Quest for Volume EM? ho* o wfiopptrg 236 gjttc'i fei « perworwt co-';ed»en- ov#r 50 of wHicn O't on d*sp?Ofy in Girtor OsStry: 7ki Owm< for V oAw . Ptoe CMH»sy o? EMP V&f Guitar Gallery: The Quest for Volume presents 55 vintage, world- changing guitars from the 1770s to the present. Friday, February 19 Instruments on display span the development of the guitar through the lives ond accomplishments of innovotors such os Orville Gibson, Leo Fender, and les Paul, ond the musicians v*ho played them to Part film, part musk video, Purple Hain was fame such as &o Diddley, Dave Davies of the Kinks, Eddie Von Halen, and Kurt Cobain. Prince's first starring film featuring a catalogue of his hits including 'When Doves Cry* and 'Let’s Go Crazy." Tickets to this screening include admission to Guitar Gaflery: The Quest for Volume. [rent HeUils Share O O 194 Appendix J.4: Experience Music Project 2016e, Nirvana: Taking Punk to the Masses In F#orvory 1993 Nirvana bt^an reco*dir>g th* affcc-n In Vtero, the cw*r of wfifcK s*oh.-*d th# drafting o* a frcnjpo-eit ar<*c?nic3’ hmob jin wirh w\*g%. Debv'ng oft S*s»»<*b*r 13, *♦ o b t* if# fcfflsoowi chat* c* nwber or#, led by m# wr^t# ‘h#ort-SKop#d Bo*/ TH# sywfed o* fh# winded 'c-»s#l fc#coi»# a p*rvc-,ve jtcg# when th# sond w«if#d th# US how Octob#r 1993 to Jammy 199* w#h shows jt ng two of *e ztd Jtefl* proo Oftg#ii. P*Ctf#d N'tfVPftO. ToSur>§ Plwc Jo **!* AlOMt goB*7 Photo by C«rijtoph#r M#bon In late 1991, Nirvana exploded on the national music scene, transforming Seattle and the Pacific Northwest from a faraway backwater to the epicenter of popular music culture. Nirvana's infectious single, "Smells Like Teen Spirit," saturated the airwaves and MTV, sparking a worldwide grunge revolution, extinguishing the rule of hair metal, and giving birth to alternative rock. Nirvana: Taking Punk to the Mosses explores the public and personal story of a single band, but it also invites visitors to discover the underground music scene in which Nirvana developed. Featuring more than 150 iconic instruments, original poster artwork, photographs, albums, films of performance footage, and 100 new and archived oral histories from key figures in the independent music scene {including Nirvana band members Dave Grohl and Krist Novoselic), the exhibit introduces the world’s most extensive exhibition of memorabilia celebrating the music and history of Seattle grunge luminaries. Nirvana. Three interactive kiosks allow visitors to access a plethora of topics that range from the macroscopic (different national music scenes}, to the microscopic (specific clubs, bands, and events). "Nirvana's Gen X image belied the typical rock star stance— they wore regular clothes gave props to other underground bands, and stuck up for the freaks, geeks, and outcasts everywhere. Instead of creating a barrier between the fans and themselves, they indicated by their affect and actions that they ultimately were one of us." EMP Senior Curator and author of the exhibit companion book Taking Punk to the Masses: From Nowhere to Nevermind. Nirvana: Taking Punk to the Mattes is included with museum admission and is free for EMP Museum members. CenturyLink WELLS 4 FARGO CULTURE 195 Appendix J.5: Experience Music Project 2016f, Sky Church IM? c*»*brc*d optrtng of AC/DC A^tfoSc's FomXy J*w*ls with o (“«o *4*1* 6«fl*s porfoor ng in Sky CiwfcH for *>** oae'wg mg* o" AC/OC: Avtfrafes * fom>*y ;» w t i Photo by Em * sta*. 1/3 A concert venue capable of holding up to 800 guests, Sky Church boasts 70-foot ceilings, state-of-the-art sound and lighting, and a mammoth indoor HD LED screen. Inspired by a term iimi Hendrix used to describe a place where people of ail ages and cultures could come to collectively celebrate musical experiences. Sky Church sits at the heart of EMP where it acts as a performance space, cinema, and dance hall for various events hosted by the museum throughout the year. Share O O Appendix J.6: Experience Music Project 2016g, Sound Lab AT THE MUSEUM PROGRAMS ♦ EDUCATION CALENDAR VISIT TICKETS ♦ MEMBERSHIP ABOUT EMP Seund lob JSiW'dproof rooms where g-ouos cos* coir* *03«rt**: to pay as lotid os they worr reiecrse original work, Of perform a personcS renc;?i©* o? a classic EMP provides the fools; visitors swing the creative spodt Multimedia installations invite hands-on interaction so that visitors can explore the tools of rock 'n' roll through electric guitars, drums, samplers, mixing consoles, and more. THE BIG DRUM The heart of Sound lob, The Big Drum recalls the early rhythms our ancestors played around the fire. You don’t need any special skills to ploy it, other than the ones you'd bring to o conversation. Just listen and answer back. TRIOS Each of the tall semi-enclosed structures on Sound lab’s mam floor contains three interactive instruments, including guitar, bass, keyboard or drums. These instruments use sophisticated audio, computer graphics and MIDI to guide you through o variety of ieorning activities, whether it’s learning to play "louie louie," or discovering what a 12-bar blues is. You can also choose to forego a lesson to ploy instruments on your own or with friends and family. Acoustically optimized dividers in each trio let you rock your socks off without disturbing anyone else. SOUNDPROOF ROOMS Twelve acoustically isolated rooms known as studio pods, contain interactive devices, gear, and traditional instruments. Take a lesson, jam with others in the room, try out vocals, and learn about the art of mixing. Special reverberation technology lets you adjust the sound so it’s as big as an amphitheater, or as intimate as a living room. JAM STUDIO Check out the state-of-the-art Jam Studio where you con record your own song using drums, guitars, keyboards, and vocals, then download and share with your friends for free. AUDIO TECHNOLOGY INTERACTIVES How do guitar players make such different sounds? Can an audio engineer really fix it in the mix? Technology has played a huge role in the creation of the sounds of rock 'n' roll, both behind the scenes in the recording studio and up on the bandstand. Find out more about the recording process, amps, samplers, effects pedals, and microphones. DJ HAUW AY In the hands of a skilled DJ, turntables con produce music that would have been impossible just a few short decodes ago. Ever wonder how DJs make that scratching sound or move from one record to the next? Find out in DJ Hallway, situated between Demo Lab and On Stage. 197 Appendix J.7: Experience Music Project 2016d, Wild Blue Angel: Hendrix Abroad, 1966-1970 At the height of his fame, Jimi Hendrix performed more than 500 times in 15 countries and recorded 130 songs in 16 studios. He was a musical nomad, his life an endless series of venues, recording sessions, flights, and hotels. From his arrival m London to his untimely death on September 18, 1970, Jimi Hendrix was rarely in one place for more than a month. W ild Blue Angei: hhndrix Abroad, 196 6 -197 0 offers a contemplative look at the period of Hendrix's life spent on the road as he catapulted to fame. Discover the shy genius of Hendrix through an immersive gollery soundtrack featuring rare Hendrix interview dips; Hendrix's only passport, issued on the day he left for London on September 23. 1966; his diary, where he recounts friends, shows, and experiences from the road; an Electric Lady mixing console from the personal recording studio he used during the last weeks of his I8e; and other original artifacts, artwork, and photographs. From writing lyrics on hotel and airline stationary to recording in studios across North America and Europe, experience how Hendrix drew inspiration from his itinerant lifestyle and made his home among the roar of the crowd and the electric embrace of his guitar. Wild Blue Angel: Hendrix Abroad, 1966-19 7 0 is included with museum admission and is free for EMP Museum member*. 198 Appendix J.8: Experience Music Project, Informational Brief courtesy of Jacob McMurray Nirvana: Taking Punk to the Masses April 16, 2011 -A pril 22, 2013 Presented by Experience Music Project EMP|SFM “Punk is musical freedom. It's saying, doing and playing what you want In Webster's terms, 'nirvana'means freedom from pain, suffering and the external world, and that's pretty dose to my definition of Punk Rock. ” -Kurt Cobain 199 INTRODUCTION The signature riffs, cryptic lyrics, and disaffected air of Nirvana’s "Smells Like Teen Spirit” hit the airwaves and MTV at the tail end of 1991, delivering their Punk worldview wrapped in a Pop package directly to the mainstream masses, and sparking a worldwide Grunge revolution. The intense spotlight of the media and music industry focused on the Pacific Northwest and Seattle in particular, extinguishing the rule of Hair Metal and giving birth to Alternative Rock. This sea change in popular music had been brewing for a decade or more. As colleges, venues, radio stations, record stores, labels, and other key parts of the creative underground infrastructure appeared, the Pacific Northwest was able to support a series of increasingly rich music scenes, centered in the cities and towns throughout the region. The growing complexity and interconnectedness of the creative underground directly paved the way for Nirvana, Soundgarden, Pearl Jam, Mudhoney, Alice in Chains, Screaming Trees, and thousands of others, as well as complementary legions of adoring fans. Nirvana and the Grunge movement have become inextricably linked geographically with Seattle and the Pacific Northwest. This sonic brand has proven to be stronger than that of Jimi Hendrix or “Louie, Louie,” and more than any other, has become the defining musical period for our region. Yet the story of Nirvana’s meteoric rise has never been told in a cultural museum exhibition before. When Nirvana: Taking Punk to the Masses opens on March 24, 2011, Experience Music Project (EMP) will have the opportunity to present this tale of punk rags-to-riches to the world. This is the story of those involved in creating this regional underground creative structure - as well as the eternal and cyclical story of a marginalized youth movement becoming a mainstream phenomenon. And it’s the story of all of us who loved the bands, saw the shows, and responded to the undeniable urge to ROCK. EXHIBITION OVERVIEW Nirvana: Taking Punk to the Masses tel ls the public and personal story of Nirvana within the context of the underground music-based infrastructure that was evolving throughout the United States, which had been developing since the advent of punk rock in the mid-1970s and culminated with the release of Nevermind in 1991. With their catchy hooks and classic pop song structure, as epitomized by Nevermind's first single, “Smells Like Teen Spirit,” Nirvana successfully delivered their underground punk rock ethos to the mainstream masses. Today, nearly twenty years since the release of Nevermind, the influence of Nirvana is still felt, having indelibly changed the popular music landscape to the current vital ity of regional scenes and improved municipal attitudes toward music, the health of independent labels, and major label music industry attitudes towards underground music. Nirvana existed as a band for only 6 years, but they changed music forever. Through an in-depth examination of the story of Nirvana, from the band’s humble roots to its explosion on the world stage, Nirvana: Taking Punk to the Masses will explore the following overarching themes: 200 5* The concept that Nirvana was the last stage in a decade-long process of creative underground infrastructure development that was happening throughout the United States. Without the bands, venues, zines, radio, and record labels that were developing in the Pacific Northwest and throughout the U.S., Nirvana wouldn’t have had the environment in which to exist, and the mainstream wouldn’t have had an opportunity to be receptive to their music. > Visitors will be able to see Nirvana as grunge superstars through artifacts, films and interactive, but they’ll also glimpse the band members’ everyday lives—at home, on the road, in the tour van, and backstage—in never-before-seen images and objects, exploring the dichotomy between rock star persona and the eveiyman > The sometimes contentious relationship between “objective” musical history and the subjective fan experience. Exhibition structure, components, and narrative will create the spine of an objective Nirvana history, while primary sources (band members, associates, and fans) will fill out the narrative with subjective and sometimes contradictory viewpoints. > The personal stories of Jimi Hendrix, of Bob Dylan, and of Nirvana, will inspire visitors as a testament to the notion that an “ordinary” individual with creativity, ambition, circumstance and a bit of luck can make a lasting cultural impact. NARRATIVE COMPONENTS This exhibition, to be presented in EMP’s prominently-located Northwest Passage gallery, will feature approximately 80 iconic artifacts* on loan from public and private collections (to be shown together with supporting photographs and visuals from the museum’s permanent collection), rich media content and visual storytelling, organized thematically in the following three sections: Building, the Infrastructure The meteoric rise of Nirvana could not have happened without the growth and evolution of an alternative, “underground” music economy with roots outside of the traditional music industry. As colleges, venues, radio stations, record stores, labels, and other key parts of this creative underground infrastructure appeared and evolved, cities and towns throughout the US were able to support a series of increasingly rich music scenes. The growing complexity and interconnectedness of this creative network paved the way for many underground bands to gamer crossover success - Ramones, Husker Du, Replacements, Sonic Youth, Pixies, and others proved that mainstream audiences could develop a taste for music previously thought of as lacking commercial appeal. The North west Underground The music coming from the Pacific Northwest was being created by bands that never thought of the possibility of commercial success. Bands moved to LA or NYC in order to “make it.” The resulting music in the Pacific Northwest was, by and large, exceedingly individual and lacking in pretension. 201 This, combined with the region’s naturally wooded and sparsely populated mystique, and channeled through the hype machine of the hipster label Sub Pop Records, provided an appealing hook for mainstream audiences as the popularity of NW music began to grow in underground circles. As NW bands began touring the US, UK, and Europe, audiences became increasingly enamored with their everyday looks, utilitarian clothing, and no frills, uncompromising rock - a presentation exactly opposite of that provided by the pop stars and poodle metallurgists of the day. Nevermind The Legacy With the release of Nevermind and the constant MTV rotation of “Smells Like Teen Spirit”, Nirvana became the final step in a decade-and-a-half long process of prepping mainstream audiences for underground tastes, and Punk finally broke through. Soundgarden, Pearl Jam, and Alice in Chains soon followed, and during that period, Seattle and the Pacific Northwest were the epicenter for popular music. The omnipresence of Grunge in the 1990s spurred off other underground music scenes in response, such as the Riot Grrrl, garage rock revival and indie rock scenes. The major labels rushed in to sign bands that they previously would have completely ignored, radio and MTV changed its format to embrace the new “alternative” sound, and the landscape of popular music shifted to accommodate. While Kurt Cobain’s suicide in 1994 was essentially the death knell for Grunge, the repercussions of Nirvana’s journey still resound. The health of regional music scenes throughout the U.S. and the popular acceptance of underground culture directly draw from Nirvana’s accomplishments. The underground has become the mainstream, and the mainstream will never be the same. *See AddendumObject List MEDIA + INTERACTIVES The museum is particularly excited to present the media content associated with this exhibition. The story of Nirvana occurred in the relatively recent past, within easy access to portable recording technologies. As a result, there is an immense amount of accessible video and audio, amateur and professional, related to Nirvana. With the exception of Kurt Cobain and a few others, the various band members and most of the primary sources related to the band are still living, and their stories have not yet completely passed into the smooth-edged land of myth. Because of this, EMP will have the ability to feature the media in this exhibition in myriad ways: > Media Lounges - theatre-like areas where video assets related to the Nirvana and Northwest stories can be delivered > Listening Stations - areas where concerts, official recordings, oral histories and other contextual audio from Nirvana can be explored > Record walls - areas where selected albums and singles of a specific time period can be heard, giving greater context to the Nirvana stoiy. y Exhibition films - in-house produced films that would explore specific stories related to Nirvana and the Northwest, including oral histories 202 > Nirvana confessional - an exhibition area dedicated to fans’ memories and thoughts about Nirvana and the Grunge revolution. Oral Histories Central to these media assets will be the collection and production of oral histories from these primary sources. These interviews will provide the foundation of videos produced for the exhibition, as well as inspire and inform the curatorial staff in their storytelling. Nirvana’s oral histories will also contribute to EMP’s larger, institution-wide program to collect and share important stories from leading figures in popular culture; the museum’s oral history collection currently contains more than 850 filmed interviews. Additionally, these oral histories will be used in collaborative programming with local radio station 90.3 KEXP. Through this partnership, EMP and KEXP will co-create programming for local and national broadcast. Oral histories will be central to this programming, and will feature over 100 interviews collected through the exhibition, including: • Krist Novoselic—bass player, Nirvana • Chad Channing—drummer, Nirvana • Ben Shepherd—bass player, Soundgarden • Kim Thayil—guitarist, Soundgarden • Bruce Pavitt-founder, Sub Pop records • Charles Peterson—grunge photographer • Mari Earl-Kurt Cobain's aunt and early music mentor • Charles Cross-Cobain/Hendrix/Zeppelin biographer • Alice Wheeler-early photographer of Nirvana/Cobain • Jack Endino-recording engineer who created the Seattle "Grunge" sound • Dave Grohl-founder, Foo Fighters / Nirvana drummer • Craig Montgomery-touring sound engineer for Nirvana during Nevermind period • Mike McCready—guitarist, Pearl Jam EDUCATION / PUBLIC PROGRAMMING The museum offers a range of dynamic public and education programs that support its presentations, reinforcing exhibition themes while drawing in diverse audiences. Nirvana: Taking Punk to the Masses will reach its audience through the following types of educational and visitor engagement programming, currently under development: > On-site experiences for students of all ages (with a particular emphasis on high school curriculum) > Educator resources and development opportunities > Special exhibition Audience Development events > Community outreach activities in partnership with supporting organizations Seattle Listens: Nevermind 2011 marks 20 years since the release of Nevermind. Based on renowned librarian, best-selling author and NPR commentator Nancy Pearl's ground-breaking program, "If All of Seattle Read the 203 Same Book” - a concept to promote literacy and encourage community dialogue, — EMP will partner with Seattle Public Library, Seattle Public Schools, iTunes University, the Mayor’s Office of Film and Music, among others to generate a city-wide “Big Listen” of Nirvana’s breakthrough album, Nevermind. Participants will explore the album’s melodic songwriting, melding of musical genres and dynamics, narrative themes, and independent values and attitudes, while contributing their personal responses and memories to an online community forum. EMP Academy: Nirvana Select educators from the Puget Sound area will collaborate with EMP staff to develop curriculum and field trip resources related to Nirvana: Taking Punk to the Masses. The pilot materials developed during this project will become the centerpiece of online outreach and educator professional development for the exhibition. School-based learning projects will emphasize language arts connections and will focus on themes of personal narrative and creative expression. Educators will be encouraged to develop projects that emphasize 21st-century skills. Publication The museum plans to produce a companion book, designed by award-winning graphic designer Jacob Covey, and published/distributed by the Seattle-based underground publisher Fantagraphics Books. EXHIBITION MARKETING AND PR A strategic marketing plan to promote the exhibition will have an impact of more than 4 million traditional marketing impressions (print/outdoor/radio/broadcast) and an online media campaign that will engage our large online and social media following with hundreds of thousands of additional impressions. Media and online partnerships are being actively sought to extend the reach of this campaign. The full marketing campaign will include: Media: Extensively planned advertising campaign to include print and online buys, radio advertisements, television spots, web advertising, billboards, transit and poster distribution ads. Web: On-line partners are currently being engaged to deliver a fully-realized digital marketing campaign that will include a significant user-generated component. Promotional Partnerships: Exhibition-focused community partnerships with various organizations are currently in development, including the above-referenced collaboration with local radio station 90.3 KEXP. PR: The high volume of exclusive content available makes this exhibition a natural to accrue national earned media attention from such publications as Rolling Stone and Spin, among others. A long-lead PR campaign will be designed to attract those hard-core fans who will make this exhibition a pilgrimage destination as well as to allow an increasingly interactive Web experience as the opening date approaches. 204 EMP Members: Members will receive invitations to the exhibition’s opening preview celebration event(s) and promotional materials for other exhibition-related education and public programs. On-site Presence: On-site signage will promote the exhibition at Seattle Center (over 10 million visitors annually) including interior plasma screens, lobby and outdoor large-format banners, and pole banners. Nirvana: Taking Punk to the Masses holds broad appeal for both local and international audiences, including the hard core fans who will make this exhibition a pilgrimage destination. The exhibition will be open at the museum from March 24, 2011 through April 22, 2013, encouraging multiple and flexible visits from the Seattle community and tourists, as well as offering an opportunity to present exclusive experiences for members and sponsors. During its 2 years of exhibition at EMP, Nirvana: Taking Punk to the Masses has an anticipated attendance of more than 1 million visitors. 205 Appendix J.9: Experience Music Project, Preliminary Exhibition Layout, courtesy of Jacob McMurray <»A$SAGr C m n *— tY <*vA.S Appendix K.l: Grammy Museum 2016a, All Eyez on Me: The Writings of Tupac Shakur GRAMMY MUSEUM EXPLORE EXHIBITS EDUCATION A L L EYEZ ON ME: THE WRITINGS OF TUPAC SHAKUR Enter All Eyez on Me The Writings of Tupac Shakur and you're immediately greeted with music, video interviews and cases of unique artifacts - all of which take you inside the mind of one of hip-hop’s most controversial and gifted artists FOURTH FLOOR, FEB 3, 301S M-F: 10-30 AM-6:30 PI MIKE CUM GALLERY THROUGH SAT: 10:00 AM - * 30 PI JAN 10. 2010 SUM: 10:00 AM • 6 30 PI From his early years as a young writer heavily influenced by his mother. Afeni. to his rise in popularity. Tupac's strong talent for writing is the spotlight of All Eyez on Me, which marks the first exhibit of its kind The exhibit space is filled with video interviews, many of which have rarely been seen before, and cases of artifacts preserved by the Estate of Tupac Shakur 207 u Tupac s writings are an honest reflection of his passions for. and about life. His timeless messages have instilled hope for those who have little, and for others, they serve as a catalyst for change. His words continue to motivate and inspire new generations. The world is a better place because of him. - Tupac s mother. Afeni Shakur STARRY NIGHT The poem 'Starry Night' Tupac wrote in 1995 in & W 4 CCC£f T 1* r M s b p H C>(* s W ry Mflu .. . THE VERSACE SUIT The Versace suit he wore to the GRAMMY Awards in 1996 when he presented the award for Best Pop Performance By A Group Or Duo with Kiss •BRENDA GOT A BABY* Handwritten lyrics to "Brenda Got A Baby* 208 2PACAIYPSE NOW The notebook Tupac used when writing lyrics for his 1991 debut album. iPacalypse Now AGREEMENT. POETIC JUSTICE The agreement for the 1993 film he starred in Poetic Justice All Eyez On Me The Writings of Tupac Shakur will be on display through January to. 2016 Appendix K.2: Grammy Museum 2016b, Exhibits: In the Studio GRAMMY MUSEUM* AT L.A. LIVE EXPLORE EXHIBITS EXHIBITS HOME • EXHIBITS The GRAMMY Museum aims to educate individuals about the history and cultural significance of American music, and to inspire the next generation to explore and create new forms of music using the roots that have existed in this country for centuries The Museum accomplishes this through innovative programming, cutting-edge interactives, and exciting exhibitions Q CURRENT EXHIBITS Q TRAVELING EXHIBITS Q CROSSROADS Q SONGWRITERS HALL OF FAME GALLERY Q ENDURING TRADITIONS 210 0 REVOLUTIONS OF RECORDED SOUND 0 IN THE STUDIO The capstone of a Museum visit, in the Studio is an exciting group of interactive experiences, offering a breadth of unmatched access and opportunity Spread across eight self-contained pods, each offering a different experience, this exhibit uses touch-screen interactivity and one-of-a-kind film footage to take guests inside the recording process Meeting and assisting visitors on their journey are some of music s most famous and significant producers, engineers, and recording artists Drawn from a wide variety of eras and genres, they guide guests through a distinct activity common to the recording process Just like in a real studio, guests will hear the consequences of the creative and technical choices they make, and experience firsthand the challenge and satisfaction of making great music 0 ROLAND LIVE 0 HISTORY OF THE GRAMMY AWARDS 0 ON THE RED CARPET 211 Appendix L: Grand Ole Opry 2015, About OPRY SHOWS ft TICKETS BACKSTAGE TOURS PLAN A TRIP A80UT ARTISTS HISTORY •THECIRCIE SHOP Join us this year as the Opry celebrates 90 years of great country music! What began as a simple radio broadcast in 1925 is today alive entertainment phenomenon. Dedicated to hononng country music's rich history and dynamic present the Grand Ole Opry showcases a mix of country legends and the contemporary chart-toppers who have followed in their footsteps The Opry. an Amencan icon and Nashville, Tennessee's number-one attraction, is world-famous for creating one-of-a-kind entertainment expenences for audiences of all ages It's been called the *home of Amencan music' and 'country's most famous stage' Every year, hundreds of thousands of people make pilgrimages across town or around the world to the Grand Ole Opry to see the show live Millions more tune in to Opry broadcasts via a mobile app, SiriusXM Satellite Radio, Nashville’s 650 AM WSM, and on opry com and wsmonhne com. LEARN MORE 6S0AM / WSM O N AIR Listen Live! Stream 650 AM WSM The Legend right here on opry com Appendix M.l: Merriam-Webster Dictionary 2015a, Ephemera f y Quick-test your smarts! + 48 SCRABBLE words Play our Trivia Game ^ with Q and rx> U Dictionary SAVE POPULARITY fuBy or abundantly provided or filled ephemera *» & 'V N Get the Word of the Oay daily email! noun ephem era U-fe*m«r-«, -tem-r9\ %c«e: GEO G*’ I Your email address things that are important or useful for only a short lime items that were not meant to have lasting value 48 words to make in SCRABBLE' with Q and no U » G o o ^e Express 9 1 plural ephemera aisc ephem er a* 4 )) l-m#r-4. - i t or ephemeras e e QUIZ Overnight delivery on Full Definition of EPHEMERA thousands of items. 1 : something of no lasting significance — usually used m plural 2 ephemera plural: paper items (as posters broadsides, and tickets) that were originally meant to be discarded after use but have since become collectibles Words at Play See ephemera defined for English-language learners » Monster of the Day H Appendix M.2: Merriam-Webster Dictionary 2015b, Fanatic ^ Goose, geese. Moose, moose? ^ Your best SCRABBLE game What*s up with weird plurats? * Prep with our new tool Qjr* Games fiy) word of the Day G 0 Video ^ Blog: words at Play My Faves Word of th e Day December 02.2015 Dictionary etymology *>) SAVE POPULARITY the history of a word or phrase fanatics ☆ ' T s Get the Word of the Day daily email! acf/ectrve fanatic %o«*' OSS! g *i I Your email address Definition of FANATIC : marked by excessive enthusiasm and often intense uncritical devotion — fanatic noun >XBOX | ELITE — fa n a tic a lly 4 )) \f»-,na-tilc(0-)ie\ advert) 9 ! • • r ^ — fa-nat-icalness «|)) vksl-nas-. noun QUIZ & See fanatic denned for kids » Variants of FANATIC fa nat ic 4 )) or fa nat i cal 4 )) vtt-kan Words at Play 214 Appendix N: Museum of History & Industry (MOHAI) 2016, Exhibits: The Legend of Seattle Hip-Hop 3*Ci M i M A I VISIT US EXHIBITS PROGRAMS i LEARN I RESEARCH SUPPORT US : MEMBERSHIP You »r* her* Horn* ► Exhibits » Temporary Exhibits ► Th« Legacy of Seattle Hip-Hop BECOM E A MBrfBER S/gn-up for a members** Admission to MOHAJ is FREE w fi a membership! We otter lour levels of membership to meet your needs and your budget Your membership dollars also support and sustain MOHAJ tor totore 215 So? si CBp'ioS HS Bk>ck Party 2014, photo by Avi Lovd THE LEGACY OF SEATTLE HIP-HOP September 19, 2015 - May 1, 2016 Get to know the people, places, and events that make up one of Seattle’s most vibrant cultural communities in The Legacy o f Seattle Hip-Hop. Curated by Seattle natives Jazmyn Scott (The Town Entertainment) and Aaron Walker-Loud (Big World Breaks), this interactive exhibit will immerse visitors in the sights and sounds of our region’s growing Hip-Hop culture through audio recordings, photography, artwork, artifacts, and more. The exhibit will explore many facets of the Seattle Hip- Hop scene, including graffiti, deejaying, break dancing, production, and emceeing, linking our region to the continuously evolving global Hip-Hop movement. Throughout, the exhibit will bring the first-person narratives and experiences of Seattle performers and artists to the forefront, creating an intimate and human look at this dynamic art Curated by Seattle natives Jazmyn Scott (The Town Entertainment) and Aaron Walker-Loud (Big World Breaks), this interactive exhibit will immerse visitors in the sights and sounds of our region’s growing Hip-Hop culture through audio recordings, photography, artwork, artifacts, and more. The exhibit will explore many facets of the Seattle Hip- Hop scene, including graffiti, deejaying, break dancing, production, and emceeing, linking our region to the continuously evolving global Hip-Hop movem ent Throughout, the exhibit will bring the first-person narratives and experiences of Seattle performers and artists to the forefront, creating an intimate and human look at this dynamic art form . Join us for these exhibit programs: The Saturday Spin Every second Saturday during the run of The Legacy o f Seattle Hip-Hop exhibit, experience the dynamic sounds of hip-hop as local DJ‘s spin vinyl in the Walker Gallery. Time: 1 pm - 4 pm Price: Included with museum admission Learn more about The Saturday Spin Black Lives Matter in Hip-Hop January. 15, 2016 Join some of Seattle's rising innovators of community action and Northwest Hip-Hop artists in a conversation exploring the gentrification of Seattle Hip-Hop and its effects, the Black Lives Matter Movement in Seattle, and ways to preserve this history in the making. Learn more about this event 216 Black History Month Celebration February 13, 2016 Explore the culture and history of Seattle Hip-Hop through special film screenings, performances, and photography and participate in a community panel discussion continuing the Town Hall Seattle conversation on the role of Black lives Matter and the civil rights movement in Hip-Hop. 4 special $7 admission rate is available all day. Learn more about this event Hip-Hop as a Vehicle for Activism March 15. 2016 Join Northwest Hip Hop artists in a community conversation to discover how they leverage their art forms into progressive action. Learn more about this event MOHAI thanks these exhibit partners for their support: 217 Appendix O: Oakland Museum of California (OMCA) 2016, Exhibition: Vinyl: The Sound and Culture of Records Buy Tickets VISIT ON VIEW EVENTS EDUCATION COMMUNITY JOIN + GIVE ABOUT SHOP Share This Pag* E x h ib itio n V9C M S pUyfot project m gallery events G et C o n n ected Sign up for our newsletter PLAYLiST PROJECT Vinyl: The Sound and Culture of Records April 1 9 -July 27,2014 n Sham | 5f Tweet | 1 Q Share ( v j Email G*1 | ]U k e Explore the social and cultural phenomenon of listening to, collecting, and sharing records in Vinyl: The Sound and Culture of Records. Delve into a uniquely Californian take on this popular medium with experiences ranging from individual and group listening stations to informal talks and live performances. Organized by OMCA Senior Curator of Art Rene de Guzman, Vinyl opens on April 19,2014, to coincide with Record Store Oay, an annual event that celebrates the unique cultural contributions of independent record retailers worldwide. In the gallery, an experimental listening environment, you’ll be able to: • View notable record collections, photographs of collectors in their homes, and video and audio interviews with record collectors by Raphael Villet • Explore the history of album cover art with a film exploring the medium and an exhibit of notable album cover a r t • Peruse and listen to a wide range of vinyl records, spanning genres from punk to new wave, hip hop to experimental, with a focus on the independent record industry that blossomed in California from the mid-1970s to present. • Enjoy a contemporary artwork by MacArthur “Genius" Award-winning instrument builder, photographer, and composer Walter Kitundu. • learn how to use a record player and how to DJ with instructional videos and record players. • Use turntables and headphones at six thematic listening stations to listen to boxes of records assembled by ‘Crate Curators'—influential members of the record community—collectors, OJs, independent record store owners, radio personalities and others. Each crate contains 33 records chosen by the Crate Curators to tell a personal story. • Dig through a variety of records and self-curate your own thematic crate, to play individually and for others. • Check out a rarely-seen historic and archival film and video explaining the science of recording. • Experience dynamic in*gallery events, including a series of talks by musicians, record store owners, and collectors in an innovative group listening and performance space. 219 Vinyti dynamic exhibit space, designed in partnership with Matthew Passmore, Founder and Principal at the San Francisco-based art and design collective Rebart features standalone listening stations with turntables and album art displays, and comfortable, lounge-like, social gathering areas that allow Museum visitors to control their own music experience in the gallery. With opportunities to play albums and participate in music events and performances, Vinyl: The Sound and Culture of Records invites visitors to become a part of the exhibition itself. Vinyl connects to OMCA's major spring exhibition SjperAwesome: Art and Giant Robot through programs and in- gallery experiences celebrating how a range of communities comes together to create shared popular culture. This exhibition is organized by Senior Curator of Art Rene de Guzman. OMCA partnered with Matthew Passmore of Rebar to co-design the exhibit space. Rebar, a San Francisco-based art and design studio, is known for founding international Park(ing) Day and investigating new forms of public space. Vinyl is inspired in part by Seattle-based Olson Kundig Architects ’ innovative project [storefrontJ. In-kind support forVmyi: The Sound and Culture of Records is generously provided by Amoeba Music. Media Partners: « £ * EAST BAY EXPRESS Exclusive Record Store: 02016 Oakland Museum of California. All Rights Reserved. 220 Appendix P: Oxford University Press 2015, Popular Music Oxford Dictionaries 0Language matters English popular music Dictionary Synonyms Grammar ■» Explore * STAPLES Most popular in the US v 1 trumpery© 2 rejigger © 3 beard 4 racism 5 supercalifragilisticexpiaiidocious home > US English > popular music Hp 950*1 Ink Cartridge © = trending High-Yield Black (cn04 Definition of popular music in English: popular music GO® * WORD OF THE DAY passacaglia Music appealing to the popular taste, including rock and pop and also soul, country. Hp 950x1951 Color Ink MORE WORDS INTHIS CATEGORY Cartridges C/m/y. Co reggae, rap, and dance music. + Example sentencts calypso 221 Appendix Q.l: Rock and Roll Hall of Fame and Museum (Rock Hall) 2016a, About the Foundation About the Foundation History and Overview In 1983. A small group of music industry professionals led by Economic Impact Atlantic Records Founder and Chairman Ahmet Ertegun and lAbouf the Foundation including RoSing Stone magazine publisher Jann Wenner. attorr Alien Grubman. manager Jon Landau and record executives Community Outreach Seymour stein. Bcb Krasnwv along with attorney Suzan Evans s« Annual Reports out to establish an organization to -recognize the people whohav created ibis music which has become the most popular music of Buikting Architecture time. Ertegun approached the heads of various record coatpaoh Green Initiatives with his idea, spearheading the formation of the non-profit organization that would eventually become the Foundation. In 1986. the Foundation held the first annual Reek and Roll Hall 1 Fame Induction Ceremony in the Waldorf-Astoria Grand Ballroom in New York City*. That same year, the Foundation selected Clev eland as the permanent home of the Rock and RoS Hall of Fame and Museum. la September 1995. doe Rock and RoS Hall of Fame and Museum opened in Cleveland, a series cf events, including an all-star celebration concert featuring the Allman Brothers. Chuck Bern-. Janies Bravo, Johnny Cash. Bob Dylan. Aretha Franklin. Al Green. Jem’ lee Lewis. John Mellencamp. Iggy Pop. the Pretenders. Bruce Springsteen. Booker T. & the MG s and others unveiled the Rock and Roll HaH of Fame and Museum to the world. In 2006. Joel Peresman. a music industry veteran and former chief of Concerts and Entertainment at Madison Square Garden, became President and CEO oc the Rock and RcS Hall of Fame Foundation, t'nder Peresman s leadership, the Foundation announced the return of the Rock and RoS Hall of Fame Induction Ceremonies to Cleveland in 2009 and even- three years thereafter. The Foundation also staged the Rock and RoS HaH of Fame 25th Anniversary concerts on October 29 and 30.2009. at Madison Square Garden in New York City. These events featured legendan- performances by Crosby, stills and Nash. Simon and Garfunkel Stevie Wonder. Bruce Springsteen, Jerry Lee Lewis, Bonnie Raitt. Jackson Browne. Jeff Beck. Sting. Aretha Franklin, Patti Smith. X3% MetaSica. Mick Jagger and many others. These historic shows and their broadcast on HBO helped fund the first- ever endowment foe the Rock and Roll Hall of Fame and Museum in Cleveland. In addition to these projects, the Foundation provided an 58 million gift in 2008 to the Museum s Capital Campaign, which was used to build the Library and Archives center in downtown Cleveland and the 2010-2011 Redesign of the Museum interior. The Foundation also provides funding for Museum capital projects on an on-going basis and continues to be the largest single contributor to the Museum. Beyond funding, the Rode and RoQ Hall of Fame Foundation leverages its presence in one of the world s major cultural and philanthropic centers to provide increased exposure for the Museum mission, connections to artists and philanthropists, and other partnerships to adv ance the Rock and RoQ Halt of Fame and Museum s cultural preservation initiatives. 222 Appendix Q.2: Rock Hall 2016b, Building Architecture Building Architecture H istory and Overview The Rod; and Rc41 Hall of Fame and Museum is a 150.000 square-toot Economic Impact picturesque building that serves as the permanent heme of the Reek and Roll About the Foundation HaH of Fame. This is the world's first museum dedicated to die living heritage of rock and roQ music. The Museum features dynamic interactive exhibits, Community Outreach intimate performance spaces and presents a rotation of artifact and costume Annual Reports displays from the museum's permanent cc&ection. Exhibits showcase specific eras, styles and milestones, as well as highlight the many facets of rock and roQs evolution. Designed by internationally rencr.vned architect I.M. Pei. the building is a striking state- of-the-art facility that rises above the shoces of Lake Erie. It is a composition of bold geometric forms and dynamic cantilevered spaces that are anchored by a 162-foot tower. The tower supports a dual-triangular shaped glass tent" that extends (at its base) onto a 65.000 square-foot plaza, presiding a dramatic main entry facade. The building houses more than 55.000 square-feet of exhibition space, as well as administrative offices, the Museum Store presented by FYE Music and a cafe. I.M. Pei. arguably the world's most celebrated architect designed the National Gallery of Art's East Building in Washington. DC.the John F. Kennedy library in Boston, the Museum of Modern Art in Athens, and the expansion of the Louvre in Paris, among many other buildings worldwide. "In designing this building." says Pei. "it was my intention to echo the energy of rock and roQ. I have consciously used an architectural vocabulary that is bold and new. and I hope the building will become a dramatic landmark for the city of Cleveland and for fans of rock and rcfl around the worid." Architect: I. M . Pei. Pei. Cobb. Freed and Partners (N ew Y o rk ) Outdoor Plaza: 65.000 square feet Exhibition area: 55.000 square feet 223 Appendix Q.3: Rock Hall 2016c, History and Overview History and Overview More than 25 years ago. leaders in the music industry joined together to establish the Economic Impact Rock and RoQ Hall of Fame Foundation in New York Cin* to celebrate the music and About the Foundation / i l l \ \ musicians that changed the world, with that one of the Foundations mam* functions jU L lm 1 V \ is to recognize the contributions of those who have had a significant impact on the Community Outreach evolution, development and perpetuation of rock and roll bv inducting them into the Annual Reports ROCK AN O ROU 1-HaHofFame. HALL OF FAME ♦ MUSEUM Building Architecture The Rock and RoO Hall d Fame and Museum opened its doors in 1995 00 the shores of Lake Erie in downtown Cleveland. Ohia Green Initiatives The Rock and Rdl Hall of Fame and Museum. Inc. is a nonprofit organization that exists to engage, teach and inspire through the power of rock and roJL It carries out this mission through its operation of a worid-dass museum that coSects, preserves, exhibits and interprets this art form and through its library and archives as well as its educational programs. Officials from Cleveland and the state of Ohio approached the Foundation in 1985 and suggested the construction of a major museum. We originally planned to purchase a biwnstone in New York City in which to house the Hall of Fame, as well as an archive, library and museum, said Suzan Evans. In November, the city sent a delegation to New York. “They had these wonderful diagrams for a museum that would be much larger than any town house we had originally thought of." said Evans. Our eyebrows were raised, and somebody at the meeting actually passed me a note that said. Pack your bags.” As the Foundation considered the offer, several other cities, including New Yoric. Philadelphia. New Orleans. San Francisco. Memphis and Chicago, also made offers. The board members visited each city and were greeted with police escorts, public rallies and marching bands. The first induction dinner was held at New York's Waldorf-Astoria Hotel in January 1986. Inductees include Chuck Bern-. James Brown. Ray Charles. Sam Cooke. Fats Domino, the Everiy Brothers, Buddy Holly, Jem” Lee Lewis. Elvis Presley and Little Richard. Robert Johnson. Jimmie Rodgers and Jimmy Yancey were honored as early influences. The first non-performers honored were producer Sam Phillips and disc jockey Alan Freed. Talent scout/producer John Hammond was recognized with a Lifetime Achievement award. 224 Meanwhile. Cleveland ranked first in a public poll conducted by USA Today asking where the Hali of Fame should be located. After much competition and many visits to potential sites by Foundation members, Cleveland is chosen as the permanent home for the Rock and Roll Hall of Fame and Museum in May of 1986. Following an extensive search throughout 198“ world-renowned architect I.M. Pei was chosen to design the Museum. Pei had a lot of learning to d a "I didn t know a thing about rock and roll' he confessed. Xot to be discouraged the board members took Pei on trips to Memphis and New Orleans and to concerts in New York. We heard a lot of music, and I finally got it: rock and rcG is about energy, said Pei. He accepted the challenge oc* designing the world s first museum dedicated to rock and roll On June * 1993. ground was broken for the Museum in Cleveland. On hand were I.M. Pei and various board members, including Ahmet Ertegun. Suzan Evans and Jann Wenner. Inductees and other artists present at the ceremony included Pete Townshend. Chuck Bern*. BiHy Joel. Sam Phillips. Ruth Brown. Sam Moore of Sam and Dave. Carl Gardner of the Coasters and Dave Piraer of Sod Asylum. Townshend made one of the museum s significant donations on this occasioa - the Gibson J-200 guitar used to compose Tommy, including the classic Pinball wizard. A year later, under a hot summer sun and Ruby, a larger-than-life inflatable j from the Rolling Stones Steel Wheels tour, the Museum was topped off with | the last steel beam in its structure. First-year inductee Jerry Lee Lewis, as j well as several Cleveland musicians, performed for a crowd that includes Pei. Wenner. Evans and Ertegun. On October 13.1994. Yoko Ono presented a major collection ot John Lennon artifacts to the Museum. The collection included lyrics, Lennon s guitar from the 1965 Beatles concert at Shea Stadium, a pair of eyeglasses and the leather jacket Lennon wore while in Hamburg. In September of 1995 and after 12 years in the making, the Rock and Rcfl HaH of Fame and Museum opened with a full schedule of events. On the first day. September 1. the celebration began with a playful parade through the streets of Cleveland, followed by a ribbon- cutting ceremony in front of the Museum. Present for the ceremony were Pei. Ertegun. Wenner. Evans. Ohio Governor George Voinovich. Cleveland Mayor Michael White, little Richard and Yoko Ono. as well as press from around the world. A gala private dinner attended by board members, celebrities and m any Cleveland residents ended the evening in grand style. The Museum officially opened to the public on Saturday. September 2. which kicked a ceremony presenting the Ahmet M. Ertegun Exhibition H al the Museum s exhibit space named in recognition of the founder of the Rode and Roll HaH of evening culminated with a benefit concert at Cleveland Municipal Stadium. An roster ot the rock and roll greats performed- Chuck Bern*. Bob Dylan. Al Lee Lewis. Aretha Franklin. Johnny Cash, the Pretenders. John Fogerty. Reed, Iggy Pep. George Clinton, the Kinks. John MeHencamp. Brace Springsteen, and the MGs, Eric Burdoa and Martha Reeves. Museum s opening, the Rode and RoS HaH of Fame and Museum has nearly eight million visitors from around the world and reaches more than students and educators each year through its education programs on site and at great distances. Appendix Q.4: Rock Hall 2016d, Learn about the Museum History and Overview Learn About The Museum Economic Impact Mission Statement: About the foundation The Rock and Roll Hall of Fame and Museum’s Community Outreadi mission is to engage, teach and inspire through the Amatol Reports power of rock and roll. Butichng Architecture Creen Initiatives It carries out this mission through its operation cf a u orld-chss museum that eoSects, preterits exhibits and interprets this art form and through its library and archives as ueUas its educationalprograms. In The News Staff mas U o m admissions, memberships and store purchases support oar efforts to educate the worfd ca the social significance at rock and reJL Kease spend a mccneat and learn more abcut the worid'* toh- Museum devoted to the celebratioa and preservation d rock and roS music. Davaioadfee Museum’s Form 990(PDFformat). 226 Appendix Q.5: Rock Hall 2016e, Library and Archives: About Us ROCK&ROLL I ID HALL OF FAME LID i i M m RCHIVES Ewer Search Words The Library and Archives is the most comprehensive repository of materials relating to the history of rock and rod Our mission is to collect preserve and provide access to these resources for scholars educators students journalists and the general public in order to broaden awareness and understanding of rock and roll its roots and its impact on our society 227 Appendix Q.6: Rock Hall 2016f, Library and Archives: Partnerships Partnerships The Library and Archives has partnered with Case Western Reserve University (CWRU) to become one of CWRU’s Affiliated Libraries This arrangement allows the Library and Archives to share CWRU's online catalog for the cataloging of our materials and it also makes the Library and Archives a member of OhioLlNK. giving our researchers access to numerous OhioUNK electronic resources Additionally, our partnership with CWRU in the new Center for Popular Music Studies is now bringing scholars and graduate students to Cleveland to conduct research in the Library and Archives The resources of the Rock Hall's Library and Archives will support various curricula at Tri-C. CWRU, Cleveland State University, Kent State University, and other institutions of higher learning in Northeast Ohio After years of planning ground was first broken on the Library and Archives site in 2007 Our state-of-the-art 22 500-square-foot facility shares a building with the Tommy LiPuma Center for Creative Arts of Cuyahoga Community College (Tri-C). located about two miles southeast of the Museum Tri-C is one of the most respected community colleges in the country offering courses on such subjects as music history, music theory, and the music business and its acclaimed Recording Arts and Technology program trains students for careers in the recording industry Rocic an d R d H«l of F atm an d M uwvm | library »n VISIT THE GET THE THE STORY THE UPCOMING LIBRARY & SHOP :a t k >n MUSEUM INVOLVED INDUCTEES OF ROCK EXHIBITS EVENTS ARCHIVES ROCK HALL Public Programming Black History Month tf b S E ) The Rock and RoO HaS of Fame and Museum educates about the historical significance and impact of rock and rcB through a variety of different formats, including performances, artist interviews, lectures, community festivals, film screenings and conferences in venues both on and offsite to help the Museum reach expanding audiences. Spedal guests indude Rock and Rofl Rock HaS Community Hall of Fame Inductees and music legends to music industry experts, up-and-coming musicians and mere. Festivals HALL OF FAME H A L L cr FAM E' We bring inductees to Cleveland, (and occasionally to venues in other parts of the country) ctfering audiences rare and unique access to Support Rock Hall H alid Famers in an intimate setting. Formats for these coce-in-a-bfetime events have inspired Discover the many ways you can spontaneous conversation and impromptu perf ormances, spedal presentations, and audience-parnnpatioa question and answer support the wcdd s first sessions. The series celebrates the careers of seen* of rock music s biggest names and alkr-vs the public to learn about the histcry museum dedicated to the and influence of rock and rofl from the people who made it. Each Hall of Fame Series is audio and or videotaped for use in the history and preservation of rock Museum s future library and Archives. androfl. We have interviewed D am l DMC McDaniels Run-DJ4.C. • Uoyd Price • Little Anthony & the Imperials • Mark Rannoe • George Clinton • Isaac Hayes« Stewart Copeland of the PoSce ♦ Seymour Stein ♦ Pete Seeger ♦ the Vardbirds ♦ Ray Manzarek of the Doors • Aretha Franldin and mam- more. LEGENDS SERIES IiEGENDS The Rod; and Rofl Ha3 of Fame and Museum s Legends Series brings some of rock andrcfls biggest names to the Foster Theater for an intimate intenieic session and sometimes even impromptu performances. Each event is foBosved by a question and answer session fia t lets audience members ask what s on their mind. 229 W e have interview ed SpindereEa ct Salt a Pepa ♦ Peter Hook of Joy Division • The Chi-Lites ♦ Alan Parsers, producer for Piak Flow’d • Tommy Janus of the Shoadefls and more. SONGWRITERS TO SOUNDMEN ilSOnCWRITERS The People Behind the Hits I TD sounDmEn- Scngwriters to Soundmen gives Rock HaB audiences a FREE inside look at aspects of the music business that are often concealed frets view. For those who wonder how songs become recordings, how recordings become hits, or henv the shcnv gets cn the road, this series offers both answers and anecdotes beyond imagination. From label executives to producers to guitar tech to radio d;s. the music industry is populated with remarkable characters who have equally remarkable stories to teS. If mam- of us know a whole lot about the stars, too few among us kacftv about the folks who work alongside the stars, who disewer stars, who direct the careers of stars, who produce their songs. Above: MTT VJ Matt Pi!f Black History Month In February, the Museum focuses its attention on a specific African-American root or offshoot of rock and roB. Ev ents indude free performances by local and national groups, film screenings, lectures, and intimate evenings of conversation, aB celebrating fixe traditions of blues. souL rhythm & blues and gospel Landmark Series The Rock and RoB HaB of Fame and Museum s Landmark Series designates historic rock and roQ landmarks around the United States. Music Masters The Music Masters S series, a co-production of the Rode and Roll HaB of Fame and Museum and die CoBege of Arts and Sciences at Case Western Reserve University, celebrates the lives and careers of artists who changed the shape and sound of popular culture. Rock Hall Community Festivals Celebration of greater Cleveland s diverse ethnic communities is essential to the Rock and RoB HaB of Fame and Museum. 230 Appendix Q.8: Rock Hall 2016h, Right Here, Right Now Right Here, Right 3Sw takes a to* a; the evolution of rock and rcB and its impact to fee next generation d artisti by taking visiteri on as intimate journey into the stories of chart-topping acts as tdd through their personal items and dashing from iconic perfcnnances. The exhibit features thajgbt- prwxiing test panels and interactive displays where \1sitcrs can see and hear how these contemporary artists have made an impact during the a*w millennium. to sots, fee evening exhibit features fee Bladt Ken. Bruno Man. Fall Out Boy. Lady Gaga, Katy Peny. Grace Potter. Rihaana and mam' mere: Appendix Q.9: Rock and Roll Hall of Fame and Museum, Exhibit Guide EXPLORING THE MUSEUM Forming the order of this guide w i! help Q m you the most chronological and complete view of the history of rock and roll. LL - LOWER LEVEL IhI.'Hs l&lol L2 - LEVEL 2 LS - LEVEL 5 & L6 - LEVEL 6 S1AIU YOUR TOUR HERE 0 Architects of Rock and Roll 0 flelkin Galleryt Special Exhibitions O 2015 Inducts* Exhibit Ul Ngl, Al**» fiftJ **4 S***« Hi pi tilRB RiTTS. 1 HI ROCK PORTRAITS 0 Video Killed the Radio Star - Multimedia Exhibit nth pi* ft ?♦» 0 Ste wart Gallery (11 m *„!**> A dvtw ty - Conl»m% Mature The met Th* Roots of Hock: SWs, G©»p*J. ftAB. C»w* Appendix R: SFO Museum 2016, Exhibitions: When Art Rocked: San Francisco Music Posters 1966- 1971 L*1 M useum Exhibitions Aviation Museum & Library Public Art Programs About © Exhibitions»When Art Rocked: San Francisco Music Poster... & S3 International Terminal September 2014 - March 2015 When Art Rocked: San Francisco Music Posters 1966-1971 From 1966 to 1971, an unprecedented quantity of extraordinary graphic art was produced in the San Francisco Bay Area. This resulted from the demand for posters, handbills, and flyers advertising rock concerts and dances in some of the city's oldest ballrooms, most decrepit sports arenas, and sweatiest dives. The two main patrons of this proliferation of posters were Bill Graham—who promoted concerts at the Fillmore Auditorium, Winterland, and a dance hall he renamed the Fillmore West-and Chet Helms—the charismatic if less business sawy. leader of an organization called the Family Dog, which produced concerts at the Avalon Ballroom, among other venues. A handful of San Francisco artists were ready for this poster renaissance, which flow ered from th e Trips Festival a t Longshorem en's Hall «n January of 1966 until the closing of the Fillmore West in the summer of 1971. During those five-and-a-hatf years, these artists were often inspired by Art Nouveau masters such as Alphonse Mucha and Alfred Roller, whose blocky lettering was made psychedelic by Wes Wilson. Alton Kelley and Stanley Mouse were drawn to Art Nouveau, too, but also to advertising art and appropriated images, giving their collaborations a look that was at once in sync with and outside the Pop Art currents of 1960s contem porary art. M ouse and a Southern California artist named Rick Griffin were also infatuated with the artwork that grew out of hot-rod car culture. Victor Moscoso, on the other hand, turned the traditional art-making orthodoxies he had learned as an art student on their collective ear, creating posters that nearly vibrated before the viewer's eyes. No doubt the artistic impulses of these artists-as well as those of contemporaries such as Bonnie MacLean, Lee Conklin, Randy Tuten, and David Singer-would have found ways to express themselves without the meager fees offered by Bill Graham and Chet Helms. But Graham and Helms were also sincere and enthusiastic supporters of this burgeoning aesthetic. Yes, the checks they wrote were small, but lest it go without saying, they were always cashed Still, the real unsung heroes of San Francisco's rock-poster scene may have been the printers, whose job was often to make sense of the scraps of paper artists would sometimes deliver to them. With a few notable exceptions (Moscoso taught lithography), most poster artists of the era had no formal training in printing techniques, which meant it was up to career pressmen like Ivor Powell of West Coast Litho and Levon Mosgofian, Monroe Schwartz, and Joe Buchwald of Tea Lautrec Litho to teach these artists how to control their new medium, in that light, the posters in this exhibition also represent the best work of Powell, Mosgofiaa Schwartz, and Buchwald. Guest curator Ben Marks is the senior editor o f CollectorsWeekly.com and the vice-president o f The Rock Poster Society, whose members kindly loaned all o f the posters, postcards, handbills, tickets, and other ephemera for this exhibition. For more information about The Rock Poster Society, please visit TRPS.org. 235 Appendix S: Sproul and Ziegler 2012, Nirvana Live Site Information Site Information The Nirvana Live Guide was created by Kris Sproul and Shane Virone in 1999 as an updated version of the Nirvana Live Performance and Recordings Guide (created by Rob Holmes). Photographs, memorabilia, and other performers from the Interactive Nirvana Concert Chronology (maintained by Mike Ziegler) were added to the Nirvana Live Guide in 2003. It is currently maintained by Kris Sproul and Mike Ziegler. The Nirvana Live Guide aims to be the most accurate and up-to-date guide to Nirvana's live performances available. Additions, corrections, and comments are always welcome* Submit comments and information additions/corrections to: mfo$mrvanaguide.com Submit image additions/upgrades/corrections to: images^nirvanaguide.com You may also submit/discuss information and images on our Discussion Forums. Each performance listing contains as much information as is known about the performance. The following is a description of ail the information included in each performance listing. D atc/V cnuc/L ocation The heading of each performance listing includes the date (MM/DO/YY format), venue (with the name of the event or radio/television show in parenthesis, if applicable), and city of the performance. Scr This is a list of all songs known to have been played at the performance, whether they are available on recordings or not. If the order of the songs played is known, as with most recorded performances, the set is in order. Partial lists, usually taken from reviews or first-hand accounts, are noted as "incomplete." N otts This includes any miscellaneous information about a performance. 236 C ir c u la tin g R e c o r d in g s This is a list of audio and/or video recordings that are currently in circulation among collectors. The bold line indicates the source identification number and type of recording. If any recording equipment information is known, it will be listed on the next line in signal chain order. The next line indicates the lowest generation of the recording circulating among collectors. For video recordings, both the lowest audio and video generations are listed. The next line indicates the length (rounded up to the nearest 5 minutes) and sound quality rating. Any further lines feature other details about the recording, including releases the recording is available on. This information is provided for informabonal purposes only. The Nirvana Live Guide does not endorse the sale or distribution of unauthorized recordings. U ncirculated R c c o r o in g s This is a list of audio and/or video recordings that are known or thought to exist, but are not in circulation among collectors. Recordings that include only short clips of songs totaling under five minutes are also listed as uncirculated recordings. The bold line indicates the type of recording. The following lines feature other details about the recording, if available. This information is provided for informational purposes only. The Nirvana Live Guide does not endorse the sale or distribution of unauthorized recordings. O niC R PCRFORMCRS This is a list of bands/artists other than Nirvana that performed at the concert. I magcs This is a link to photographs and memorabilia from the performance. All images are copyrighted by their respective photographers and/or artists. We respect the wishes of all copyright holders, so if anyone %vishes to have his or her material removed from the Nirvana Live Guide, please email us at: [email protected] Copyright Policy The contents of the Nirvana Live Guide may NOT be published, broadcast, rewritten, or redistributed in whole or in part without the express written permission of the mamtainers of the Nir/ana Uve Guide (Kris Sprout and Mike Ziegler). You m ay cite an individual performance listing in a newsgroup, a mailing list, an online forum , or in print, provided that any material cited remains intact and that all copies include the following copyright notice in a clearly visible position: Copyright © 1995-2013 Kris Sproul, Mike Ziegler. All rights reserved. Any questions regarding this copyright policy should be directed to: [email protected] 1987 • 1988 • 1989 • 1990 • 1991 • 1992 • 1993 • 1994 • Related Shows ♦ Cancelled Shows Main Page • Updates • Site Information • Contributors • Discussion Forums • Email Copyright €> 1995-2013 Kris Sprout Mice Ziegler. Al rights re$«rv«d.