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The guiding principle of a Springsteen show is to deliver salvation and hope through song...
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...penso che la mostra sia a Cleveland per ora, per cui c'entra poco con questo topic, ma sempre HALL OF FAME è.. e può darsi che poi si trasferisca... nella nuova filiale di NYC
Anzi, c'erano voci di un "lavoretto" sugli archivi, tipo DARKNESS DVD che in realtà è stato usato epr questa mostra...
da APP.com
Rock Hall plans Springsteen exhibit
ASSOCIATED PRESS • January 14, 2009
CLEVELAND — Bruce Springsteen will be the focus of a new exhibit at the Rock and Roll Hall of Fame.
The exhibit called "From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen" opens April 1, three days before this year's induction ceremony in Cleveland.
Springsteen, who is scheduled to perform at the Super Bowl on Feb. 1, was inducted into the Rock Hall in 1999. His influence on rock music emerged in the 1970s with his E Street Band.
The Rock Hall's 2009 induction class announced Wednesday includes Run-DMC, Metallica and Jeff Beck.
Edited by LittleStevenMilano - 20/3/2009, 07:25. -
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The guiding principle of a Springsteen show is to deliver salvation and hope through song...
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da backstreets.com, a propositio di questa mostra dedicata di cui abbiamo parlato un paio di mesi fa:
FIRST LOOK: ROCK HALL'S SPRINGSTEEN EXHIBIT OPENING APRIL 1
The TEAC 4-track recorder Bruce used to record Nebraska -- that's it above, the very one. And you'll be able to see it up close and personal at Cleveland's Rock and Roll Hall of Fame in Museum in less than a month. On April, 1, during the Rock Hall's 2009 Induction Week, they'll unveil their latest exhibit, "From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen." Here's a sneak peek.
The exhibit will be a comprehensive look at Springsteen’s music, from early bands like Child, the Castiles and Steel Mill through his work with the E Street Band and as a solo artist. Several of Springsteen’s guitars will be there, including his legendary Fender Esquire and a custom decorated guitar from the Seeger Sessions tour. Outfits will be on display, too, including those he wore on the covers of Born in the U.S.A., Human Touch, and The River, as well as numerous handwritten lyric manuscripts, posters and handbills from all phases of his career, and various awards and honors. Danny's accordion will be there; the sax Clarence used to record the "Jungeland" solo; even Springsteen's 1960 Chevrolet Corvette, which he purchased after the success of Born to Run.
The exhibit is slated to run through the spring of 2010. Visit rockhall.com for more information.
- March 6, 2009
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video da www.cleveland.com:
http://videos.cleveland.com/plain-dealer/2...hibit_at_r.html
e articolo:
Bruce Springsteen's car, a famous guitar and more are on view in major new Rock Hall exhibition tracing the Boss' career
by John Soeder / Plain Dealer Pop Music Critic Sunday March 29, 2009, 6:00 AM
Bruce Springsteen owns a lot of guitars, but none more famous than the one he's holding on the cover of "Born to Run." He bought the guitar in the early 1970s, shortly after signing a deal with Columbia Records.
"He paid $180 for it, which he said at that point was the most he'd ever paid for an instrument," says Jim Henke, vice president of exhibitions and curatorial affairs at the Rock and Roll Hall of Fame and Museum, where a career-spanning retrospective devoted to the Boss will be unveiled this week.
"From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen" opens Wednesday, April 1, amid the festivities leading up to the Rock Hall induction ceremony Saturday at Cleveland's Public Auditorium. Spread over the museum's top two floors, the exhibit will be on view through the spring of 2010.
"We've always wanted to do an exhibit on Bruce Springsteen," Henke says. "In terms of a single-artist exhibit, I think this is the most comprehensive exhibit we've done. . . . It has more depth to it because it turns out Bruce saved a lot of things."
Henke and his staff worked closely with key members of Springsteen's team, including manager Jon Landau and recording engineer Toby Scott. Springsteen himself personally suggested a few artifacts, including the "Born to Run" guitar and a circular table from his New Jersey home where he sits down to do most of his songwriting.
In addition to musical gear, lyric notebooks and other treasures from Springsteen's work with the E Street Band and his solo pursuits, the Rock Hall will display memorabilia from his pre-superstardom stints in New Jersey bands such as the Castiles and Steel Mill. The installation also will include a video highlight reel featuring rare Springsteen performance footage, as well as listening stations where you'll be able to hear Springsteen's first professional recordings.
"It's a very in-depth look at Bruce Springsteen's career," Henke says. "Even the most die-hard fans . . . will see things they've never seen before.". -
melany80.
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Spero proprio di riuscire ad andarci mentre saremo a Philadelphia....vediamo come organizzarci. . -
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reportage di Chris Phillips da backstreets.com 
ON THE RECORD WITH JIM HENKE
Bruce talks with Rock Hall curator about songwriting as "a meditation," a mining expedition, and "a magic act... Abracadabra!"
Curator Jim Henke has been with the Rock and Roll Hall of Fame and Museum since 1994, well before the Cleveland institution opened to the public. For the past year, he's worked in earnest -- with help from Toby Scott, Kevin Buell, and Springsteen himself -- to assemble artifacts for "From Asbury Park to the Promised Land: The Life and Music of Bruce Sprinsteen," which opened on Wednesday. "There have been a lot of really good exhibits here over the years," Henke tells Backstreets, "But I have to say, in terms of exhibits on an individual artist or band, this is probably the most comprehensive one we've gotten."
Springsteen "obviously had a big role in picking the artifacts" for the exhibit, says Henke. "The nice thing was that in the last couple of months, as we were getting it together, Bruce really got more personally involved -- it was his idea to loan us the Esquire guitar, for example." And as Springsteen got engaged in the project, the effect was cumulative: "Initially, they said we could have two or three of his songwriting notebooks," Henke continues, "but we wound up with way more than two or three. And then because we had that, then Bruce had this ciruclar table that was in his house -- he said it's actually that table and chairs where he sat to write about 90 percent of his songs. So he thought it'd be really cool if we had that in the exhibit, so he sent that out. Then along with it, to make it look more real, he sent some of his utility bills and stuff like that that we could lay on the table with some of the lyric books."
While the exhibit is chockablock with concert artifacts like outfits and instruments, Springsteen's songwriting doesn't get short shrift, thanks to these lyric books on display. "He writes in these school spiral notebooks," says Henke. "They're pretty fat ones, like an inch thick, and most of them are filled from cover to cover." For display purposes, visitors to the Rock Hall will see, for example, Bruce's Darkness notebook open to "Badlands," along with displayed reproductions of drafts for "Adam Raised a Cain," "Racing in the Street," "Darkness," "Prove It All Night" and "Streets of Fire."
Springsteen has yet to see it all up and running in Cleveland, since the exhibit and Bruce's new tour started on the same day -- "he did say he was planning on making it out here at some point," Henke says. In the meantime, the curator paid a visit to Springsteen in New Jersey, for an interview to coinicde with the exhibit. In an excerpt here, they discuss his songwriting process.
Jim Henke: In general, what is your songwriting process like?
Bruce Springsteen: It's very relaxed. It depends -- you just get an idea and sit down with a guitar, and it’s a meditative state. Songwriting is fundamentally a meditation. It's the exercise of your craft, your intelligence. But it's primarily meditative, in that it works best when you go into a light trance-like situation. Where you just start to sort of... you're scraping the top of your subconscious, like with a knife, and the shavings, sometimes they turn into a song. And then occasionally the knife plummets deeply in, and it's not something you -- it would be like having a shapeless piece of clay or something in front of you, and you start to run your fingers over it. You're just sitting there with the clay, you don't have an idea of what that clay is going to be yet, you just start running your fingers over the clay. And as you're running your fingers over the clay, your emotions, who you are, the issues that are on your mind, the sounds you may want to hear, the shapes you may want to hear, the shapes you may what to see, your relationship to the world itself begins to define itself in the images, music and lyrics that are just kind of flowing out of you.
Then there's a point where also your studied craft comes into play. In other words, okay, you've plummeted a certain amount: you've got your basic story, you've plummeted into some of your unconscious, and you've come up with something that feels like life. It feels like it has some breath and some blood in it. But now you've got to call on your craft to refine it, to write well, to make good choruses, or verses. And so your craft comes in, but you're still listening. The main thing is what you're doing if you have your clay in front of you: you're seeing all the time. What is assisting you in moving forward? Your eyes -- you’re seeing, you’re seeing. If you're a musician, what is assisting you in moving forward with a song? Your ears. Every time you strum the chord, you're listening. What is the song telling you? What is the character telling you about his fate? And if you listen hard enough and if you yourself are a seeker -- in other words, your motivation is that you are in search of whatever it is you might want to call it, truth, experience, reflection of the world as it is -- you want to sing your blues away, you want to sing about your gal, your friends your town, your country, your day at the beach, what ever it feels like, alright. These things come forth and begin to sort of give shape and refinement to your thoughts and emotions.
So it's a magic act. Basically, nothing exists in this room when I walk in, and you literally pull something from thin air and give it physical properties, and by the end, someone out in the world holds it in their hand. You've taken something, you've literally, boom, you know, zoom there it is, Abracadabra!
But it begins in the air; it begins as ideas and emotions and it begins as something that has no physical property whatsoever. So it's a lot of fun to do, would be the way I put it, and I get great excitement, exhilaration, and enjoyment out of it. And of course occasionally it's very, very frustrating. In the old days your percentage is about 95 percent failure to about 5 percent success, but hey, if part of your 5 percent success is "Born in the U.S.A." or "Born to Run," once those things are there, you forget about the 95 percent. It's like coming home from the dentist: you forget about the pain, and you're happy about how good your teeth look. It's the same thing -- it's like once the song is played, all you're thinking about is, wow, that was great.
Henke: Do you just start with the music first, or the words, or is it a combination?
Springsteen: I don’t have any rules. The only record I started words-first was my first record, because I imagined myself as being some sort of poet at the time... plus, I would sit there with a rhyming dictionary or just by myself and just pour forth with whatever the images were in my head at the time. Later on, almost immediately, I began to -- and even on that record, the music is so evocative that you use it.
Say on this record, Working on a Dream, I had a very specific idea of what I wanted the music on the record to be like. I wanted a very big, orchestral kind of rock music.... Your inner world is a mine, and there are many, many different veins, and if you work one vein a lot it may go dry. Okay, I have The Ghost of Tom Joad and Devils & Dust; okay, I don't have any more of these songs in me right now. But then you may -- if you turn around and your eyes are open so you can see -- you go, "Oh, what's that over there?" Chip, chip, boom, you may find a vein of a certain kind of music may come bursting forth, and music will pour out of you -- the minute you finish a record, sometimes.
This was something I didn't allow myself to do in the early days. I only looked at one vein, the vein I was very concerned about defining about myself with, and ignored everything else -- that's what's on Tracks, and I ignored a lot of good music. But now I don't do that; I'm open to whatever feels like it's going to come through my creative system at a given moment.
So at the end of Magic, wow, it grows into something... like, that was fun, I like that big production style, I haven't done that in a long, long time. Brings you to, "I've come up with another song." Oh, and then you go home that night and think, I really want to make something big and rich and romantic but that carries with it the concerns of somebody at my age. Innocent and kind of knowing at the same time. And take that sound, the sound of it -- which is basically is the sound of innocence in those days of the Beach Boys and the Spectors -- and take that sound and combine it with my 60 years of experience on the planet Earth, and so you have Working on a Dream. People said I was ripping off a Kiss song -- actually, thought I was ripping off "Heroes and Villains." But it was like, you just start to... there was a vein that just comes rushing out... and these days I'm able to listen to it, and work on it, and I'm able to get more music to my fans.
- April 3, 2009 - Chris Phillips reporting - Rock and Roll Hall of Fame and Museum/Design Photography.
http://www.backstreets.com/news.html
http://www.rockhall.com/exhibitupcoming/fr...e-promised-land. -
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dall'examiner.com
Springsteen exhibit offers plenty to see at Rock Hall of Fame
April 18, 9:04 AM ·
Bruce Springsteen fans who thought they knew everything there was to know about the Rock and Roll Hall of Fame singer/songwriter--get ready for an education.
"From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen" is the world's first exhibit devoted to "The Boss". And its sure to bring in masses of Springsteen fans from all over the world to see it on display at the Rock and Roll Hall of Fame + Museum in Cleveland.
I took the tour earlier this week. Its pretty clear that Springsteen does not throw anything away. A good portion of the hundreds of artifacts belonged to him.
The exhibit timeline begins in 1967 from Springsteen's humble New Jersey beginning as a member of The Castilles. There's a set list from one of The Castilles performances that includes covers like "Long Tall Sally" and "Jailhouse Rock".
Pick up a pair of headphones the Rock Hall offers up and you'll hear Springsteen belting out a version of "Purple Haze". You won't hear that on any boxed set collection. There's also a hilariously written "petition" by a parent of one of the band members demanding that the band get signed to a record label.
Walls are lined with several posters, fliers and pictures from Springsteen's other early bands: "Child" and "Steelmill".
Another gem is the audio from the famous Columbia Records audition in May of 1972. This is as raw as it gets--just Springsteen and his acoustic guitar. He performs several tracks including "Growing Up" where mid-song he asks if he can start over again. Its a good thing the Columbia executives were forgiving.
My favorite exhibit from the early days was an old pocket phone book with saxaphone player's Clarence Clemens digits written and circled in big bold ink. No way Springsteen was losing that number.
As the exhibit spans into the "Born To Run" era, there's pages and pages of Springsteen's songwriting. Drafts and re-drafts of so many songs. All of them written on notebook paper. Even the small kitchen table that Springsteen used to write many of those songs is on display. Nearby is the four-track recorder he used on "Nebraska".
The exhibit also includes several of Springsteen's guitars, namely the Fender Esquire that is on the cover of "Born to Run" and the one he played in Super Bowl XLIII.
There's plenty of Springsteen's wardrobe too including the t-shirt and jeans he wore for the cover of "Born in the USA".
And, you'll want to pick up another pair of headphones near the end of the exhibit where you'll hear Rock Hall Museum curator Jim Henke interview Springsteen about his personal collection and the memories he recalls.
Give yourself some extra time--at least an hour--to check out a couple of videos the Rock Hall is playing on Springsteen including a VH-1 Storytellers episode and "Blood Brothers", a documentary of his 1995 reunion and recording session with the E Street Band.
And as you stroll back through the main lobby there's a big surprise at the end of your journey--Springsteen's 1960 Chevy Corvette which he purchased after the success of "Born To Run".
Plan your trip carefully. You've still got plenty of time. The exhibit runs through the Spring of 2010..