The Rock and Roll Hall of Fame is a museum and hall of fame located in downtown Cleveland, Ohio, on the shore of Lake Erie. The museum documents the history of rock music and the artists, producers and other notable figures who have influenced its development; the Rock and Roll Hall of Fame Foundation was established on April 20, 1983, by Ahmet Ertegun and chairman of Atlantic Records. After a long search for the right city, Cleveland was chosen in 1986 as the Hall of Fame's permanent home. Architect I. M. Pei designed the new museum, it was dedicated on September 1, 1995; the RRHOF Foundation was established in 1983 by Ahmet Ertegun, who assembled a team that included Rolling Stone publisher Jann S. Wenner, record executives Seymour Stein, Bob Krasnow, Noreen Woods, attorneys Allen Grubman and Suzan Evans; the Foundation began inducting artists in 1986. The search committee considered several cities, including Philadelphia, Detroit, New York City, Cleveland. Cleveland lobbied for the museum, with civic leaders in Cleveland pledging $65 million in public money to fund the construction, citing that WJW disc jockey Alan Freed both coined the term "rock and roll" and promoted the new genre—and that Cleveland was the location of Freed's Moondog Coronation Ball credited as the first major rock and roll concert.
Freed was a member of the hall of fame's inaugural class of inductees in 1986. In addition, Cleveland cited radio station WMMS, which played a key role in breaking several major acts in the U. S. during the 1970s and 1980s, including David Bowie, who began his first U. S. tour in the city, Bruce Springsteen, Roxy Music, Rush among many others. Cleveland business leaders and media companies organized a petition demonstrating the city's support, signed by 600,000 Northeast Ohio residents, Cleveland ranked first in a 1986 USA Today poll asking where the Hall of Fame should be located. On May 5, 1986, the Hall of Fame Foundation chose Cleveland as the permanent home of the Rock and Roll Hall of Fame and Museum. Author Peter Guralnick said. Cleveland may have been chosen as the organization's site because the city offered the best financial package; as The Plain Dealer music critic Michael Norman noted, "It was $65 million... Cleveland wanted it here and put up the money." During early discussions on where to build the Hall of Fame and Museum, the Foundation's board considered a site along the Cuyahoga River in downtown Cleveland.
The chosen location was along East Ninth Street in downtown by Lake Erie, east of Cleveland Stadium. At one point in the planning phase, when a financing gap existed, planners proposed locating the Rock Hall in the then-vacant May Company Building, but decided to commission architect I. M. Pei to design a new building. Initial CEO Dr. Larry R. Thompson facilitated I. M. Pei in designs for the site. Pei came up with the idea of a tower with a glass pyramid protruding from it; the museum tower was planned to stand 200 ft high, but had to be cut down to 162 ft due to its proximity to Burke Lakefront Airport. The building's base is 150,000 square feet; the groundbreaking ceremony took place on June 7, 1993. Pete Townshend, Chuck Berry, Billy Joel, Sam Phillips, Ruth Brown, Sam Moore of Sam and Dave, Carl Gardner of the Coasters and Dave Pirner of Soul Asylum all appeared at the groundbreaking; the museum was dedicated on September 1, 1995, with the ribbon being cut by an ensemble that included Yoko Ono and Little Richard, among others, before a crowd of more than 10,000 people.
The following night an all-star concert was held at Cleveland Stadium. It featured Chuck Berry, Bob Dylan, Al Green, Jerry Lee Lewis, Aretha Franklin, Bruce Springsteen, Iggy Pop, John Fogerty, John Mellencamp, many others. In addition to the Hall of Fame inductees, the museum documents the entire history of rock and roll, regardless of induction status. Hall of Fame inductees are honored in a special exhibit located in a wing that juts out over Lake Erie. Since 1986, the Rock and Roll Hall of Fame has selected new inductees; the formal induction ceremony has been held in New York City 26 times. As of 2018, the induction ceremonies alternate each year between New Cleveland; the 2009 and 2012 induction weeks were made possible by a public–private partnership between the City of Cleveland, the State of Ohio, the Rock and Roll Hall of Fame, local foundations, civic organizations and individuals. Collectively these entities invested $5.8 million in 2009 and $7.9 million in 2012 to produce a week of events including free concerts, a gospel celebration, exhibition openings, free admission to the museum, induction ceremonies at Public Hall.
Millions viewed the television broadcast of the Cleveland inductions. The economic impact of the 2009 induction week activities was more than $13 million, it provided an additional $20 million in media exposure for the region; the 2012 induction week yielded similar results. There are seven levels in the building. On the lower level is the Ahmet M. Ertegun Exhibition Hall, the museum's main gallery, it includes exhibits on the roots of roll. It features exhibits on cities
Chicago movie-maker Margaret Conneely was active in amateur filmmaking both locally and internationally for nearly half a century. She is best known as a producer and director of scenario films, film competition judge and as an exhibitor. In 1949 Conneely joined the Metro Movie Club, an amateur film club based in River Park and Chicago, Illinois, she was a member of the Chicago Cinema Club and the Glenview Moviemakers and was an active member of the Chicago Area Camera Club Association, the Photographic Society of America and the Amateur Cinema League. While a member of PSA, Conneely served as organizer and chairman of the PSA's first International Competition as well as chairman and secretary for the PSA Motion Picture Division and chairman of the 1963 PSA National Convention Committee. In the 1950s, Margaret's films won awards from major amateur contests in both Europe. In 1956, her film The Fairy Princess won the International PSA Harris Tuttle Trophy for Best Family Film. By the 1960s Conneely had become a regarded film competition judge, attending amateur film festivals around the world.
Conneely judged competitions for the PSA, Chicago Area Camera Club Association, Institute of Amateur Cinematographers and local film clubs. Conneely wrote articles and gave lectures in the 1950s and 1960s to further the art of motion picture making, her articles appeared in local club newsletters, the PSA journal, Panorama Magazine, Chicago Tribune and the New York Times. Conneely presented at Chicago-area camera clubs and at national conventions for the Institute of Amateur Cinematographers and PSA. Conneely went on to become the director and chief photographer of medical photography and illustration at Loyola University Medical Center in Maywood, Illinois. Since 2005, Margaret Conneely's films have been in the care of the Chicago Film Archives. CFA's Margaret Conneely Collection includes medical films she made as a cinematographer for Loyola University Chicago, scenario films she made with other hobbyists and professional filmmakers, films made by other amateur filmmakers and commercial films that she collected over the years.
The collection papers include correspondence between Conneely and other amateur filmmakers and publications from amateur film and photography associations as well as photographs of Conneely and other filmmakers. Four of Conneely's films have been preserved by the National Film Preservation Foundation and the New York Women in Film & Television sponsored Women's Film Preservation Fund. In 2015, Conneely's short film, Mister E, screened at the Museum of Modern Art. Safari The Panhandler The Thing Christmas Daze Wanted- A Grandmother So Long Ago Halloween Fun Circus Capers Good Witch's Party The Mass in Miniature Saga of the First and Last Her Heart's Desire Making Christmas Tree Ornaments The Fairy Princess Fowl Play Fiberglass Canoe Naturelore Swimming Boating Petticoat Surgeon Basketball Tournaments Mister E Judy and Her Cousin's Hats The Bachelor and the Baby The Gun The 45 The Card Game Chicago: City To See in'63 Murder The Switch Freddie the Freshman The Gift New Horizons The World of Ying Ming A Christmas Tale Games for Married Men Getting on Aboard
A robe of honour was a term designating rich garments given by medieval and early modern Islamic rulers to subjects as tokens of honour as part of a ceremony of appointment to a public post, or as a token of confirmation or acceptance of vassalage of a subordinate ruler. They were produced in government factories and decorated with the inscribed bands known as ṭirāz; the bestowment of garments as a mark of favour is an ancient Middle Eastern tradition, recorded in sources such as the Old Testament and Herodotus. In the Islamic world, Muhammad himself set a precedent when he removed his cloak and gave it to Ka'b bin Zuhayr in recognition of a poem praising him. Indeed, the term khilʿa "denotes the action of removing one's garment in order to give it to someone"; the practice of awarding robes of honour appears in the Abbasid Caliphate, where it became such a regular feature of government that ceremonies of bestowal occurred every day, the members of the caliph's court became known as "those who wear the khilʿa".
The bestowal of garments became a fixed part of any investment into office, from that of a governor to the heir-apparent to the throne. As important court occasions, these events were commemorated by poets and recorded by historians. In Fatimid Egypt, the practice spread to the wealthy upper middle classes, who began conferring robes of honour on friends and relatives, in emulation of the aristocracy. Under the Mamluk Sultanate of Egypt, the system was standardized into a system of classes reflecting the divisions of Mamluk society, each with its own ranks: the military, the civilian bureaucracy, the religious scholars; the distribution of the robes of honour was the responsibility of the Keeper of the Privy Purse, who supervised the Great Treasury, where the garments were stored. Maqrizi provides a detailed description of the garments worn by the various ranks; the practice remained common until the early 20th century. As the practice spread in the Islamic world, robes began to be given for every conceivable occasion, they acquired distinct names.
Thus for example the khilaʿ al-wizāra would be given on the appointment to the vizierate, while the khilaʿ al-ʿazl upon an—honourable—dismissal, the khilaʿ al-kudūm might be given to an arriving guest, while the khilaʿ al-safar would to a departing guest, etc. Sums of money or other valuables were given as part of the bestowal ceremony, or, in some cases, in lieu of the robe. In the Ottoman Empire, such a sum was known as khilʿet behā. Mayer, Leo Ary. Mamluk Costume: A Survey. A. Kundig. Stillmann, N. A.. "K̲h̲ilʿa". In Bosworth, C. E.. & Pellat, Ch.. The Encyclopaedia of Islam, New Edition, Volume V: Khe–Mahi. Leiden: E. J. Brill. Pp. 6–7. ISBN 90-04-07819-3