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It's a name that, like a migrating gas bubble, triggers a light sense of nausea: Ken Behring, Seattle's Walter O'Malley wannabe circa 1997.
The name of the Seahawks' former owner, who schemed to move the team to Anaheim more than a decade ago, is now be-marbled on the Smithsonian Institution like a Roman god. Maybe to expiate for his venture in NFL pirating (among other sins) Behring ponied up a record $80 million in 2000 to establish the Ken Behring Center at the Smithsonian's National Museum of American History. The rehabbed facility opened in November of 2008.
The Behring Center serves as a kind of philanthropic carbon offset: No eightysomething real-estate mogul could be that nasty if he's hemorrhaging millions to a worthy cause, right? (and the Smithsonian is not one to beware of Behrings bearing gifts). The irony is, relative to the metastatic corporate branding of public institutions, benefactor naming seems like no big deal.
Visitors to the National Air and Space Museum in DC are now greeted by a Welcome Center sponsored by Rolls Royce. And lest there be any doubt that the Cold War is really, truly over: Displayed in front of a Soviet-era SS-20 and a U.S. Pershing II missile a film logo reads, "Scenes from the Movie are Inspired by this Artifact! Night at the Museum: Battle of the Smithsonian." (Yes, the DVD staring Ben Stiller is available for sale at the museum gift shop.) Alas, the identical promo also fronts the original Wright Brothers flyer.
Strategic philanthropy aims to magnify existing brands. Inside the Behring Center, for example, is the refurbished Old Glory that flew over Fort McHenry in 1814 and inspired Francis Scott Key to write the Star Spangled Banner. The underwriter? Polo Ralph Lauren.
Somewhere in Canada Naomi Klein, who authored the anti-corporate manifesto, "No Logo", can't stop screaming.
Branding and commercialism generally cheapen public spaces. For those who consider the Smithsonian a national shrine, it's like draping a cathedral pulpit in an Old Navy ad. Still, in the age of austerity, it's the swallow-hard lesser evil to accept limited branding. One of the few alternatives would be to charge Smithsonian visitors which seems, well, un-American.
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Comments:
Posted Mon, Feb 1, 6:16 a.m. Inappropriate
Peter: Yes, branding---as in cattle branding.
Posted Mon, Feb 1, 10:15 a.m. Inappropriate
Well, at least Rolls-Royce has something to do with aerospace, if we're talking about the engine maker, not the automobile marque.
As for the Night at the Museum ad, I was just reading this yesterday in the New York Times, via Language Log (http://languagelog.ldc.upenn.edu/nll/?p=2089):
There’s a new edition of Dante’s "Inferno" that’s recently begun appearing in bookstores. Same words. Different cover. It’s got a big picture of a muscular fellow in a spiky crown and an overline that says, "The literary classic that inspired the epic video game."
It’s true. "Inferno" is now a video game, with a brawny, armor-clad Dante as its protagonist.
Posted Fri, Feb 5, 11:17 a.m. Inappropriate
First, a correction. If I recall correctly, Behring, although a Bay Area resident, tried to relocate to Anaheim to fill the stadium there. He went so far as to open Seahawks offices there for a week before the NFL forced him to move back. I've often wondered if Behring's terrible stewardship of our football team and the resulting stain to his public reputation led to his generous philanthropy to the Smithsonian.
Dedication of buildings and exhibits to generous patrons has always been commonplace in the Arts. I admit I was initially taken aback when I saw what you saw in DC but compared to other museums and exhibits around the country do to fund their facilities I don't see any reason why institutions like the Smithsonian or its affiliates should be at a disadvantage because of their association to the Federal Government.
Posted Wed, Feb 10, 4:10 p.m. Inappropriate
Dear Fred117,
Many thanks for the correction. The text has been changed from "Oakland" to "Anaheim." I appreciate it.
Pete J.