Mojo Blues Bar, Copenhagen, Denmark - JON RONIGER & THE GOOD FOR NOTHIN‘ BAND (New Orleans)

#blues #copenhagen #livemusic Mojo Blues Bar, Copenhagen, Denmark - JON RONIGER & THE GOOD FOR NOTHIN‘ BAND (USA, New Orleans) - Live at Mojo Blues Bar 25.06.2023 00:00:00 Mojo Blues Bar - Outside 00:00:26 Jon Roniger Message - Concert at Freundlich+kompetent Bar, Hamburg, 27.06.2023 00:00:46 The Entrance - Mojo Blues Bar 00:00:59 The Place - Mojo Blues Bar 00:02:12 First Set - JON RONIGER & THE GOOD FOR NOTHIN‘ BAND (USA, New Orleans) 00:10:05 Bass Solo - Bob Kling 00:10:45 - Keyboard Solo - Jake Gold 00:11:52 Guitar Solo - Jon Roniger 00:12:24 Drums Solo - Brendan Bull 00:14:45 Thinkin' 'Bout You - JON RONIGER & THE GOOD FOR NOTHIN‘ BAND (USA, New Orleans) 00:19:02 Break - Mojo Blues Bar Outside 00:19:26 The Interior - Mojo Blues Bar 00:20:04 Merchandise - JON RONIGER & THE GOOD FOR NOTHIN‘ BAND (USA, New Orleans) 00:20:31 Second Set - JON RONIGER & THE GOOD FOR NOTHIN‘ BAND (USA, New Orleans) 00:21:39 The Bar - Mojo Blues Bar 00:22:19 Guitar Solo - Jon Roniger 00:23:29 Condom Machine - Downstairs - Mojo Blues Bar 00:23:58 DNA - JON RONIGER & THE GOOD FOR NOTHIN‘ BAND (USA, New Orleans) 00:27:53 - Keyboard Solo - Jake Gold 00:32:29 Jon Roniger introducing the GOOD FOR NOTHIN‘ BAND 00:34:10 Break 00:24:32 Third Set - JON RONIGER & THE GOOD FOR NOTHIN‘ BAND (USA, New Orleans) 00:35:29 Drums Solo - Brendan Bull 00:36:57 Leaving the bar "Mojo Blues Bar is probably one of few places in Europe where you can hear live blues and related genres every single night of the week. The name 'Mojo' comes from the lyrics of old blues songs: "Got my mojo working", "Went down to Louisiana to get my mojo hand" and so on. A 'Mojo' is an amulet, a kind of love talisman, worn to attract a true soul mate or lover. When the band has finished playing, DJs take over, and the dance floor stays packed with a happy crowd all night long. The atmosphere is very relaxed and friendly. Aside from blues music, Mojo hosts nights with soul, rock, blues rock, rock blues, zydeco, bluegrass and related genres. See Mojo's concert calendar: http://www.mojo.dk/" - https://www.visitcopenhagen.com/copenhagen/planning/mojo-blues-bar-gdk506499 "About Jon Roniger and The Good For Nothin' Band Jon Roniger and The Good For Nothin’ Band proudly plays all original grease slicked, jazz licked, funk-blues-rock that draws wayward wanderers from the streets and pulls them to the dance floor. In the six years since the band’s inception, they boast a host of local residencies on the highly competitive New Orleans music scene. The band consists of Jon Roniger (singer/songwriter, guitar), Brendan Michael Bull (drums), Bob Kling (bass), Jake Gold (keys), Ellis Seiberling (trombone) and Raphael Zimmerman (trumpetl). For 200+ shows a year, Jon Roniger and The Good For Nothin’ Band tour nationally and internationally. Maniac World, their first LP garnered rave reviews; New Orleans based five piece The Good for Nothin’ Band practically crackle with chops on each cut. (Lydia Hillenburg, Vents Magazine), There’s something to satisfy every sensibility. This is an outfit with a boundless future. (Michael Saulman, Gashouse Radio), Their sophomore effort Second Shot released in April of 2018 and singles My World, Hello Beautiful and Do What Makes You Happy released in 2019/2020 garnered the band appearances at Vinter Fest in Copenhagen, The New Orleans Jazz and Heritage Festival, The French Quarter Festival, Copenhagen Jazz Festival, Ingolstadt Blues Fest and Festival REM in France. The band released Let’s Get Lost in March of 2021 and Live at 6010 in August 2021. Rave reviews came in again with the two new releases; a band that is at the top of its game (Dave Franklin, Dancing About Architecture), 'those who appreciate new music, will definitely want to hear this album* (Woke Chimp). Genres: Funk, Rock, Blues" - https://goout.net/en/jon-roniger-and-the-good-for-nothin-band/pznljlg/ "Everything about this unit is steeped in the history and environs of the Crescent City with a roar of tradition, conviction, and an unquenchable thirst for new wine in old bottles. There’s something to satisfy every sensibility. This is an outfit with a boundless future.” — Michael Saulman, Gashouse Radio (Oct 14, 2016) "There’s an original voice at work here, sly and sophisticated without being too self-conscious. If you want a date-night cocktail of real NOLA flavors, fizzy and giddy enough to seduce whomever you’re giving the side eye to, spin them around to this. It deftly sidesteps the hard sell.” — Robert Fontenot, Offbeat Magazine "Jon Roniger and The Good For Nothin' Band's "Maniac World" strikes notes of the familiar, but overall, it’s quite unlike anything you’ll hear. It's an impressive debut that sets the band up nicely for the future and establishes a very flexible musical template that shows no limits about where they can take it.”— Skope, Skope Mag (Oct 18, 2016)" - http://www.thegoodfornothinband.com/

Inside the Opéra National de Paris - Palais Garnier, Paris, France

#paris #opera #concerthall 00:00:00 The Exterior 00:01:05 Rotonde 00:02:06 Cave of Pythia 00:03:09 Grand Staircase 00:05:05 Auditorium 00:07:52 Lodge of the Phantom of the Opera 00:09:35 The Salons of the Sun and Moon 00:10:00 Grand Foyer "After Charles Garnier designed the Paris Opera in the 1870's, he called acoustics a ''bizarre science.'' ''Nowhere did I find a positive rule to guide me,'' he wrote. ''I must explain that I have adopted no principle, that my plan has been based on no theory, and that I leave success or failure to chance alone.'' He compared the acoustician to an acrobat ''who closes his eyes and clings to the ropes of an ascending balloon.''" - ttps://www.nytimes.com/2004/05/22/arts/if-music-is-the-architect.html "The auditorium has a traditional Italian horseshoe shape and can seat 1,979. The stage is the largest in Europe and can accommodate as many as 450 artists. The canvas house curtain was painted to represent a draped curtain, complete with tassels and braid. In the tradition of Italian theaters, the French-style horseshoe-shaped performance hall, because of the seating arrangement according to category, was designed to see and be seen. Its metal structure, masked by marble, stucco, velvet and gilding, supports the 8 tons weighing bronze and crystal chandelier equipped with 340 lights. The stage curtain was created by the theater painters-decorators Auguste Rubé (1817-1899) and Philippe Chaperon (1823-1906), according to the indications of Charles Garnier. The curtain was replaced in the same way in 1951 then in 1996. The ceiling painted by Marc Chagall and commissioned by the Minister of Culture André Malraux was inaugurated on September 23, 1964. Located exactly above the vault of the former rotunda of subscribers, the large auditorium is the heart of the palace. In a horseshoe shape, with four balconies, lodges and five-storey stalls, the place is designed according to the model of Italian theater where visibility is variable. Its dimensional characteristics are impressive: nearly thirty-one meters wide, thirty-two meters deep and twenty meters high. His gauge is approaching two thousand seats, with a little more than one thousand nine hundred seats. This place is dressed in dominant tones of reds and golds. The ceiling area which surrounds the chandelier was originally painted by Jules Eugène Lenepveu. In 1964 a new ceiling painted by Marc Chagall was installed on a removable frame over the original. It depicts scenes from operas by 14 composers – Mussorgsky, Mozart, Wagner, Berlioz, Rameau, Debussy, Ravel, Stravinsky, Tchaikovsky, Adam, Bizet, Verdi, Beethoven, and Gluck. Although praised by some, others feel Chagall’s work creates “a false note in Garnier’s carefully orchestrated interior.” Large clearances provide access to the five levels with mosaic floors. All doors are mahogany and have a porthole. The orchestra (formerly parterre and parquet) The fourteen rows of seats in the orchestra are located on either side of a central aisle, the armchairs are in black wood and dressed in velvet, their padded backs are covered with an elegant bronze easel bearing the number of the armchair. At this level are the baths which are lodges on the ground floor. ... The lodges The boxes and backs, and their seats and benches are dressed in velvet and their partitions, damask and hangings. All the furnishing materials have a subtle play of crimson shades. The most famous and mysterious lodge has a gateway where (since 2011) is a bronze plaque indicating “Lodge of the Phantom of the Opera”; it is located at the level of the first lodges. This famous box bears the no. 5 proscenium lodges overlook the orchestra pit in the arc Doubleau forming the proscenium. For centuries, it was customary to have ten lodges directly on the stage, for the authors, composers and other actors of the show. Garnier had not been able to remove this obligation from his plans. In 1916, director Jacques Rouché announced his intention to suppress and redevelop these sites in order to install the control rooms and command posts, which was done in 1917. Immediately, Marie Garnier, widow of the architect, s’ indignera by writing to the newspaper Le Figaro: “We dare to attack the beautiful work of Charles Garnier, without fear of destroying this admirable acoustics, without worrying about the art with which the room was connected to the scene by these boxes” These locations, d a width of 1.70 meters, are used to reinforce the access to the projectors installed on the bridge and the frames forming the mobile frame." - ttps://www.hisour.com/auditorium-palais-garnier-51031/

Inside the Hamburg State Opera (Hamburgische Staatsoper), with Backstage Access, Germany

#hamburg #opera #germany Inside the Hamburg State Opera (Hamburgische Staatsoper), with Backstage Access, Germany 00:00:00 Exterior 00:02:21 Entrance 00:03:02 The Auditorium 00:03:16 The Orchestra Pit 00:03:40 Inside the Stage 00:04:12 Under the Stage - Opera Storage 00:05:40 Costumes - Men's Costume Atelier "The sound makes the music – acoustic systems for the Hamburg State Opera The Hamburg State Opera has been gradually modernized since 2020. The recent game break was used by our BASWA-certified team to replace the ceiling paneling. With an acoustic system from the manufacturer BASWA acoustic , we created a place for sound experiences - away from the box. Since 2020, the State Opera’s breaks have been used for extensive renovation and modernization work. Sprinkenhof GmbH, which as project manager plans and organizes the performance of the work at the listed venue, is in charge of the construction measures. In addition to removing the asbestos pollution typical of the construction period, the focus is on modernizing the fire and noise protection. Our professionally trained team used the most recent break from the beginning of July to mid-August to replace the ceiling paneling in the parquet foyer of the historic building. The work included the installation of a sound-absorbing acoustic system from the manufacturer BASWA acoustic. Absorb sound - reduce stress - intensify conversations With the aim of freeing another section of the building from components contaminated with asbestos, the existing ceiling cladding was dismantled and the contaminated material removed. At the same time, an acoustic system was installed that makes it possible to improve speech intelligibility. In accordance with the requirements of a heavily frequented room, the challenge lay in reducing the reverberation times. To achieve this, a two-layer system (BASWA Phon Classic Top) was used, which corresponds to sound absorption class C (up to αw 0.75). The seamless system consists of an acoustic panel as a carrier panel and an acoustic plaster made of fine marble sand. The BASWA acoustic system works according to the principle of an absorber: A porous sound absorber system is placed in front of the hard reflection wall, the so-called "reflection absorber". The sound waves penetrate the porous material, lose some of their energy through friction, then hit the hard wall surface and are reflected. On the reflection path, the sound waves pass through the absorber again, which in turn absorbs part of the sound energy. To illustrate how it works, imagine a rectangular floor plan with a loudspeaker in the middle. Without an absorber system, a few milliseconds after switching on the sound source, a sound field consisting of superimposed waves would result. The direct sound that reaches our ears without reflection from the loudspeaker is dominant. But immediately afterwards, the sound waves are reflected off the walls of the room countless times, each time being somewhat weakened by the reflection process. If the walls are particularly hard and slippery, the waves will bang back and forth for seconds. The listener perceives the direct sound first. Immediately afterwards, the reflections are superimposed in his ear, some of which have already covered considerable distances and therefore bring their signals in with a delay. The result: The sound absorber system counteracts this: the sound reflection is reduced, better speech understanding is achieved and the quality of well-being is improved." - https://www-otto--gerber-de.translate.goog/akustikdecke_staatsoper/?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en-US&_x_tr_pto=wapp "The Hamburg State Opera In 1678, the citizens of Hamburg vote in the Senate to build a public opera house on the corner of the Gänsemarkt and the Colonnaden. The opera house is not uncontroversial: the Lutherans are for the idea; but the Pietists regard the theatre as too much of a place of worldly pleasures. Nevertheless, the “Operntheatrum” develops into one of the leading centres of music in Europe. Telemann is the Director of Music of the City of Hamburg starting in 1721; Handel is employed as a violinist and harpsichordist. Financial mismanagement and lack of audience interest lead to an end of the enterprise in 1738, but the building serves as a venue for travelling comedy companies until 1763, when it is torn down. During the First World War, the number of performances is not reduced. In 1925 the stage house is rebuilt, and is used in this form until the present day. After the National Socialists take power in 1933, the “Stadt-Theater” is renamed the “Hamburgische Staatsoper” in 1934. The auditorium is destroyed in an air raid in 1943. The “Stiftung Wiederaufbau der Hamburgischen Staatsoper” raises 1.5 million Marks from sponsors for a new auditorium with 1690 seats, and the opera house opens with Mozart´s “Zauberflöte” on October 15th, 1955. - https://www.staatsoper-hamburg.de/en/service/history/history.php

Samba at Armazém Senado, Rio de Janeiro, Brazil

"The old commercial house opened in 1907 is a mix of warehouse and tavern, preserved in time and recognized as Cultural Patrimony of Rio. The simplicity of its structure remains untouched, with the old counters and shelves with varied products, which include rice and beans to cleaning materials, T-shirts and sandals.Previously, products were also sold in bulk, as in typical warehouses at the time, but this practice had to be replaced by the sale of industrialized products. In terms of bar, the shelves reveal the identity of the house, with some wines, cachaças from Minas Gerais and popular drinks made with pau-pereira, catuaba and carqueja. Beers of all brands are unceremoniously consumed by the loyal clientele who stop at the traditional bar. To accompany, generous portions of cold cuts, mortadella, cheese and olives, or the house snacks, such as chicken, heart of palm and shrimp pies, are more than perfect for hours of good conversation and fun with friends. By the way, fun is not lacking on Saturdays, when praised musical performances are held, free of charge, with a samba or jazz circle, which alternate each week. Armazém Senado is crowded on these days and the informality guarantees the animation of customers who feel comfortable with the atmosphere of fraternization in a typical carioca setting, which recalls the good times of bohemia." - http://guiaculturalcentrodorio.com.br /store-senate/ "Famous for its traditional samba circle and the typical architecture of Galician emporiums from the early 20th century, Armazém do Senado became a Cultural Heritage Site in Rio in 2011. Located in the heart of Lapa, on the corner of Rua Gomes Freire and Rua do Senado, the bar is simple, without fancy or gourmet food, but the customer is guaranteed to leave happy if what he is looking for is cold beer and good music. With a ceiling height of 5 meters, wooden shelves and a counter covered in Carrara marble, typical of grocery stores at the time of its inauguration, the establishment rescues the atmosphere of Old Rio. From the warehouse portion, various products come out, from beans and rice to cleaning materials, T-shirts and sandals. However, it is on Fridays and Saturdays that the house offers the traditional carioca samba circle, such as “Marias do Zé”, formed only by women. Among the regulars, the savvy Moacyr Luz and Beto Figueiredo, president of the block “Rola Preguiçosa — late, but not failing”, who declares: “all the staff do samba gather here. This place breathes the history of Rio’s bohemia, it’s been 100 years in the same place.” To wet your throat, ice cold beer, to bite the American glass that welcomes you. Fans of “marvada” have at their disposal an extensive list with more than 50 brands of cachaça — highlighting the Weber Haus, aged in oak barrels. amburana. As there is no kitchen, those who want to overcome hunger can order portions of salami, olives, copa and gorgonzola, among other snacks. Senate Warehouse Monday to Saturday, from 8am to 9pm Avenida Gomes Freire, 256 – Downtown Tel: (21) 2509-7201" - https://carioquice.insightnet.com.br/armazem-dos-bambas/

Roda de Samba no Botequim Vaca Atolada, Rio de Janeiro, Brazil

#samba #riodejaneiro #vacaatolada 00:00:00 Chegando no Botequim 00:00:21 Interior - Botequim Vaca Atolada 00:01:39 Relicário do Samba 00:01:50 Foi Um Rio Que Passou Em Minha Vida - Paulinho da Viola 00:02:30 É Hoje - Didi e Mestrinho - G.R.E.S União da Ilha do Governador - Samba-Enredo 1982 00:02:43 Salve A Mocidade - Elza Soares 00:03:19 Está Chegando a Hora - Rubens Campos e Henricão 00:03:45 Pausa no Samba 00:03:59 Banheiro 00:04:12 Interior - Botequim Vaca Atolada 00:04:50 É Preciso Muito Amor - Chico da Silva 00:04:56 Caipirinha 00:06:06 Água de Chuva No Mar - Beth Carvalho 00:06:59 Mordomia - Almir Guineto 00:08:12 Vai Lá, Vai Lá! - Fundo de Quintal 00:09:31 Sonhar Não Custa Nada! Ou Quase Nada - Paulinho Mocidade, Dico da Viola e Moleque - G.R.E.S. Mocidade Independente de Padre Miguel - Silveira-Samba-Enredo 1992 00:10:33 Festa Profana - Raça Rubro Negra 00:11:07 De Bar Em Bar, Didi Um Poeta - Peron e Rogério Figueredo - G.R.E.S União da Ilha do Governador - Samba Enredo 1991 00:11:53 Peguei um Ita no norte - Demá Chagas, Arizão, Bala, Guaracy e Celso Trindade - G.R.E.S. Acadêmicos do Salgueiro - Samba Enredo 1993 00:12:12 Histórias Para Ninar Gente Grande - G.R.E.S. Estação Primeira de Mangueira - Samba Enredo 2019 00:14:09 Passagem de Som - Margarete Mendes 00:15:41 Saudade Louca - Acyr Maeques, Arlindo Cruz , Franco 00:17:07 Nossa Escola - Underground Samba Lapa 00:17:52 Quando Gira Girou - Claudinho Guimarães 00:18:44 Saindo do Botequim Vaca Atolada "Botequin Vaca Atolada Open from Tuesday to Saturday with samba circles every day! Come be happy at Vaca Atolada! ✊🏼🍻 🍻 Av Gomes Freire, 533, Center - RJ" - ttps://www.instagram.com/vacaatolada.oficial/?hl=en

Festival Constellations de Metz, New Utopia 2022 , Video Mapping, Metz Cathedral

" Digital Stones - New Utopia Mapping video architectural Japan / Spain ttp://www.flightgraf.com/ ttp://www.onionlab.com The video mapping show is composed of two acts presenting two international artistic creations. “Act I – Nature” – FLIGHTGRAF This work is based on primitive feelings towards nature, shaking up our senses in this digital era and teaching us that a utopia is hidden within it. Saint-Étienne Cathedral has the largest number of stained-glass windows in Europe, further glorified by natural light. Nature was designed to be in harmony with the Cathedral, as if it were also part of nature. “Act II – Climate” – Onionlab The modern utopia is a world without climate change. This projection tells a story that revolves around this change in paradigm, with two parallel futures: a Utopia, whose main components are light and bright colours, and a Dystopia, where unfavourable climatic elements such as sand and pollution predominate. The two scenarios are projected onto the Cathedral in opposition to one another, shaping a dialogue intending to raise viewers’ awareness and inspire them to act for a future worth living. FLIGHTGRAF: ttp://www.flightgraf.com/ JAPON FLIGHTGRAF is a duo of artists based in Tokyo. Since 2013, it has been creating art installations making full use of images, sound and light with the goal of providing viewers with highly immersive experiences. It won first prize in the “1minute Projection Mapping” competition in Japan, “Circle of Light” in Russia, “Genius Loci Weimar” in Germany, and “iMapp Bucharest” in Romania. Onionlab: ttps://www.onionlab.com/ SPAIN Onionlab is a multidisciplinary studio that creates and produces audiovisual installations and exhibitions. The studio works at the crossroads of art, design and technology. Based in Barcelona, Onionlab carries out international projects. Cathédrale Saint-Étienne, Metz, France Every Thursday, Friday and Saturday evening - Free access • From 23 June to 23 July From 10.30 pm to 12.15 am continuously • From 28 July to 13 August From 22 pm to 00 am continuously • From 18 August to 3 September From 9.30 pm to 12.15 am continuously " - ttps://lnkd.in/eWWgPH-u #mappingvideo #projectionmapping #artnumerique #digitalarts #audiovisual #audiovisualsolutions #audio #video #art