Music Hall known as Cincinnati Music Hall, is a classical music performance hall in Cincinnati, completed in 1878. It serves as the home for the Cincinnati Ballet, Cincinnati Symphony Orchestra, Cincinnati Opera, May Festival Chorus, the Cincinnati Pops Orchestra. In January 1975, it was recognized as a National Historic Landmark by the U. S. Department of the Interior for its distinctive Venetian Gothic architecture; the building was designed with a dual purpose – to house musical activities in its central auditorium and industrial exhibitions in its side wings. It is located at 1241 Elm Street, across from the historic Washington Park in Over-the-Rhine, minutes from the center of the downtown area Music Hall was built over a pauper's cemetery, which has helped fuel its reputation as one of the most haunted places in America. In June 2014, Music Hall was included on the National Trust for Historic Preservation's annual list of America's 11 most endangered historic places. Springer Auditorium is the main auditorium, named in honor of founding patron Reuben Springer.
It seats 2,439 people for the Cincinnati Pops. It serves as home for the Cincinnati Symphony Orchestra, the Cincinnati POPS Orchestra, the Cincinnati Ballet, the Cincinnati Opera and the May Festival Chorus, it is one of the largest permanent concert halls in the U. S, fourth only to the Metropolitan Opera House in New York City, Auditorium Theatre in Chicago, DAR Constitution Hall in Washington, D. C. Springer Auditorium houses the iconic Music Hall Chandelier; the Czechoslovakian piece was sent to the United States in pieces, was installed in Springer Auditorium in the early 1970s. It was found and purchased by the Corbett Family as they financed the multi-year renovation of the auditorium; the chandelier weighs 1,500 pounds with a diameter of 21 feet. It includes 96 candles, each lit with an individual bulb. Music Hall Ballroom accommodates up to 1,300 people, is the second largest meeting space in the city, encompassing nearly 20,000 square feet, it is used for large receptions, fashion shows, class reunions and breakfast and dinner gatherings.
Prior to 1974 the space was known as the Topper Ballroom and has been managed by numerous outside organizations since its opening in 1928. Additionally, the space has undergone numerous renovations such as those in 1935, 1947, 1959, a $1.8 million renovation of the Ballroom in October 1998. In July 2007, organ rebuilder Ronald F. Wehmeier of Cincinnati announced the Mighty Wurlitzer theater organ that once graced the old Albee Theater in Cincinnati would be restored and installed in Music Hall's Ballroom for a New Year's Eve 2009 debut. Corbett Tower was known as Dexter Hall, in honor of a member of the Music Hall Building Committee; the 3rd floor space served as a performance hall for the Cincinnati College of Music. The tower was used for radio and television broadcasts, both for the College of Music and WCET. In 1972 the space was renovated and renamed for the longtime Music Hall patrons, J. Ralph and Patricia Corbett; the Corbett Foundation financed the renovation and limited restoration of the space again in 1994.
Corbett Tower serves as the setting for a wide variety of events, ranging from weddings and receptions to grand dinners and parties. It has seating for up to 200 and includes a stage, controlled sound and light systems, dance floor and bar facilities. Corbett Tower is located on the third floor near the front of the building. Wilks Studio is a multi-use space added following the 2016-17 renovation of Music Hall, it serves as a rehearsal room or event space for weddings, fundraisers, meetings, or other gatherings, seating up to 200 people. From the North Concourse on the Balcony Level, enter through the door at the top of the stairs which leads to the Studio Lobby. Additionally, this space is used for rehearsals and small performances by both the Cincinnati Symphony Orchestra and Cincinnati Opera. Other Facilities The building contains the Taft Suite, a private space that stores the restored panels of the historic Hook and Hastings Organ, well as the Music Hall Foyer, used as a gathering space for both larger performances and private events.
Cincinnati Music Hall was designed by architect Samuel Hannaford and is considered one of the last and best examples of the Victorian Gothic Revival Style. Some of the spaces most notable features include the steeply-pitched gable roof, the corbelled brick, the tracery featured on the front windows, the large Rose Window on the facade of the building. Additionally, the facility varies from a traditional performance hall in the fact that Music Hall is made up of 3 distinct and separate buildings; the design includes Carriage Passageways designed for easy entrance in the case of bad weather. Each building includes individual sandstone carvings, designed to display the different purposes of each space; the center building, Music Hall, has musical instruments such as French horns included on the facade and birds are included on the South Exposition Hall to represent its horticultural heritage, scientific tools are featured on the North Exposition Hall to represent its mechanical heritage. The building was known for its detailed brickwork, which included both carved and painted details on the building's exterior.
However, during the 1969-1975 renovation, the building's exterior was sandblasted, destroying the majority of these details. On September 13, 1818, the City of Cincinnati purchased a plot of land from Jesse Embree for $3,200 on the west side of Elm Street, just north of 12th Street. On J
Club Atlético Defensores de Belgrano is an Argentine sports club from Nuñez, Buenos Aires. The football team plays in Nacional B, the regionalised second division of the Argentine football league system. Defensores has never played in the top flight of Argentine football since the professional era begun, although it spent a number of seasons in Primera during the Amateur era before 1931. Defensores de Belgrano was founded on 25 May 1906 by a group of young people who wanted to participate in the football leagues of Buenos Aires; the team made its debut in Primera División in 1915, being relegated to the second division at the end of that season. The team returned to Primera for the 1918 season, remaining there until 1934 when the Asociación Amateurs Argentina de Football merged with the professional league, being all the AAF relegated to second division. During the amateur era, the team's color's were light blue and light pink but would be changed to the red and black colors that have remained since then.
The stadium was at the Plaza Alberti in the suburb of Buenos Aires. In 1934 two players of the club, Ernesto Belis and Luis Izetta went on to play for the Argentina national team in the 1934 FIFA World Cup held in Italy that year. For many decades Defensores played the league games between the B and the C League's, gaining promotion and being relegated. Throughout that period a rivalry against Platense was developed. In August 2011, the veteran 37-year-old player Ariel Ortega was signed by Defensores de Belgrano; the "Burrito" made his debut in the match against Deportivo Morón scoring a goal by penalty shot. The Estadio Juan Pasquale is located in the Nuñez district of Buenos Aires, it is 10 walking blocks away from Monumental stadium. The street's surrounding the Juan Pasquale contain many grafitied wall's and objects in tribute of Defensores de Belgrano, are the meeting points of many of the club's supporters which begin walking in large groups upon their arrival to the stadium; the capacity of the stadium holds 9,000 people.
Note: Flags indicate national team as defined under FIFA eligibility rules. Players may hold more than one non-FIFA nationality; the club operates its junior divisions. División Intermedia: 1914 FAF, 1917 Primera B: 1967, 2000–01 Primera C: 1953, 1958, 1972, 1991–92 Official website Defe Defelandia
The Spirit of St. Louis is an autobiographical account by Charles Lindbergh about the events leading up to and including his 1927 solo trans-Atlantic flight in the Spirit of St. Louis, a custom-built, single engine, single-seat monoplane; the book was published on September 14, 1953, won the Pulitzer Prize in 1954. The book covers a period of time between September 1926 and May 1927, is divided into two sections: The Craft and New York to Paris. In the first section, The Craft, Lindbergh describes the latter days of his career as an airmail pilot and presents his account of conceiving and executing the building of the Spirit of St. Louis aircraft, he describes the many challenges he faced, including getting financial backing, constructing an aircraft that could carry the necessary fuel and still fly, completing the project within several months—other pilots were racing to achieve the first solo trans-Atlantic flight and win the $25,000 Orteig Prize. In the second section, New York to Paris, Lindbergh gives a detailed hour-by-hour account of his 33-hour solo flight above the Atlantic and northern Europe that began in the early morning hours of May 21, 1927.
He describes the numerous challenges presented by navigation, fuel calculation and lack of sleep during the course of the flight that would take him over 3,600 miles from Roosevelt Field in Long Island, New York to Le Bourget field in Paris. Throughout the narrative, Lindbergh interjects flashback memories of his childhood in Little Falls, his college years, his early years as an aviator barnstorming across the countryside, his aviation mentors and friends who flew the mail routes with him, his family—especially his father, not only a congressman, but a respected and sage companion to his young son; as Lindbergh flies through the long, solitary night toward Europe, forcing his sleep-obsessed mind to check and re-check his course, he recalls the night he was flying the mail from St. Louis to Chicago when he first thought of flying across the Atlantic Ocean. Lindbergh believed he could make that flight, he remembers his nine St. Louis friends who helped him purchase the Spirit of St. Louis and realize his dream.
Lindbergh describes the thrill of spotting the first fishing boats off the coast of Ireland, crossing the coast of France, following the Seine River all the way to Paris and Le Bourget field. In addition to an Afterword, Lindbergh included an extensive Appendix containing his flight log, a flight map, his journal account of his return to the United States aboard the cruiser USS Memphis, an article about the decorations and trophies he received, engineering data and engine specifications, 16 pages of photographs, various illustrations, a glossary; the Spirit of St. Louis was the third book length account Lindbergh wrote of his solo trans-Atlantic flight; the first was called "WE", published by G. P. Putnam's Sons in July, 1927 less than two months after the flight, he wrote a more expansive account in a book titled Of Flight and Life, which covered his entire aviation history. Lindbergh was pleased with the way Charles Scribner's Sons handled the publication of the latter, he chose them to publish The Spirit of St. Louis.
He received a $25,000 advance and 15 percent royalty from the first copy sold. He arranged for all proceeds to go directly into a trust for his children. Lindbergh's editor, John Hall Wheelock, responded enthusiastically to the first manuscripts he read, writing to Lindbergh how impressed he was "not only by the way you have unfolded your story, but by the extraordinary beauty of the descriptions of sea and air." When Lindbergh asked Wheelock for more severe criticism, the editor responded with several suggestions that trimmed the book by about 70 pages—mainly flashbacks to his early life, which the editor felt distracted from the main narrative. Lindbergh hired a literary agent, George T. Bye, who negotiated a serialization deal and motion-picture rights for $100,000 from The Saturday Evening Post. Ten installments appeared in that periodical under the title, "33 Hours to Paris"; these installments generated the largest sales in the magazine's history. The Book of the Month Club selected The Spirit of St. Louis as the main selection in September 1953.
According to the author's Preface, Lindbergh worked on the manuscript of The Spirit of St. Louis for 14 years. Work began in 1938, 11 years after the last event described in the book, so Lindbergh needed to rely on memory for his early drafts; the author cites his belief in the future of aviation as his primary motive for the flight, tried to capture that in his book. Prior to the publication of The Spirit of St. Louis on September 14, 1953, Lindbergh presented an advance copy in August 1953 to Carl B. Allen, who had read the manuscript and provided criticism and suggestions. Accompanying the inscribed book was a two-page typewritten letter signed by Lindbergh that provides information about some of the challenges the author faced in the writing of the book. In the months leading up to its publication and his wife Anne labored over the galley proofs, leaving no detail unnoticed. Charles Scribner would recall, "He would measure the difference between a semicolon and a colon to make sure each as what it ought to be.
To him, every detail in the book has as much significance as if it were a moving part in the airplane."Just prior to publication, Lindbergh dedicated the book to his wife, "To A. M. L. Who will never realize how much of this book she has written". A dark blue dustjacket was prepared by George W. Thompson of a night sky filled with stars; the bo