Photo courtesy of the GRAMMY Museum
GRAMMY Museum To Launch 'Bruce Springsteen Live!' Immersive Exhibit & Tribute October 2022 In Downtown Los Angeles
Launching at the GRAMMY Museum in Los Angeles on Saturday, Oct. 15, 'Bruce Springsteen Live!,' an interactive exhibit, offers unparalleled access to the vaults of Bruce Springsteen, spanning almost 50 years of interviews, performances and artifacts.
Few artists exemplify rock and roll storytelling like Bruce Springsteen — and if you thought you knew him and his work, you might be thrown for a loop. Welcome to Bruce Springsteen Live!, the GRAMMY Museum's traveling exhibit that provides a window into Springsteen and the E Street Band's very essence, detailing their rise to global renown and celebrating their creative fires still burning today.
Launching at the GRAMMY Museum in Downtown Los Angeles on Sat. Oct. 15, and running through April 2, 2023, Bruce Springsteen Live! spans almost 50 years of iconic artifacts, live performance footage, instruments and stage costumes, exclusive interviews, and concert posters and photography taken from the Springsteen vaults throughout the decades. Chronicling Springsteen's earliest days as a local artist on the Jersey Shore to his outsized commercial breakthrough to his impactful life and work today, the exhibit will also include unique, immersive interactive displays, which will give fans a backstage pass into the minds of Springsteen and the E Street Band as well as an inside look into their prolific creative process.
Photo courtesy of the GRAMMY Museum
Presented by the GRAMMY Museum, in partnership with The Bruce Springsteen Archives and Center for American Music at Monmouth University, Bruce Springsteen Live! includes fan-favorite highlights like the Fender Esquire guitar featured on the cover of some of Springsteen's classic albums, including Born to Run, Live 1975/85, Human Touch, and Wrecking Ball; the late Clarence Clemons' saxophone; stage outfits and accessories; and Max Weinberg's Tunnel of Love drum kit.
The exhibit also features an enticing interactive element: The GRAMMY Museum is asking all Springsteen fans to contribute to Bruce Springsteen Live! by submitting a video sharing their live concert experiences from Springsteen shows over the years; excerpts of these submissions will be shown throughout the gallery and will eventually be featured in a new exhibit film.
Photo courtesy of the GRAMMY Museum
And on Friday, Sept. 23 — the Boss' 73rd birthday! — the Museum is inviting fans to stop by and share their stories in-person and on-camera and wish Springsteen a happy birthday.
"The GRAMMY Museum is excited to bring Bruce Springsteen Live! to Los Angeles," Jasen Emmons, Chief Curator and Vice President of Curatorial Affairs at the GRAMMY Museum, said in a statement. "We're also thrilled to offer a special, expanded exhibit with the help of Springsteen fans for a one-of-a-kind immersive experience."
"Few performers embody the soul and excitement of live rock and roll like Bruce Springsteen and the E Street Band," co-curator Robert Santelli said in a statement. "This exhibit will give fresh insight into how they've been able to remain one of the greatest live acts for five decades."
Photo courtesy of the GRAMMY Museum
"We are honored to work with the GRAMMY Museum on this unique Bruce Springsteen exhibit," co-curator Eileen Chapman, director of The Bruce Springsteen Archives and Center for American Music, added. "Since his first West Coast show as a touring musician at the Troubadour in 1973 to the present day, Bruce has performed over 100 shows in the Los Angeles area and has thrilled millions of fans with his electrifying performances. This extensive exhibit provides a peek behind the curtain and a stirring trip down memory lane."
Watch this space for more information on Bruce Springsteen Live! And if you're in the L.A. area, visit this one-of-a-kind monument to the 20-time GRAMMY-winning music titan — and New Jersey's favorite son.
Photo: Donald Bowers/Getty Images
Tegan And Sara On The Power Of Music
The Canadian folk-pop power duo discuss the evolution of their approach to songwriting, their recent shift in instrumentation and their love of Bruce Springsteen
At the Teragram Ballroom in Los Angeles on their Love You To Death tour, Tegan and Sara, in their usual charming fashion, shared with the sold-out crowd that they’re often praised, however disconcertingly, for their effortlessly funny stage banter as much as they are for their indie-folk-turned-pop songwriting.
With their magnetic ability to connect with audiences, it’s no wonder Sara and Tegan Quin reveal to us that they are drawn to and take queues from artists like Bruce Springsteen, Sinead O’Connor, and the Smashing Pumpkins; for their honest and relatable storytelling, the deep and long-lasting memories evoked by it, and the emotional bonds they’ve formed with audiences as a result.
Over two-decades into their music career together, Tegan and Sara have squarely set themselves in the pop genre. They’re inspired and confident in their evolution and their less acoustic, more synthesized sound. In our interview with the GRAMMY-nominated sisters, Tegan and Sara give homage to the power of music and explain how it’s empowered them to grow and transform as artists.
Are there people you really look to and admire in terms of their stage banter and performance?
Tegan: Throughout our entire career, we’ve referenced Bruce Springsteen as a career that we’ve definitely modeled ours after. And he was highly influential in early years because we grew up in a Springsteen household, so we grew up not just listening to his records, but specifically Live/1975-85, the live record, and the sound of the crowd cheering, the stories, he was drawing you in, even [as we were] just sitting in the minivan driving from Calgary to Vancouver. And as soon as we started performing, first of all, we were getting booked to do coffee shop gigs where you had to entertain for three hours at a time and we had 10 songs. So, we had to play the same songs three times, but we also still had to fill time and it was this natural … well, Bruce Springsteen talks, we were used to that personal nature, so we just shared our stories in the same way. And I think throughout our career, we’ve used him as a reference in terms of our connection to our audience. Like, Bruce Springsteen fans love him. He’s not a character, he’s not playing a character; he’s being himself. He’s telling his stories, his hardships. And yet, when you listen to him, you’re not really thinking about him or his stories. He’s telling you the story, which is getting you to feel and emote, but what it’s really doing is drawing you in so you can relate your own life and own experiences.
Are there songs that, as fans, you feel that way about? You don’t necessarily get why it’s important to you, but it is.
Tegan: Yeah, this is something we talk about a lot in reference to when you make a record like Heartthrob or Love You To Death. “Are you afraid of alienating early fans, young fans, who’ve been with you since the early days?” And the truth is no, because, inevitably, even if we made a record that sounds exactly like The Con or So Jealous or even earlier works we’re never gonna replace that first time we heard us, we’re never gonna undo those memories and that attachment they have to us, especially the fans that have been with us for over 10 years because they are completely different people, just like we are. And I think that’s what’s kind of magical about music, there is no logical reason for us to have connected to Bruce Springsteen the way we did at seven years old, yet we did and we carried it with us for 25 more years. And the other day when I was playing that live record for my girlfriend, I almost wept with joy sharing it with her for the first time, her getting to hear the swell of the crowd when he starts to play the harmonica at the top of “The River.” The reason why I love that music has got nothing to do with Bruce Springsteen, it’s got to do with being seven or eight years old and being in the minivan with my mom with her new boyfriend, Bruce, who loved Bruce Springsteen and who wanted her to love Bruce Springsteen as much as we did and the drives we did every single summer to Vancouver. And there is no rational reason for it, it’s all sensory and that’s why I would never insult our own audience and say, “No, if you love The Con you’ll probably replace it with Love You To Death.” You were a different person, you’re never gonna be that person again.
That’s so funny, because my sister and I grew up listening to Peter, Paul And Mary, Bonnie Raitt, Alanis Morissette, Fleetwood Mac while driving in our mom’s minivan, and whenever you hear it, you just turn around and make eye contact and you’re that age again. Music is one of the biggest transporters.
Sara: Especially the stuff that happens the first 18 years of your life. I’ll never forget exactly where I was and exactly how I felt when I heard the beginning of “Today,” Smashing Pumpkins. It changed my life, I’d never heard music like that before. It was all consuming after that. That was my favorite band. I wanted everything, I wanted to know everything about that music, and I don’t believe that’s ever going to happen to me again. It doesn’t matter how excited I am to hear a new song or hear a new album, I will never feel the way I felt when I discovered what was going to become my first obsession, not my parents’ music, not what other little kids were listening to, but the first thing I discovered that was gonna be for me. The other day I saw that Billy Corgan is doing the acoustic tour and he brought James [Iha] out on stage in L.A and they played “Mayonnaise,” the two of them together, and I immediately started playing it and I was shocked at how emotional it made me feel to hear Billy and James playing the beginning; that wonderful, beautiful harmony, opening riff, cause suddenly I was 14 again.
Tegan: I did it yesterday when that whole Sinead O’Connor thing was happening and she went missing. Everyone was posting all these old videos of her and there was a video of her performing “Troy” at Pinkpop [music festival] and it was crazy. I fell into a crazy Sinead hole, I watched two hours of videos of her on TV shows and singing these songs acoustically. Even still now it made me think there’s something to be said for just going and performing your big song acoustically ‘cause immediately it’s all about the emotion and the performance and how beautiful that is. Which, not to blatantly turn the talk to the live show and the record, became important to us, to try and make this record less dense and compact and have more freedom for vocals and emotions of these songs. And then when we translated them live to leave room for us to perform them and not be bogged down by, “I gotta play a million instruments.” There’s something so powerful about putting Sara and I right next to each other in front of the stage and just making it about the performance.
That was one of the most notable things seeing your show, because you get really used to the guitar and, of course, the acoustic sound. I was kind of surprised you brought out the guitar at all to be honest.
Tegan: It felt so good, we loved it. I was like, “This is great playing acoustic guitar cause then it’s over.”
Sara: I think also too, when something is really expected of you, at least for me, there’s a tendency to not deliver that, I don’t want it to be predictable. And I don’t play guitar at home, I don’t have guitars laying around, I don’t lay on my couch strumming the guitar. I haven’t written songs on the guitar in the traditional way since maybe The Con. Even with Sainthood I was mostly using my guitar as a keyboard, I was running it through so many effects pedals it’s barely recognizable. Sainthood was the first time I wrote songs completely without the guitar, “Alligator” I never had played a guitar on that song.
Tegan: It’s almost like by only playing guitar on 4 of 16 songs, the guitar became more significant. And by standing closer together, we made a bigger statement. There was a point in our career where Sara and I used to have to switch sides of the stage. So, if you were playing electric guitar, you’d move over to Sara’s side and if you were playing acoustic guitar, you’d be on my side, so we used to switch back and forth. Then in 2003, 2004, we hired Ken, this sound guy, and he watched us in sound check. He’s like, “No, no, no, that’s your side of the stage, that’s your side of the stage. You’ve gotta sing in your own mike, get another guitar.” It was this huge movement. It was this moment where we were like, “We’re our own people, we have our own side of the stage, our own guitars and our own guitar techs.”
(Steve Baltin is a music journalist in Southern California. He is a contributor to Rolling Stone, Billboard, Forbes, and many other publications, host of Hulu’s “Riffing With” series, and music journalism instructor at the GRAMMY Museum's GRAMMY Camp.)
(Monica Molinaro is a freelance music journalist and marketing professional in Los Angeles. She has written for Billboard and the Hollywood Reporter.)
Photo Courtesy of Grace Yu and Li Yu
GRAMMY Museum Receives Generous Donation From Preferred Bank's Chairman Of The Board And Chief Executive Officer Li Yu
The generous donation from Preferred Bank Chairman of the Board and Chief Executive Officer Li Yu will go toward the GRAMMY Museum's music education programs.
The GRAMMY Museum received a generous donation from Preferred Bank (NASDAQ: PFBC)'s Chairman of the Board and Chief Executive Officer Li Yu and his wife Grace Yu. The GRAMMY Museum will immediately begin using this gift to further its mission of bringing music education to the community, with a particular focus on expanding access to the Museum and its programs to under-resourced students throughout Los Angeles County.
"We are incredibly grateful to Grace and Li Yu for their generosity and investment in our Music Education Programs," GRAMMY Museum President and CEO Michael Sticka said. "The GRAMMY Museum celebrates the music of yesterday and today to inspire the music of tomorrow. Mr. and Mrs. Yu's donation of $1 million is not only a philanthropic vote of confidence in our mission, but more importantly will help us to further scale our abilities to deliver impactful Music Education Programs."
Li Yu is the founder of Preferred Bank, but previously served as the chairman and president of the National Association of Chinese American Bankers. Yu's charitable focus includes support for music education, as well as diversity and inclusion within the music and arts worlds.
"Grace and I love music. Music touched our hearts and enriched our lives. Music is universal and makes this world a better place to live. Grace and I are thankful to have this opportunity to be helpful to music education," Yu said.
To recognize the Yus for their generosity, the GRAMMY Museum will name its lobby the Grace and Li Yu Lobby, which welcomes all visitors to the Museum and houses the Museum's popular gift shop.
Photo courtesy of Verve
GRAMMY Museum Announces New York City Program Series, Kicking Off With Jon Batiste & Presented By City National Bank
The six-program series in partnership with the City of New York kicks off with Jon Batiste at the New York Public Library for the Performing Arts on June 17.
The GRAMMY Museum has announced a New York City program series titled “A New York Evening With…” presented by City National Bank, which includes bringing a slate of their renowned education and Public Programs to the East Coast in partnership with the City of New York Mayor’s Office of Media and Entertainment. The New York City series kicks off with GRAMMY winner Jon Batiste at The New York Public Library for the Performing Arts at Lincoln Center on Friday, June 17. The Museum will present six programs through the end of 2022 at various venues throughout the city.
The partnership with the City of New York Mayor’s Office of Media and Entertainment also includes bringing the Museum’s education programming to the city with two Summer Sessions, which are free five-day songwriting workshops for students currently enrolled in high school. The program provides valuable resources to help build a solid foundation in songwriting. The Summer Sessions will be presented the weeks of July 11 and July 18 and will have 40 slots available for students. Each week-long session will take place at CUNY Graduate Center and is free of charge to students. More information on applications and sign-up are available here.
“The GRAMMY Museum prides itself on our unique and exceptional approach to celebrating music through our Public and Education Programs,” said Michael Sticka, President/CEO of the GRAMMY Museum. “I’m thrilled that in partnership with the City of New York and Mayor’s Office of Media and Entertainment, we can begin this new journey of what we aim to be a long-term programmatic presence in New York.”
"I am thrilled to welcome the GRAMMY Museum's well respected educational and Public Program series to New York City this summer, kicking-off with none other than Jon Batiste," said New York City Mayor Eric Adams. "These efforts align perfectly, not only with our vision to support future musicians who might one day contribute to New York City’s creative economy, but also with our city's own New York Music Month initiative, offering concerts, workshops and free rehearsal space throughout the month of June."
“City National Bank has long supported the entertainment industry and the arts – from music, to film, to Broadway and more,” said Linda Duncombe, Chief Marketing, Product and Digital Officer of City National Bank. “We are proud to partner with the GRAMMY Museum and City of New York to offer programs like ‘A New York Evening With...’ to grow the music community of New York City.”
Tickets for “A New York Evening With Jon Batiste” go on sale Weds, June 1. More artists and dates to be announced soon. For more information regarding advanced ticket reservations, please visit HERE.
Since the Museum first opened in 2008, it has offered more than 1,200 Public Programs with a diverse list of celebrated artists, both in its intimate 200-seat Clive Davis Theater in Los Angeles and viewed for free on the Museum’s official online streaming service, COLLECTION:live.
Opening Night Of The GRAMMY Museum Exhibit "Beyond Black - The Style Of Amy Winehouse"
Photo by Amanda Edwards/Getty Images
'Beyond Black: The Style of Amy Winehouse' Kicks Off At The GRAMMY Museum
The exhibit, running through April 13, pays tribute to the six-time GRAMMY Award-winning artist, whose iconic style is still defining fashion today
GRAMMY Week 2020 kicked off with a stylish bang on Monday, Jan. 20 at the GRAMMY Museum's grand opening event for their new Amy Winehouse exhibit, "Beyond Black — The Style of Amy Winehouse." The exhibit pays tribute to the six-time GRAMMY Award-winning artist, whose iconic style is still defining fashion today. The free public event, hosted by music journalist Eve Barlow, was fully booked, and the line of supporters began accumulating more than an hour early.
Longtime roommate and close friend of Amy Winehouse, Catriona Gourlay, and Winehouse’s stylist, Naomi Parry, spoke with the Recording Academy before the event about their favorite dresses at the exhibit, how they came to know Winehouse, and the items on display that trigger the most personal memories.
"Amy and I met at a bar because my friend fancied her friend. We bonded over how we both backcombed our hair," Parry recalled with a smile. It wasn’t until later though, that she came on board as Winehouse's stylist. "Amy already had the sort of rockabilly style. It started before she and I were working together." Though hesitant to take any credit, Gourlay, who met Amy through a mutual school friend, was in fact responsible for the rockabilly component of Winehouse's wardrobe.
"It was actually because of this vintage shop called Rocket in Camden that Catriona used to work at," Parry explains. "All the girls in there had the curls, tattoos, piercings, and little dresses. Amy was quite heavily influenced by them." Parry went on to describe how, when she came on board, she took it upon herself to modernize Winehouse's style without sacrificing anything the singer particularly identified with. Parry was responsible for introducing Winehouse to different brands and labels because she felt that that's what worked best with her music. "I wanted to make it a little more fashion. I didn't want her to be pigeon-holed in that rockabilly look."
Amy Winehouse's stylist Naomi Parry, Winehouse's close friend Catriona Gourlay and music journalist Eve Barlow participate in a panel discussion
Photo by Amanda Edwards/Getty Images
One dress that stuck out in both Gourlay's and Parry's minds as synonymous with Winehouse arriving at her true style is The Yellow Preen dress, which she wore at the 2007 Brit awards, and was paired with the red, heart-shaped bag that is also on display.
When asked which pieces in the exhibit trigger a particular memory, Gourlay responded first. "We've got some of her Laura Mercier chocolate body cream and her Givenchy Hot Couture perfume, and the combination of things really hits us still. It’s that thing you can't have anymore. Smelling somebody again."
For Parry, the memory-triggering item is one not yet on display. "There is a dress which will arrive at the exhibit next week, the first one I did the print design for. It’s a dress that’s got two flamingos on it that are in sort of a heart shape." Parry explains how this design came to be while sitting in Winehouse's living room with her sketchbook. Deciding the heart shape may be a bit cheesy, she experimented with other flamingo ideas as Amy sat on the sofa opposite. "I'd [drawn] one of them with its head in the water. I was about to leave and she came over to see what I’d been doing. She was taken aback "It's got its head in the water — it looks like a brain!'" So, she changed it back to the heart-shaped flamingos.
Shoes and handbags worn by Amy Winehouse
Photo by Amanda Edwards/Getty Images
And it came as no surprise that Winehouse favored the heart-shaped flamingo design, given that the pages of lyrics and notes on display along the exhibition walls were decorated with heart doodles and illustrations of Winehouse's tattoo art. Winehouse, who liked to draw and write by hand, inspired the GRAMMY Museum to invite artists to give event-goers their own Winehouse doodle souvenirs to take home. Throughout the evening, a line wrapped the second-floor exhibits where guests were having caricature portraits done of themselves with Amy Winehouse.
During the pre-event panel, Parry and Gourlay shared additional stories and memories related to Winehouse’s fashion choices. "She was keen to support emerging young designers," Naomi recalls, noting that this often presented a problem on the red carpet. "I would recite the designers' names with her over and over before her events," Parry explained, but Winehouse would draw a blank when she was on the red carpet. "One poor designer…Tina Kalivas, was introduced as 'Tina the Cleaner,'" Parry shared with a laugh.
Winehouse, who passed away in 2011 at age 27, had only released two albums during her short life. However, rather than dwelling on the darkness surrounding her passing as many Winehouse tributes have in the past, this exhibit celebrates Winehouse's colorful and unique style as well as her groundbreaking impact on both music and fashion history.
"It wasn’t about how expensive something was, and she didn't mind wearing the same dress two, three, four times." Gourlay said. "It was about what she liked."