Now and Then - The Beatles in Hamburg - The Top Ten Club (former)

"The Top Ten Club was a music club in Hamburg's St. Pauli district at Reeperbahn 136, which opened on 31 October 1960 and kept its name until 1994. In 1961, the Beatles performed 92 times at the Top Ten Club. History At the beginning of the 20th century, Reeperbahn 136 was the location of the Grand Hippodrom and Café of Carl Richter[1] Later it was called Hippodrom[2][3] and belonged, together with the bar, to Herbert Eckhorn.[4] In 1960, the heir to the hippodrome, Peter Eckhorn (* 12 February 1939 in Hamburg; † 19 May 1979), decided to close the hippodrome, rebuild it and reopen it with a new name as a music club.[5] The Top Ten Club was opened on 31 October 1960 by Peter Eckhorn and his manager Horst Fascher.[6] After disagreements, Peter Eckhorn separated from Horst Fascher shortly afterwards. Fascher then worked as a waiter in a restaurant in the Große Freiheit, where he persuaded Manfred Weissleder to turn the former Stern cinema into a music club, the Star-Club, becoming his manager.[7] The Beatles, who, until 31 December 1960, were under contract with Bruno Koschmider, the owner of Kaiserkeller, often visited Top Ten Club, where Tony Sheridan performed with his Jets. They also played together occasionally, which Bruno Koschmider found out about. On November 21, 1960 George Harrison was deported to England by the police, because at the age of 17 he was too young to work in a nightclub after midnight. It is assumed that it was Bruno Koschmider who tipped off the police because he was annoyed that the Beatles were unfaithful to him and wanted to switch to the Top Ten Club. So, Harrison had to go back to Liverpool.[8][9][10] On 29 November 1960, Paul McCartney and Pete Best were arrested for attempted arson. They were said to have set fire to a condom when they packed their personal belongings in Bruno Koschmider's Bambi cinema, were they slept, to bring them to the Top Ten Club.[11] Best and McCartney spent three hours in the Davidwache Police Station, and were deported on 1 December 1960.[12] Lennon on 10 December and Sutcliffe in February 1961, also returned to Liverpool.[13] Plaque on Beatles-Platz, commemorating the discovery of the Beatles and Sheridan in the Top Ten Club by Kaempfert and Schacht The Beatles appeared back at the Top Ten Club with Tony Sheridan from 1 April 1 to 1 July 1961. The Beatles and Tony Sheridan performed continuously for 92 nights in the Top Ten Club. It should have been exactly 503 hours on stage.[14] They played seven hours a night, eight hours at weekends. There was a fifteen-minute pause after each hour.[15] Each member of The Beatles were to be paid 35 deutschmarks.[16] Peter Brüchmann [de] documented the Beatles' visit to the Top Ten Club in 1961. The reportage did not appear in Quick until 1966.[17] Gerd Mingram [de] photographed the Beatles by chance when he commissioned a trade union newspaper in Ten Club Top. Some of the photos were sold, in mid-seventies, for 30,000 pounds to Paul McCartney.[18][better source needed] From 1994 there has been about ten changes of ownership, and the club name changed just as often. The names adopted were: MC-Music Club,[21] new Top Ten Club, Soap Opera, The Irish Harp, La Cage[22] (1997 to 2001), Titty Twister (a name based on the bar Titty Twister in the film From Dusk Till Dawn, from 2002 to 2003),[23] Golden Stars (2003),[24] Glam (2003 to 2005)[25] and La Rocca (2005 to 2006).[26] Since 2008 the name has been moondoo,[22] and the operator is "Lago Bay Betriebsgesellschaft mbH".[27] In 1994, the London Club Dome, in Tufnell Park in the London Borough of Islington district, was transformed into the Top Ten Club for the film Backbeat.[28]" - https://en.wikipedia.org/wiki/The_Top_Ten_Club

The Winery Dogs, Concert Overview, Metropol, Berlin, Germany, October 2023

#thewinerydogs #mikeportnoy #billysheehan 00:00:00 Metropol Berlin, The Entrance 00:00:30 Merchandise 00:01:07 The Opening Act - Bird's View 00:01:36 The Bar 00:02:59 The Audience 00:03:42 Gaslight - The Winery Dogs 00:07:44 Xanadu - The Winery Dogs 00:08:41 Capitan Love - The Winery Dogs 00:13:50 Mad World - The Winery Dogs 00:15:32 Stars - The Winery Dogs 00:16:22 Damaged - The Winery Dogs 00:19:07 Drum Solo - Mark Portnoy 00:19:24 The Other Side - The Winery Dogs 00:20:00 Bass Solo - Billy Sheehan 00:22:51 The Red Wine - The Winery Dogs 00:25:09 I'm No Angel - The Winery Dogs 00:26:26 Regret - The Winery Dogs 00:28:17 Elevate - The Winery Dogs 00:31:18 Leaving the Metropol 00:31:59 The Winery Dogs Bus 00:32:23 Loading the Bus "After seven long years of waiting, the US supergroup The Winery Dogs will finally be seen in Germany again. After announcing three shows in June in Hamburg (June 12th), Cologne (June 20th) and Frankfurt (June 21st), Richie Kotzen (v, g), Billy Sheehan (b, v) and Mike Portnoy (dr, v ) four more dates in Germany for autumn 2023 in Leipzig (October 18th) and Berlin (October 19th). Munich (November 3rd) and Osnabrück (November 4th) announced General advance sales for the four autumn dates start on Friday, April 21st, 2023, at 10 a.m. There's also a bit of wisdom in the name: like an old wine that's given enough time to ferment and breathe, The Winery Dogs get better and better with every album. And so “III” is once again a strong statement from a band made up of exceptional musicians who have managed to put their talents together. It was unclear for a long time that there would be a third album after the two US Top 30 albums “The Winery Dogs” (2013) and “Hot Streak” (2015), only a short pre-pandemic tour in 2019 brought about get the ball rolling again. “We really wanted to tour,” explains Kotzen of the 22-concert short tour at the beginning of 2019, which took place under the name “Who Let The Dogs Out”. “We just had to get back together again to get the engine of this band running again.” Portnoy adds: “It was a small, nice, fun tour that rekindled our enthusiasm. After that, it was clear to everyone that a third album was still possible.” And Sheehan remembers: “Playing together again was downright refreshing. We were able to relax a bit and just have fun being on stage together, all without pressure. "It was great." When you consider the breadth and scope present in "III," it's easy to imagine how much fun the band must have had in Richie Kotzen's Southern California studio. During the recording of the ten songs, the band's basic concept was not questioned, but rather manifested, as Kotzen confirms: “Our goal is to give the listener a pleasant time when devoting themselves to the music. Our music is created by real people on real instruments, everything happens in a room where the three of us are. There's nothing artificial about it." Billy Sheehan also emphasizes: "I want our listeners to follow exactly the path we took during the recording. Our discs are snapshots of life and how we live it. Our music reflects what is important to us and what is not.” Finally, Mike Portnoy knows more about it: “The strength of this band is, first and foremost, the songs. It's all about this. No more, but no less either. Then comes the musical craft and ability, which is very important. What makes The Winery Dogs so extraordinary: Each of our songs can be quickly recognized, they are catchy and easy to sing along to. At the same time, you also have this incredible musical ability on all levels. It's like a three-ring circus. No matter who you watch or listen to, you will always be entertained." What better motto for the upcoming tour?" - https://trinitymusic.de/events/berlin/the-winery-dogs

Ave Maria (Bach/Gounod) performed in the oldest Church Organ in Brazil, Diamantina, Minas Gerais

#churchorgan #diamantina #minasgerais "Made in Europe, the Organ installed in the Church of Nossa Senhora do Carmo in Diamantina is the only one entirely built in Brazil between the years 1782 and 1787. Father Manuel de Almeida e Silva and José Joaquim Emérico Lobo de Mesquita were responsible for this construction. This important composer was the first organist appointed to play the instrument, composing and interpreting a large part of his work. The Organ was named in honor of these two historical characters, being called and recognized as Almeida e Silva / Lobo de Mesquita Historical Organ. Other personalities from Diamantina, such as Chica da Silva, João Fernandes de Oliveira and Padre Rolim, also contributed to its construction by donating resources. One of the distinguishing features of the Almeida e Silva / Lobo de Mesquita Historical Organ is that it was made in Minas Gerais, its box is made of national cedar and its position is in the center of the Church's choir, as the organs were generally positioned close to the walls." . https://minhasgerais.com.br/diamantina-e-regiao/concertodoorgao/ "The Almeida e Silva / Lobo de Mesquita organ was built between 1782 and 1787 in the Church of the Venerable Third Order of Nossa Senhora do Carmo, in Diamantina, Minas Gerais, by Father Manuel de Almeida e Silva. Historical evidence indicates that its construction was guided by the important composer José Joaquim Emerico Lobo de Mesquita, the first organist appointed to play the instrument. In it, the musician composed and performed a large part of his work. The organ is today named in honor of these two historical figures. Other personalities, such as Chica da Silva and Padre Rolim, also contributed to its construction by donating resources. Unlike other Brazilian church organs built at the time, made in Europe, this one stands out for having been entirely made in Brazil, with the box and wooden tubes made from national cedar, which protected them from insects typical of the tropics that used to attack European woods. The positioning in the center of the choir is another characteristic that differentiates it, since in general the organs were positioned close to the walls. From the 1950s until the end of its restoration, the organ was silent." - https://www.bndes.gov.br/wps/portal/site/home/onde-atuamos/cultura-e-economia-criativa/patrimonio-cultural-brasileiro/projetos-apoiados/orgao-hist-almeida-silva-lobo-mesquita/orgao-hist-almeida-silva-lobo-mesquita

Now and Then- The Beatles in Hamburg - Bambi Cinema - The Beatles’ first place to stay in Hamburg

#thebeatles #hamburg 00:00:00 Getting to the Bambi Kino 00:00:22 Gretel & Alfons: https://youtu.be/uXkqIAZdhhE 00:00:58 Star Club Hamburg : https://youtu.be/flNYHIMYnnU 00:01:12 Kaiserkeller - Große Freiheit 36 00:02:11 Indra MusikClub : https://youtu.be/geeO183_2AM 00:02:37 Bambi Kino (Cinema) - The Beatles’ first place to stay in Hamburg "Not exactly a five-star hotel: this is what the young Beatles must have thought when moving into their first digs in Hamburg. It comprised two rooms in a children's cinema, situated just next to the projector room and with the men's toilet serving as a bathroom – certainly an inconspicuous place to stay for these soon-to-be shining stars of music. The Bambi cinema was located on Paul-Roosen-Strasse, a quiet side street only a few metres away from the hustle and bustle of the Reeperbahn. Today, only a garage with a drawing of Bambi reminds us of a location steeped in music history. The cinema was then owned by Bruno Koschmider, who had brought the Beatles, young amateurs at the time, to Hamburg for their first gigs. To save the young men the cost of accommodation, he put them up in two small rooms on the premises of his children’s cinema. Living in the Bambi cinema was certainly anything but luxurious. The dark, windowless rooms were shared between the four of them, with worn-out army bunks to sleep on and only a sink to wash in rather than a shower. Plus, there was no peace and quiet as the film screenings for the little ones would often start in the morning hours – when George, John, Paul and Stuart had just about returned from their gigs and would have been desperate for a sleep-in. A characteristic photo of the Fab Four from that time has now been put up outside the building on 33 Paul-Roosen-Strasse: the four lads with big grins on their faces, and in their hands the pills that enabled them to just about survive these almost sleepless nights – the stimulant Preludin." - https://www.hamburg-travel.com/see-explore/sightseeing/bambi-cinema/ " The Beatles’ second day in Hamburg Thursday 18 August 1960 Following their first performance at the Indra Club, The Beatles stayed at venue owner Bruno Koschmider’s flat in Hamburg. The next day he took them to the Bambi-Filmkunsttheater at 33 Paul-Roosen Strasse. The Beatles were unsure why they were being shown around the deserted cinema, which showed little but old Westerns, until Koschmider led them to a filthy room behind the screen. Koschmider told the group, via his interpreter Herr Steiner, that this was to be The Beatles’ home during their Hamburg stay. We lived backstage in the Bambi Kino, next to the toilets, and you could always smell them. The room had been an old storeroom, and there were just concrete walls and nothing else. No heat, no wallpaper, not a lick of paint; and two sets of bunk beds, like little camp beds, with not very many covers. We were frozen. Paul McCartney Anthology Koschmider also pointed out the cinema toilet, telling them it was where they were to wash. " We were put in this pigsty, like a toilet it was, in a cinema, a rundown sort of fleapit. We were living in a toilet, like right next to the ladies’ toilet. We would go to bed late and be woken up the next day by the sound of the cinema show. We’d try to get into the ladies’ first, which was the cleanest of the cinema’s lavatories, but fat old German women would push past us. We’d wake up in the morning and there would be old German fraus pissing next door. That was where we washed. That was our bathroom. It was a bit of a shock in a way." - John Lennon "There were no cooking facilities at the Bambi Kino, and the group had no money when they first arrived in Hamburg. The Beatles took to visiting the British Sailors’ Society where the manager, Mr Hawk, gave them cornflakes and milk. That evening, at the Indra Club, they were encouraged to raise their game by manager Allan Williams. He encouraged them to “Make it a show, boys!”, a phrase quickly taken up by Koschmider – the cry of “Mak show, Beatles! Mak show!” would become a hallmark of this first Hamburg show. The Beatles took note, and began working on their stage show. By the end of their time in Germany they would be a tight live act, regularly drawing crowds and able to effortlessly thrill their audiences." - https://www.beatlesbible.com/1960/08/18/live-indra-club-hamburg-2/

Inside the NDR TV Studios in Hamburg with backstage access, Germany, Walking tour

#walkingtour #hamburg #germany 00:00:00 Hugh-Greene-Weg 00:00:40 Entrance 00:01:18 WC - NDR Norddeutscher Rundfunk 00:02:02 Guest center 00:02:49 Makeup and Costumes departments 00:03:59 NDR Studio 3 00:06:36 NDR Studio 2 00:07:38 Control Room 00:08:55 NDR Studio 1 "Norddeutscher Rundfunk, commonly shortened to NDR, is a public radio and television broadcaster, based in Hamburg. In addition to the city-state of Hamburg, NDR broadcasts for the German states of Lower Saxony, Mecklenburg-Vorpommern and Schleswig-Holstein. NDR is a member of the ARD organisation. Wikipedia"

Now and Then - The Beatles in Hamburg - Beatles-Platz

"A memorial for the Fab Four: with the exception of Liverpool, no other city played such a major role in the Beatles' career as Hamburg. In the very heart of St Pauli, on Grosse Freiheit, the Beatles Platz square commemorates this legendary pop band. An unparalleled career: in Hamburg, the lads from Liverpool did not only conquer the hearts of the locals, but also those of the entire global music world. So in 2001, Stephan Heller, programme head of the local radio station Oldie 95, came up with the idea of creating a Beatles square in Hamburg. Today, a paved vinyl plate and five stainless steel silhouettes of the famous artists commemorate the Beatles, their history, and the St Pauli music scene of the 1960s. A few steps further away you will also find a single silhouette reminiscent of Stuart Sutcliffe, the Beatles’ original bass guitarist, who died in 1962. In the grooves between the granite plates there are stainless steel bands sporting engravings of about 70 song titles of the Beatles. At the edge of the plate, square lamps are recessed in the ground, which are illuminated consecutively, creating the impression of a rotating turntable. If you like, you can step inside one of the silhouettes and become a member of the Beatles, if only for a very short time." - https://www.hamburg-travel.com/see-explore/sightseeing/beatles-platz/ "The Beatles-Platz (German: Beatles Square/Plaza) is a plaza in the St. Pauli quarter in Hamburg, Germany, at the crossroads of Reeperbahn and Große Freiheit. It is circular, with a diameter of 29 metres (95 ft) and paved black to make it look like a vinyl record. Surrounding the place are five statues, representing The Beatles: John Lennon, Paul McCartney, Stuart Sutcliffe, George Harrison, and a hybrid of drummers Pete Best and Ringo Starr each of whom played with The Beatles at times during their Hamburg engagements. Beatles-Platz is located in HamburgBeatles-PlatzBeatles-Platz Location of Beatles-Platz in Hamburg This plaza was built to commemorate Hamburg's importance in The Beatles' history. The draft design was by architects Dohse & Stich during a common tendering. Building the project cost about €500,000 and was split among donations, sponsors and the city of Hamburg. The project's initiator was Hamburg radio station Oldie 95. On the station's instigation the community of interest IG Beat City was founded, which considers The Beatles-Platz as a prelude for more projects targeting The Beatles' memorisation in Hamburg's cityscape.[citation needed] After Hamburg's First Mayor Ole von Beust and Minister of Culture Karin von Welck gave the senate's consent for the project, construction began. The first drawing saw the construction started around December 2005–January 2006, overall costs of €100,000 and a completion in May 2006, in time for the Football World Cup. On 29 May 2008 at 13:00, construction began with the symbolic groundbreaking, which was done by the initiator Stephan Heller. Uriz von Oertzen (Hi-Life Entertainment), Frank Otto, Dr. Karin von Welck (minister of culture), Markus Schreiber (head of borough exchange Hamburg-Mitte) and Prof. Jörn Walter (construction supervisor).[1] The five figures on Beatles-Platz Construction continued for approximately three months, and ceremonial opening took place on 11 September 2008 presided over by the city's First Mayor. The Beatles memorial consists of metal statues of the band members as well as song names of successful songs. The initial engravings held some spelling mistakes such as Drive me car, Sgt. Peppers Lonely Hearts Club Band and Can't Buy Melove ,[2][3] which could not be corrected before completion. By now the incorrect plates have been exchanged.[3]"- https://en.wikipedia.org/wiki/Beatles-Platz

Vesperata in Diamantina, Tim Maia, Immersive Music Experience, Minas Gerais, Brazil, August 2023

#vesperata #brazil #immersiveaudio Vesperata in Diamantina, 19.08.2023 00:00:00 Azul Da Cor Do Mar - Tim Maia 00:01:37 Primavera (Vai Chuva) - Tim Maia 00:02:37 Gostava Tanto De Você - Tim Maia 00:03:59 O Descobridor Dos Sete Mares - Tim Maia "One of the most traditional and authentic events in Minas Gerais Vesperata has its origins in the traditional musical practices of Diamantina in the 19th century. When in the period of vespers, musicians performed on the balconies of the mansions to play for people walking in the streets. And what are vespers? Vespers is part of the Liturgy of the Hours, which is celebrated in the afternoon, between 3 pm and 6 pm. Cultural Heritage of Minas Gerais Recognized as an important event of tourism and culture in Brazil, Vesperata was awarded in 2010 by the Ministry of Tourism with the Roteiros do Brasil Trophy, for promoting Cultural Sustainability in the Municipality. With a repertoire full of good music and different styles, Vesperata is recognized as Cultural Heritage of Minas Gerais. In Diamantina, you will have the opportunity to watch one of the most beautiful musical shows of the local culture: The Vesperata that seems, at first glance, to be a serenade in reverse. Considered a “serenade in reverse” due to the fact that the musicians position themselves at the windows and play for the public on Rua da Quitanda, which is crowded with tables around the conducting maestros. Each presentation brings together more than a thousand people. The famous Vesperata de Diamantina, in addition to being a spectacle for the eyes and ears, is a source of pride for citizens of Diamantina. It is a unique event because nothing compares to the feeling of watching the presentation tasting a good wine, or, if you prefer, the famous cachaça from the North of Minas Gerais." - https://www.pousadadogarimpo.com.br/noticias-do-blog/temporadas-vesperata-diamantina/ "The career of Brazilian singer and songwriter Tim Maia was defined by two periods of exile that contribute to a story so crazy that nearly overwhelms his notable career. Round-faced and diminutive (a press release says he was five feet, seven inches tall, "6' with the Afro"), Maia released his first album in 1971. It was a huge hit. He died in 1998 at the age of 55, but Maia would have been 70 on Sept. 28. On Oct. 2, Luaka Bop will release Nobody Can Live Forever: The Existential Soul of Tim Maia. When he hit it big, Brazil was in the middle of a creatively vital period — psychedelic music by Os Mutantes and Tom Ze was on the rise — but Maia's musical education came from an abbreviated stint in New York that began in 1959, when he was 17 (he may have been a student, or may have just told U.S. immigration officials he was). While in the U.S., Maia began listening to soul music. After he was arrested in 1963 for smoking marijuana in a stolen car, he was deported back to Brazil. According to reports, Maia had an enormous drug habit, which didn't diminish as he became famous. But starting in 1974, Maia spent a couple of years involved with a religious group called Cultura Racional that held the belief that humans are really aliens that need to reconnect with an elemental form of energy through the teachings of a book called Universo Em Desencanto (Universe in Disenchantment). He quit drugs and made two devotional records — Racional, Vol. 1 and Vol. 2 — that he released on his own label, Seroma (the first independent label in Brazil), but split from the cult in 1976. Nobody Can Live Forever is a collection of songs that spans Maia's 1970s recordings, including those he made for the Rational Culture albums. As you can hear here on the track "Imunização Racional (Que Beleza)," from Racional, Vol. 1, Maia's voice and songwriting skills weren't diluted by his time in the sect, even if his lyrics took on themes from its teachings. Nobody Can Live Forever is the fourth album in Luaka Bop's World Psychedelic Classics series. Yale Evelev, co-owner of the label, says that when the first album in the series, Everything Is Possible! by Os Mutantes, was released, "No one could imagine ... that there was the possibility of psychedelic music from anywhere but the U.S. and England. Isn't it great how far peoples' ideas about music have come since then?" Tim Maia might push your ideas about where psychedelic music can come from a little farther." - https://www.npr.org/sections/allsongs/2012/07/09/156486846/tim-maia-a-brazilian-cult-soul-rocker

Inside the MUSÉE DE LA MUSIQUE (Museum of Music), Cité de la musique - Philharmonie de Paris

#paris #france #music Inside the MUSÉE DE LA MUSIQUE (Museum of Music) in , Cité de la musique - Philharmonie de Paris, France 00:00:00 The Entrance 00:00:57 Bookstore-shop 00:01:44 17th century : Rise of the opera 00:06:04 18th century: Music of the Enlightenment 00:06:36 19th Century: The romantic Europe 00:08:20 Didgeridoo Workshop 00:14:08 20th century: An accelerated History 00:20:19 World music instruments "With a national collection of over 7000 objects, the Museum of Music combines instrument conservation, scientific research, interaction with musicians and meetings with the public. Discover remarkable instruments and works of art at the Museum of Music. Read, Watch, Listen" - ttps://artsandculture.google.com/story/KQWhqDIFw98kJg "The Museum of Music has become world renowned for its collection and presentation of musical instruments. The historical heritage within its walls spans centuries. Live performances are put on every day in the Museum." - ttps://philharmoniedeparis.fr/en/musee-de-la-musique "Created on November 8, 1793, the Conservatory of Music includes an "instrument cabinet", presenting pieces from the confiscations from the people who had to flee the Country during the French Revolution. In 1861, the State decided to buy the collection of instruments of Louis Clapisson, composer and member of the Institute, for the benefit of the Conservatory. Among its first curators, we can name : Louis Clapisson, Hector Berlioz and Gustave Chouquet. In 1961, the Countess Geneviève de Chambure was appointed curator of the Instrumental Museum, which was then attached to the National Conservatory of Music in Paris. She held this position until 1973. In 1978, the collections were transfered from the National Conservatory to the State. A new museographic project was set up, carried out by François Lesure and Henri Loyrette. The opening of the Cité de la musique in 1995 was the starting point of a new adventure for the collections of the Instrumental Museum of the Paris Conservatory of Music. Entirely thought out and designed by Franck Hammoutène, the scenography and architecture form a unique setting for this new Museum which opened its doors in early 1997. In 2015, the integration of the Music Museum into the new Philharmonie de Paris opened a new page in its history. Benefiting from the influence of the institution, the Museum pursues several goals : accessibility to all types of audiences, digital transition, dialogue with the contemporary artistic creation, and the continued integration of music into a global history of the arts. Optimally showcasing the permanent collection is also a priority, with the introduction of the Pierre Henry Studio (2019), the creation of new thematic exhibitions related to current cultural issues, an updated acquisition policy including contemporary and non-Western music, and regular live performance within the Museum. The Museum’s cultural and scientific project helps strengthening its standing in the international art world and among the museums of France." - ttps://philharmoniedeparis.fr/en/musee-de-la-musique/history-museum

Brujeria live at Mister Rock, Belo Horizonte, Brazil, 22.08.2023 - Overview

#brujeria #belohorizonte #brazil Brujeria live at Mister Rock, Belo Horizonte, Brazil, 22.08.2023 - Overview 00:00:00 Band Intro 00:00:49 Cruza La Frontera 00:02:00 Hechando chingazos 00:03:20 Marcha De Odio 00:04:19 Consejos Narcos 00:06:25 Marijuana

Vesperata in Diamantina, Real Life Immersive Experience, O que é? O que é? Gonzaguinha. Brazil

#vesperata #brazil #immersiveaudio Song: O que é? O que é? - Gonzaguinha "One of the most traditional and authentic events in Minas Gerais Vesperata has its origins in the traditional musical practices of Diamantina in the 19th century. When in the period of vespers, musicians performed on the balconies of the mansions to play for people walking in the streets. And what are vespers? Vespers is part of the Liturgy of the Hours, which is celebrated in the afternoon, between 3 pm and 6 pm. Cultural Heritage of Minas Gerais Recognized as an important event of tourism and culture in Brazil, Vesperata was awarded in 2010 by the Ministry of Tourism with the Roteiros do Brasil Trophy, for promoting Cultural Sustainability in the Municipality. With a repertoire full of good music and different styles, Vesperata is recognized as Cultural Heritage of Minas Gerais. In Diamantina, you will have the opportunity to watch one of the most beautiful musical shows of the local culture: The Vesperata that seems, at first glance, to be a serenade in reverse. Considered a “serenade in reverse” due to the fact that the musicians position themselves at the windows and play for the public on Rua da Quitanda, which is crowded with tables around the conducting maestros. Each presentation brings together more than a thousand people. The famous Vesperata de Diamantina, in addition to being a spectacle for the eyes and ears, is a source of pride for citizens of Diamantina. It is a unique event because nothing compares to the feeling of watching the presentation tasting a good wine, or, if you prefer, the famous cachaça from the North of Minas Gerais." - https://www.pousadadogarimpo.com.br/noticias-do-blog/temporadas-vesperata-diamantina/

Star Club Memorial, The Beatles in Hamburg, The Start or Rock'n Roll and Beat Music in Germany.

#beatles #hamburg #musichistory Star Club, The Beatles in Hamburg "The Star Club opened in Hamburg on 13th April 1962 and it brought Rock'n Roll and Beat Music to Germany. Amongst the stars playing gigs there were Tony Sheridan, Little Richard, Jerry Lee Lewis, Ray Charles and of course The Beatles. The Fab Four played three guest seasons at Grosse Freiheit 39 and became more popular with every booking. In the 1980s, the Star Club burned down - today a memorial plate in the back of Große Freiheit 39 remembers these glory days. Hinterhof Große Freiheit 39" - https://marketing.hamburg.de/beatles-traces-in-st-pauli.html "In a backyard of Große Freiheit, a plaque commemorates the former Star Club. In the 60s, great musicians such as the Beatles, Jimi Hendrix, Little Richard and Fats Domino performed here. Door to door with striptease shops and nepp pubs, suddenly sweating young Englishmen in leather jackets and dangerous hairstyles stood on stage, let their guitars thunder and screamed hoarse declarations of love to Lucille, Carol, Peggy Sue and Miss Molly through their 30-watt amplifiers. This club was a revelation for the then youngsters, the "Halbstarken". Since Bill Haley had initiated wild hall and street battles between his fans and a truncheon-wielding, tear-gas-throwing police on his first German tour in 1956, adults and the press have ensured that this music was almost completely suppressed. What remained were pop songs, jazz and so-called "teenager music" - Germanized and trivialized American rock songs. The only ray of hope: the English soldier station BFBS and Chris Howland with his "Saturday Club" on WDR. A small unknown band called "The Beatles". Nevertheless the development somehow stopped. Although the Kaiserkeller was the first club in Germany to regularly bring rock music and local greats like Tony Sheridan live on stage, real stars, as they were known from records and runkfunk, did not come to Hamburg. There were only more or less unknown bands who mainly played other people's hits, even the Beatles were no exception. It was time for the Star-Club... One morning St. Pauli was stuck full of bright orange posters with the announcement: The need has an end! The time of village music is over! On 13.04.1962 Manfred Weissleder opened his Star-Club on Grosse Freiheit and lured rock greats like the Beatles, the BeeGees, Jimi Hendrix, Little Richard, James Brown, Fats Domino, Eric Burton, Lee Curtis and Jerry Lee Lewis to St. Pauli for the next seven years. A milieu that initially deterred many young people and even more parents. Suit instead of leather jacket, party instead of brawl However, fights and bad rockers in leather jackets were rarely encountered in the Star Club. They went there to listen to music. And that with suit, tie and Nyltest shirt or high heels, lipstick and high backed beehive hairstyle. There were problems every evening only for the under-18s. At 9:50 p.m. sharp, when the star band had finished their first performance, the hour of truth, which always brought many guests to it, suddenly struck a 10:00 p.m. from the house loudspeaker by announcement. All young people under the age of eighteen must now leave the Star Club. The waiters are instructed to carry out a passport check. In ten minutes it goes then further in the star club with... ". The last memory of the club: a commemorative plaque Soon there were almost a million visitors a year. If he was a teenager in Hamburg, his first way led him to the Star Club. Some even came from England, France and Scandinavia just to spend a few nights at the Great Freedom. Desperate parents wrote letters and called the Star Club office to see if their runaway son or daughter had been seen. The Star Club was a small piece of freedom in a hostile world dominated by authority, prohibition and coercion that fought and tried to suppress everything that was fun. On 31.12.1969 there was the very last concert, the very generous nightclub Salambo moved in. The building, which lay idle for a long time afterwards, was finally demolished in 1987 after a fire. Today only a commemorative plaque commemorates the legendary time." - https://www.hamburg-travel.com/see-explore/sightseeing/star-club/

Denmark Street Walking Tour, London’s music epicentre, London, UK

#walkingtour #musichistory #london 00:00:00 Charing Cross Road 00:00:23 Musicroom London 00:00:46 Roland Store London 00:01:00 Rose Morris 00:01:19 No. Tom Guitars 00:02:27 Wunjo Guitars 00:02:43 Regent Sounds 00:03:28 Sixty Sixty Sounds 00:03:55 Hank's Guitar Shop 00:04:55 Westside MI 00:05:12 Regent Sounds 00_06:26 Now Arcade - Outernet London "The history of Denmark Street, London’s music epicentre From Tin Pan Alley to a guitar-shopping destination par excellence, London’s Denmark Street is a key part of the city’s musical history. As the street prepares to enter a new phase, we look back on its iconic past. ... Through the years, Denmark Street has had at least three important musical lives. The first, lasting from the 19th century well into the late 20th, was as the home of the professional song business. The second, and the one we’re most interested in, began in the mid-60s as the street started to attract music-shop owners, and into the following decades it thrived as a key destination for guitarists and would-be players. The third of Denmark Street’s lives is under way now and planned for the near future. Once the dust has settled, the street frontages will remain, but there will be a series of new venues and still, hopefully, plenty of guitar shops. Pete Townshend complained to a London newspaper, saying: “In the 60s, I bought fuzzboxes and strings for my guitars from Macari’s guitar shop in Denmark Street. The Who did a backing-vocal rehearsal with Shel Talmy in Denmark Street at Regent Sound in 1964. I used to shop at the Drum Store when living in nearby Wardour Street, Soho. Boris Johnson [London mayor at the time of Pete’s letter] and Camden Council, please make Denmark Street a Heritage Zone. Otherwise a massive chunk of rock music history will be lost forever. Progress is important, but so are the local landmarks of our great city.” The ‘Save Tin Pan Alley’ campaign said: “There is no equivalent anywhere in the world! Let’s celebrate this wonderful place and bring even more music back to Denmark Street in all of its vibrant diversity.” The developer reckons the result of its efforts will be “a successful new quarter that will enrich and integrate with the surrounding well-established neighbourhood … and not only safeguard, but reinvigorate the area’s fantastic music and cultural scene”. Time will tell. Everything comes and goes. Back in the day Let’s take a walk down Denmark Street in the 1970s. The street had remained at the centre of the song business for some time, with many leading publishers in rooms and offices and cubbyholes up and down the street’s terraced buildings, the earliest of which date back to the 17th century. The inhabitants included old hands like Lawrence Wright (“You can’t go wrong with the Wright songs”) and Mills Music (where 17-year-old Elton John, still Reggie Dwight, once had a job making tea). There were arrangers, copyists, musicians, too, and publications: Lawrence Wright started Melody Maker at number 19 in 1926 (soon relocating to Long Acre) and NME moved to number five in 1952 (also shifting to Long Acre, in ’64). Denmark Street became known as Tin Pan Alley, a reference to America’s original song-biz area in New York City, named for the racket made by so many pianists pounding out their potential hits. There were a few music shops in Denmark Street before the rock boom of the 60s and 70s – Francis Day & Hunter at number 23, for example, was advertising Gibson guitars in the 1930s – but probably the first we’d recognise as a proper guitar shop was Musical Exchange, run by Joe and Larry Macari, who already had a couple of shops in the north-west reaches of outer London. They knew, though, that the centre of town was the place to be, and they opened at number 22 in the early months of 1965. Gary Hurst reckoned it was in the back of this shop that he made the original Tone Bender fuzz boxes, and it was the Musical Exchange shop that marked an early start to a shift in the street’s business. ... Changing times We’re back in Denmark Street today. And as anywhere, it’s hard work on many levels to keep a music shop going. Among the hoardings and hard hats, you can still see Wunjo (guitars) on the corner of Charing Cross Road; Music Room (sheet-music) at number 19; Westside MI (guitars) at 23; Hank’s (guitars) at 27; and Sixty Sixty Sounds (guitars) at 28. Over the road, there’s another Music Room and Stairway To Kevin (repairs) at number 11; Rose-Morris (guitars and drums at eight, pianos at 10); NO.TOM (guitars) at six; Wunjo again at five; and Regent Sounds (guitars) and Noden (repairs) at four. They battle daily with the redevelopment chaos, and at the time of writing there was also the uncertainty and restrictions of coronavirus to deal with." - https://guitar.com/features/gallery/the-history-of-denmark-street-londons-music-epicentre/

Jazz Café Alto, Amsterdam, Netherlands - The Fours: Latin & Funk - Live Jazz every day since 1953!

#jazz #amsterdam #netherlands 00:00:00 Walking in 00:00:18 The Bar 00:01:15 The Fours: jazz, latin, funk 00:06:42 Walking Out "Welcome to the official website of Jazz Café Alto! If you are looking for some serious live jazz performances; Jazz Café Alto is the place to be. Jazz Café Alto is located in the city center, a thirty second crawl from the Leidseplein. Our concept is unique; we bring you live jazz and blues performances seven days a week which go on till the early hours of the morning. Entertainment guaranteed. We host young upcoming talented musicians as well as very experienced musicians and everything in between. We hope to see you soon so we can give you the experience of a lifetime with our live music performances. Doors open every day at 9pm." - http://www.jazz-cafe-alto.nl/home/ "Café Alto is a small brown-café style place hidden away in the touristy restaurant area just off Leidseplein. Each night, a mix of regulars and tourists come here to ease back with a whiskey or well-mixed cocktail, and listen to the rhythms provided by top jazz musicians. Cafe Alto Amsterdam Jazz ClubSince many years back, this intimate, dark and dusty little venue has attracted jazz enthusiasts from all over the world to Amsterdam. Many of the big names in jazz have entered the small stage over the years, and you can be sure to be regaled talented local groups and settings any day of the week. Jazz and free-jazz dominates the musical agenda although blues bands have gigs from time to time. Much appreciated Dutch saxophonist Hans Dulfer performs here every Wednesday, sometimes accompanied by his equally talented daughter, Candy Dulfer. Café Alto remains the only walk-in bar to offer live jazz every night of the week in Amsterdam and is definitely an unavoidable jazz venue. Be sure to get there early, and you might have a chance to score a table close to the stage. Doors open at 9 pm all nights of the week. Music starts at 10 pm and plays the whole night through, to 3 am on weekdays and 4 am on weekends. When finding your way there, look for a large saxophone high upon the façade. Don’t miss out on this little piece of heaven!" - https://www.amsterdam.info/music/cafe-alto/ "Hidden amongst the tourist restaurants and bars, Café- Alto can be spotted by the huge saxophone which hangs above its entrance (on a road just off just off Leidseplein). Duck into this cool and cosy bar. The friendly bar staff will make you feel more than welcome and you slip back to 1920s. Look up to the ceiling and all around, as you begin to see this intimate jazz bar hung with photos of iconic musicians. Even if you claim that Jazz isn’t your cup of tea, this bar will heavily change your perspective on it, once you enter you’ll never want to leave! Whilst Jazz dominates the musical agenda although blues bands play from time to time. If you’re fitting a visit into a busy schedule, try and make a Wednesday. This is because the locals favourite jazz quintet plays beats which will make you want to move your feet!" - https://www.divento.com/en/home/10667-cafe-alto-amsterdam-all-year.html

Sunday Night Blues - Restaurant Brückenstern, Hamburg - Muddy Fox & Friends Blues Night with Rainer

#bluesky #livemusic #hamburg Sunday Night Blues - Restaurant Brueckenstern, Hamburg Muddy Fox & Friends - Blues Night with Rainer 00:00:00 Getting There 00:01:12 The Restaurant - Outside 00:01:48 The Restaurant - Inside 00:02:48 Pork steak with mushrooms and fried potatoes and homemade pesto - €14.90 00:03:09 Muddy Fox & Friends - Blue Night with Rainer 00:05:34 Honky Tonk Saxophone Player - Rainer 00:07:24 Walking by Myself - Gary Moore 00:08:14 I Just Want to Make Love to You - Muddy Waters 00:09:57 Break 00:10:47 toilet 00:11:35 Here Comes the Sun - The Beatles 00:12:59 I'm Going Down - Freddy King 00:16:21 Break 00:16:59 Sweet Home Chicago - Robert Johnson 00:17:57 Ain't No Sunshine - Bill Withers 00:19:58 I Got my Mojo Working - Muddy Waters 00:20:51 The way out "Brückenstern Restaurant Whether to get in the mood for a nice evening or as a cozy end to the same - a visit to us is always worthwhile. Our restaurant with European cuisine offers space for 45 guests - in summer you can relax and be pampered in our garden. We regularly host jam sessions, singersong writers and high-quality jazz and other live concerts." - https://www.hamburg-tourism.de/en/see-erleben/events/events-locations/restaurant-brueckenstern/ "Akwaaba, ete sen. that's what they say when they greet someone in Ghana. It means something like: Welcome, how are you? Here in Hamburg, Kwesi Asiama welcomes its guests in the Brueckenstern music bar, which has become well known and popular for its special mix of live music and gastronomy. Kwesi Asiama is an interesting person and has come a long way - from Abetifi in Ghana to the Schanzenviertel in Hamburg. Having arrived in Germany, Kwesi looked for work in the catering trade. From 2007 he trained as an engineer for wind energy. But he had taken a liking to gastronomy and bought a restaurant with a business partner. At first it was called Pepper, but it was important to Kwesi to find a name that would express his ideas and hopes. He wanted to build bridges - between Ghana, Germany and the many people of different origins in the Schanzenviertel. And since people in Africa believe that the stars in the sky influence life, bridges and stars belong together for him. This is how the name Brückenstern came about. A lot comes together in the bridge star. Music plays a very important role, especially jazz, choro, singer song writer and jam sessions. But good food and drink is also important – there should be a mixture of international and African cuisine. Clubs and initiatives also meet in the bridge star, confirmations and weddings are celebrated. The most important thing for Kwesi is that people from different backgrounds meet here, exchange ideas, enjoy music together and feel really good about it. And he certainly did it well. Have fun in the bridge star! Be sure to take a look at our concert events. At regular intervals, artists will surprise you with musical performances as soloists or in groups. Jazz, Choro, Jam Session, Singer Song Writer and Schlager are offered. People of all nations perform with us and offer you great entertainment. These evenings have a special flair that you should not miss. " - https://brueckenstern.info/ Muddy Fox & Friends - Blues Night with Rainer

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/