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I don't get the joke. Courier new 06:31, 12 February 2006 (UTC) reply

Hello Courier,

Here is the explanation.

Decades ago, great numbers of young people in America aspired to become successful concert pianists, violinists, etc. To "get to Carnegie Hall" was a common phrase that meant "to achieve a level of skill so fine as to produce an invitation to perform in Carnegie Hall." Young people were often told that they would never get to Carnegie Hall unless they practiced a lot.

So, the basis of the joke is that a simple request for directions is answered with a moral exhortation.

I hope this helps.

Opus33 16:38, 12 February 2006 (UTC) reply

Okay, I get the joke now. Thanks. Courier new 02:50, 21 February 2006 (UTC) reply

Quick edit made re: Spartk reference to joke = "How Do I Get To Carnegie Hall was from the 2002 album "Lil' Beethoven", not 2006's "Hello Young Lovers" as had been listed. —Preceding unsigned comment added by 188.220.35.82 ( talk) 18:54, 17 September 2010 (UTC) reply

What about Carnegie Hall in Dunfermline, why is this not documented on Wikipedia...? Adw2000 13:56, 5 July 2006 (UTC) reply

- The Carnegie Hall in Dunfermline is mentioned in the Dunfermline article. J. Van Meter 14:05, 5 July 2006 (UTC) reply

Carnegie Hall apparently has living spaces. story here. another story.

51 studios. Bernstein was one of the tenants. This should be made part of the article, but I lack time at the moment. Nodekeeper 20:37, 22 May 2007 (UTC) reply

I found a picture to the interior of one here not bad digs. Nodekeeper 20:52, 22 May 2007 (UTC) reply

Should the Main Hall be listed as just that, or as "Isaac Stern Auditorium"?

We should probably get some pictures of the interior of the main hall. —Preceding unsigned comment added by TheFinalSay ( talk • contribs) 21:51, 26 August 2008 (UTC) reply

What is the source for this claim of a ban on rock and roll performers (see quoted passage below)? Is it the footnoted Schaffner book, or is it simply Sid Bernstein making this assertion within that book? I ask because I am one of the archivists at Carnegie Hall, and I have never heard of this apparent "ban" before, and given the large numbers of rock and rhythm & blues artists that appeared here, including Bill Haley and others before 1955, I find it highly unlikely that such a ban ever existed. One particularly potent example would be the appearance here in 1962 of Johnny Cash, whose drug problems were no secret by that point, and which would seemingly be cause to have invoked such a “ban” to prevent controversy (which would seem to be the point of banning certain acts or genres).

If it is simply Sid making that claim, then I think this falls under the heading of hearsay, unless a second source can be located. There has always been a fairly "open door" policy here (and I say this with absolutely no intended bias -- if there indeed WAS such a ban, we'd like to know about it for reasons of history!). Note this: Robert Simon, Jr., the owner of Carnegie Hall from 1935 to 1960, has stated to us (as recently as last week) that there was absolutely no such “ban” in effect, ever. I think that for these reasons, references to this ban should be removed, since they create a false historical context for the 1964 Beatles concert. Rhudson ( talk) 19:11, 24 November 2008 (UTC) reply

"Although Bill Haley and the Comets appeared at Carnegie Hall in 1955, in the late fifties and early sixties, the theater refused to allow rock acts like Elvis Presley and Chubby Checker. The ban on rock and roll concerts at Carnegie Hall was finally broken by the Beatles, who performed in the storied hall on February, 12 1964 during their first-ever trip to the United States. The Beatles were able to break the concert hall's long-standing ban on rock music when promoter Sid Bernstein convinced Carnegie officials that a Beatles concert at the venue "would further international understanding" between the United States and Great Britain. ref: Nicholas Schaffner, The Beatles Forever (New York: Cameron House, 1977), 14."

Easy: Can anyone identify a rock and roll act that played at the hall between 1955 and 1964? Markhh ( talk) 00:32, 25 November 2008 (UTC) reply

There were blues/R&B performers (Muddy Waters, for one), but not many "rock and roll" acts (depends upon how you draw that definition, and whether it really makes a big difference), but even if there were not any at all, it still doesn't prove there was an outright "ban." Any number of other factors (such as concert promotors simply believing the venue wasn't right for their acts; tour schedules; etc.) could account for the lack just as easily. It just seems to me that a claim of an outright ban is strong enough that it needs be substantiated. Rhudson ( talk) 21:20, 1 December 2008 (UTC) reply

For information on how Richard Schulze saved the Carnegie Hall Building, a [ web site] provides a vast historical archive and brings the researcher back to relive those exciting moments which enabled the Carnegie Hall Building to be saved.

The demolition of the Carnegie Hall Studios and the eviction of its artist tenants represents a cultural apostasy. It makes the work of Richard Schulze, the savior of the Carnegie Hall Building, meaningless. (For more information: http://www.carnegiehallfund.org). The financial ramifications of this ill-advised move endangers the venerable Carnegie Hall by stripping the corporation of its financial viability. This is because the Carnegie Hall Building was saved by recognizing the monetary value of the studio rental incomes and their ability to enable the Carnegie Hall Corporation to operate in the black even if no concert dates in the Hall proper could be had. The Carnegie Hall Building was in danger of demolition beginning in the late 1950s due to the announcement that the New York Philharmonic was moving all its concerts to Lincoln Center. When that happened, plans were being made to reduce the Carnegie Hall Building into a Kinney Parking Lot. At this point, Richard Schulze stepped in and opposed and prevented it from happening (keeping the issue alive in the press for a three year period and stopping the wrecking ball several times), writing a feasibility study and operating plan that enabled the building to be saved. These work products were given to Isaac Stern when Stern expressed grave doubt that anything could save the building. Stern had heard a recording made by Richard Schulze that outlined Schulze's operating plan and feasibility study. Upon receipt of Schulze's work, Stern utilized Schulze's ideas and financial projections in order to enable Albany to pass enabling legislation to save the building. ^[1] Rheesmusic ( talk) 18:44, 6 August 2010 (UTC) reply

As it stands the History section is a mixture of physical history, ownership history and musical history. Each surely deserves its own sub-section? The musical history could certainly be developed and expanded, particularly with regard to African-American music. This link could provide a lot of useful source material, especially from its timeline of significant concerts by African-American performers. Martinevans123 ( talk) 20:56, 2 April 2010 (UTC) reply

"The hall's employee who oversees props at the New York was paid $530,000 in salary and benefits..."

The New York what? Syzygos ( talk) 02:43, 26 May 2010 (UTC) reply

There is vandalism, shown by clicking on the Jazz show line at the top, featuring photos of two women. I do not know how it is done, or how to fix it. Perhaps some other editor can remove it.

The article states:

"The Main Hall is enormously high, and visitors to the top balcony must climb 137 steps. All but the top level can be reached by elevator"

So, to get the top level you take the lift and then climb 137 steps. Why is there such a huge gap between the top and penultimate level? Markb ( talk) 12:05, 14 June 2011 (UTC) reply

How about adding that he built it because he felt a little "bad" that he sorta caused the Johnstown Flood or so I heard on History "The Men who Built America." Hillmon7500 ( talk) 00:22, 3 March 2014 (UTC) reply

For GPS and car service reservation purposes, it would be useful to know the (entirely theoretical) street address ("house number") on West 57th Street. I called Carnegie Hall and they would only give out the legal, Postal Service address of their business office lobby near the corner of West 56th Street, 881 Seventh Avenue. This address is not the physical location of any of the three auditoriums to which patrons might drive or be dropped off. In that sense, the "Location" in the main page here is misleading. — Preceding unsigned comment added by Stagehand ( talk • contribs) 15:48, 25 February 2015 (UTC) reply

NO mention of the controversies over the artists' studios or CH's trashing of archival & historical materials, furnishings, musical instruments etc 74.12.125.129 ( talk) 05:05, 4 March 2016 (UTC) reply

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