To friend Mark Kinsler and all who threaded the needle that should
be stuck into the rear of the discussed sort of museum officials:
Bravo!  Amen!

We at Yesteryear Museum in New Jersey -- the only organization of
its kind in the Western Hemisphere -- were fortunate in that it was
put together by a group of sincere collectors who loved the instrument
and admired their creators.  One of the reasons we started it was that
all of us had visited museums (like Cliff House and the one discussed
in this thread) that had large instruments in horrific condition, or
else simply were not played or playable.

I contended in articles and letters to various museum organizations
and associations, that having music boxes and the like that were closed
up so they were simply furniture, was the same as hanging handsome
artwork frames but having the paintings themselves covered with drapes.
In other words, what was the point?

People who go to museums and encounter these problems should complain
to the local Chamber of Commerce and tourist organization, local
governments, and if the museum indicates funding sources, all of them
-- including the IRS which establishes their 501(c)(3) status or
whichever they have.  They are, after all, thus underwritten by the
federal government to the extent of their exemption -- and that means
by all the rest of us taxpayers.  Finally, take it to the local media.
But be prepared to make your case in a logical, businesslike, factual
way.

In one museum in Paterson, New Jersey, we found a gorgeous closed
Swiss cylinder musical box.  Our group asked to hear it and was told
it didn't operate.  We then asked why it was there!  We offered to
have it restored at our expense by none other than the late grand lady,
Ruth Bornand.  We asked to hear it, and all it needed was dampers.  Our
offer had the proviso that it would be situated where not just anybody
could tinker with it (this is why the machines fail) but played on a
regular schedule by someone trained in proper care.  They refused.

I suggested that they let us purchase it so they could use the funds
for something the public could appreciate, and we properly would
display it in our museum not too many miles to the west outside
Morristown.  They refused that, too.  I assume if it hasn't rotted
away, it's still sitting there, gathering dust.

All our Yesteryear Museum guides, young and old, were trained in the
proper use of our displays.  All were sound oriented, from all types
and sizes of music boxes to various perforated roll or disc instruments
from pianos and organs to saxophone and zither among others, to talking
machines, early motion pictures, radio and television -- all sound,
and much associated with New Jersey's industries and/or Thomas Edison.
We felt it was essential that the instruments by nicely situated, that
they be properly lighted so that they could be seen and heard and thus
appreciated -- but not played by the public.  Our public, in fact,
constantly told us how much they appreciated all this.

Thanks for raising this subject!
Lee Munsick