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Meadow Brook Hall launches donor club to replace vandalized stained-glass windows

Meadow Brook Hall launches donor club to replace vandalized stained-glass windows

Yahoo21-02-2025

A bit of regional history was shattered on Feb. 4 when an attack of vandalism destroyed some of the historic stained-glass windows at Rochester's Meadow Brook Hall.
In response, Meadow Brook launched The 1929 Club this week, an all-new giving program where members can commit to donating $19.29 monthly. Named for the year of Meadow Brook's founding, The 1929 Club will raise funds to support the care and preservation of the historic estate and its more than 75,000 artifacts. It also kicks off the major project of securing the necessary $35,000 to restore the stained-glass windows.
Meadow Brook states that only 150 donors at the $19.29 per month (for one year) level are needed to meet the goal.
The program is supported by Rochester Hills Mayor Bryan Barnett, who also joined as the club's inaugural member.
'As mayor of Rochester Hills, I take great pride in the unique gems that make our community special – and one of those is certainly Meadow Brook Hall, our nationally recognized historic venue located right down the street,' said Barnett. 'After the vandalism, we want to get Meadow Brook Hall looking beautiful and back on its feet as quickly as possible. I'm asking you today to consider joining me as an inaugural member of The 1929 Club.'
See also: 'Ma Rainey's Black Bottom' at Detroit Repertory Theatre delivers a solid performance
Meadow Brook recently secured a substantial grant from the Institute of Museum and Library Services to restore the stained glass windows and complete important window improvement projects – including replacing UV filters to protect the furnishings and collection – this spring. Because of this work, Meadow Brook possesses detailed etchings and images that will help restore the windows to their original design. Unfortunately, the cost to repair the damage to the windows is estimated at $35,000 above and beyond what was allotted by the grant, hence the advent of The 1929 Club.
The historic stained-glass windows were custom-created and designed for the estate's two-story Gothic-inspired ballroom. They depict scenes of the arts, including music, literature, entertainment, and drama. The windows were designed so they could be viewed without distortion from both sides (inside and outside), which is slightly unusual because stained glass is typically viewed best from the inside and not the exterior. The stained-glass windows are original to the historic mansion, which is 95 years old.
To make a gift to Meadow Brook or to join The 1929 Club, visit meadowbrookhall.org/support.
Contact Free Press arts and culture reporter Duante Beddingfield at dbeddingfield@freepress.com.
This article originally appeared on Detroit Free Press: Meadow Brook Hall donor club to replace vandalized stained glass

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A balalaika AK: We approached it from a few angles. We looked at medieval folk instruments and grabbed influences from different cultures around the world. We used something called a tagelharpa which is a northern European folk instrument. It sounds like a cello or violin if it had more hair on its chest. It gives this brutal and primal vibe that fit Doom's world well. Then we used a Russian Soviet era instrument called a balalaika that I found in a dusty old shop in Florence, Italy. It has this haunting sound when tuned a little lower. There's also a beautiful tribal drum that's made by artesans in the Quebecan mountains. It gave us a deep pounding pulse. We also dove into older styles of metal that evoked a sinister and ancient quality. Those albums from the early roots of heavy metal in the early 70s are about running to the hills and going into battle, slaying demons. Lastly we looked at sinister harmonies. 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Finishing Move Inc previously worked on Halo Wars 2 BLW: All of us are gamers and have been for a long time. My introduction into modern gaming was through Wolfenstein (1992) and the original Doom (1993). I was too young to be playing it but I'd go over to a friend's house and it'd be on their parents' computer. It was absolutely revolutionary. I play a lot of modern games but my heart is in vintage gaming as that's what I grew up with. Working on Doom 30 years later is incredible. BT: This keeps happening though. We've been involved with Halo, Microsoft Flight Simulator and now Doom. Those all are games that first came out when I was a freshman. Halo and Xbox were cultural touch points for me then. My youngest memories on a computer was at my grandparents house playing Flight Sim. Then with Doom I convinced my mom to buy a family PC to play it. Being able to contribute to these franchises as an adult is insane. AK: I've grown up with games my whole life too. Like Brian Trifon, Doom is something my parents did not let me have but I'd go to a friends' house and play. It was the same with Halo. My parents always read the age ratings on the box. AK: It's so fun to work on a game when it's a long term project. A movie trailer requires a very brief turnaround and then it's done. A game can involve talks for years. With Doom, the cues we wrote a few years ago ended up being different to what's come out in the end. Allowing ideas to cook in the oven for that long meant they could develop naturally. It's such a rewarding experience. BLW: Most of the touch points a young audience will have today is going to be from a video game. You play a game for 50 or 100 hours and the music gets embedded into your brain. As a kid, I'd rinse my favourite albums but people don't do that so much anymore. With a game you have to be present. For many, the music in games has actually become their entry point into music generally. 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But then I also love going back to orchestral and classical music with a darker edge that has this little beauty to it too. BLW: The common thread amongst all four of us is that we started our musical journey as teenage dirtbag guitar kids trying to tap. We all discovered electronic music later on too. That's why we can do so many styles. The thing we all share is a love for different types of music, specifically guitar based stuff and electronic sound design. BT: My background is the same. I was die hard about guitars and metal. I hated synthesisers but at some point I heard Nine Inch Nails. I saw them live and thought they were so heavy. It started the process of expanding my ears. Like Alex and Brian, I had a career in electronic music for a while. At some point you start to ask if you believe in the essence of what an artist is doing when you're analysing or listening to them. 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