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Date Posted: 18:54:14 05/22/13 Wed
Author: Lazlo
Author Host/IP: adsl-99-136-252-186.dsl.wlfrct.sbcglobal.net / 99.136.252.186
Subject: Vox Teardrop comes to Cleveland Friday

http://www.usatoday.com/story/life/music/2013/05/21/rolling-stones-exhibit-at-rock-and-roll-hall-of-fame-museum/2322129/



The tongue pit at the Rolling Stones' 50 and Counting arena concerts brings fans within a few yards of the world's greatest rock 'n' roll band.

A new exhibit at the Rock and Roll Hall of Fame and Museum cuts that distance to inches.

Rolling Stones: 50 Years of Satisfaction, opening Friday at the Cleveland museum, fills nearly three floors with a comprehensive retrospective that spans the band's history from the mid-1960s through today in artifacts, film, text and interactive tech.

Among the treasures are a cape, stitched from flags, that Mick Jagger wore on tour in 1981-82, the Harmony 12-string acoustic guitar that Keith Richards played on such early records as Tell Me and Good Times, Bad Times, a sketch by Charlie Watts that was published in a 1966 U.S. tour program, Brian Jones' custom Vox teardrop guitar and the original artwork for 1974's It's Only Rock 'n Roll.

Luck and a hunch played a role in the exhibit's overlap with the current tour. After failing to entice the Stones for years, the Rock Hall approached the band as it neared its 50th anniversary.

"We threw a Hail Mary pass and said, 'Hey, how about now?' and they came back with an OK," says curatorial director Howard Kramer.

Rock Hall president/CEO Greg Harris adds, "It's helpful they were gearing up for a tour. I think maybe they were in a mood to look back a little bit. It doesn't mean you're being put on a shelf. We're honoring their achievements. We know there's more to come. It's living history."

Curators met with the band, family members and many collectors to assemble a vast array of objects.

The Stones "were forthcoming with materials but more would have been better," Kramer says. "We're not complaining."

His challenge was shaping the haul into a coherent narrative.

"You have to pick your stories, and there's no shortage," Kramer says. "This is an epic. You have to tell about the formation, the roots, England at the time, problems with the law, songwriting, changes in the band.

"You have to show people the scope of their career, and there's nothing comparable in the history of recorded music. They're much more than the bad boys of rock. Keith has said, 'I still look at this as a Chicago blues band.' But the richness of the story is in the quality, sustainability and impact they've had."

The Stone Age excavation unearthed a plum cache that includes:

Jagger's Steel Wheels green leather jacket, circa 1989.
Richards' Telecaster-style hybrid guitar. The original, plagued by technical problems in the 1978 U.S. tour, was fitted with a replacement rosewood body and new hardware by Schecter Guitars.
Watts' Western Costume Design mariachi shirt, worn occasionally on stage in the '70s. ("I couldn't play in it," the drummer said. "All the ruffles came down to my wrists.")
Ronnie Wood's Zemaitis guitar, circa 1978.
Jones' Appalachian dulcimer, played on Lady Jane and I Am Waiting.
Richards' black leather bomber jacket, which he sports in photos in 1966 Stones hits collection Big Hits (High Tide and Green Grass).
Jagger's 1961 class photograph and basketball team photo from Dartford Grammar School, where he excelled in academics and sports. (His father, Joe Jagger, said, "He was excellent at basketball and cricket, but he didn't want to be tied down to all of the practice.")
The Stones' 1970 letter to Santana requesting permission to use the group's Altamont performance in a film with the working title Love in Vain, later released as Gimme Shelter. Santana declined.
A 1963 publishing agreement for early composition Stoned, the B-side of second single I Wanna Be Your Man, a Lennon/McCartney tune. All members, including Ian Stewart, are cited as co-composers.

Kramer also was excited to acquire a 1963 poster "with a glorious graphic" touting a Stones gig at Windsor's storied Ricky Tick club, Jones' Harmony Stratotone guitar, a Jagger jumpsuit by Swinging Sixties designer Ossie Clark and a leopard print jacket "emblematic of Keith's wild-man image."

Seeing such objects in photos or videos can't compare to the museum experience, even if touching is forbidden, Kramer says.

"Nothing substitutes for real," he says. "Look at how many people lined the streets of Los Angeles to see the space shuttle. There's a rewarding aspect to breathing the same air."

Another hoard lies in a companion exhibit at the museum library and archives that examines the Rolling Stones' tour production from 1975 to 1981 in photographs, stage drawings, fabric samples, lighting cues and set lists. Rolling Stones Records executive Art Collins' handwritten notes, used to help decide what to include in concert film Let's Spend the Night Together, also will be on view, along with Frank Sinatra's 1978 written request for tickets.

For the first time, the museum has launched a fan-generated interactive project that encourages participants worldwide to share photos of memorabilia, artwork, Stones concerts and more to be used in a multimedia display in the exhibit and online.

Fans may upload original images to Twitter and Instagram with the hashtag #rockhallsatisfaction to contribute. Images will be used in the exhibit, online and on the Rock Hall museum's Facebook page until the exhibit closes in March 2014.

Endurance isn't the only reason the Stones warrant such a blockbuster presentation, poised to eclipse the popularity of the museum's Elvis Presley and John Lennon exhibits.

"Their body of work is remarkable and creates a framework for telling a bigger story of rock 'n' roll," Harris says. "We think of 1950s America in Technicolor. Growing up in post-war England was far more black and white. They were living around bombed-out buildings. American blues from a marginalized voice connected with them so hard. It exploded there. The Stones came out of that scene. They keyed into Chicago music, brought it back to us and took it around the world. They embraced different styles without ever losing their identity."

Harris expects swarms of intergenerational visitors and lots of families.

"For the first time, parents and kids like the same music," he says.

"I'd like people to walk out knowing they are connected to something larger, that there is a global network connected to this band," Harris says. "And without getting too far from the music, the band's longevity is inspiring: To see what they've gone through, how they've flourished and continue to create great art and make new fans."

The Stones, inducted into the Rock Hall in 1989, will be the subject of free public programs, interviews, films and lectures during the exhibit's run. For details, visit RockHall.com.

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