Not only did the pop star’s luscious locks get caught in an electric fan during a July performance, the reigning diva has also been spanked by a Copenhagen concertgoer in May and pulled off stage by another at a Brazil show last weekend (resulting in this hilarious, albeit terrifying, image ). Mrs. Carter’s bad-luck streak may seem like an anomaly (her Latin American tour has continued without incident and stops in Venezuela tonight and Colombia on Sunday), but in fact, these crazed fan incidents happen to nearly every pop star. Concertgoers have rushed the stage at Miley Cyrus , Demi Lovato and Taylor Swift shows. Justin Bieber was attacked by a fan during a Dubai performance, resulting in an upturned piano. Even One Direction’s Harry Styles suffered a blow to the groin after a concertgoer threw a shoe at him in February. “They want to get as close as possible,” says Gary Bongiovanni, editor of Pollstar, which covers the concert industry. “It’s just a fan being overly exuberant that could in fact hurt the performer or anyone else around them if they don’t act rationally. But it’s not based on hate or a desire to do the performer harm.” Although most excited devotees don’t present a serious threat, some encounters have ended tragically. One crazed fan charged the stage at a Columbus, Ohio, concert for heavy-metal band Damageplan in 2004, fatally shooting guitarist “Dimebag” Darrell Abbott and three others. Other incidents have resulted in brutal injuries, such as a fan who was beaten up after climbing onstage at a Snoop Dogg show in 2005 and another who suffered a concussion when Akon threw a prankster onto her at a 2007 show.
Cuban Performs With Silvio Rodríguez After Controversial Remarks At Concert
20, 2013 In a lecture at Harvard in the early 1990s, the Spanish architect Rafael Moneo referred to Frank Gehry as a “noble savage.” The comment, partly a joke, perfectly summed up the conventional wisdom that had gathered around Gehry’s work during the time he was designing Walt Disney Concert Hall. As the prevailing caricature had it, Gehry was architecture’s answer to the action painters of the 1950s: Jackson Pollock operating at an urban scale, working as much by intuition as strategy, and dribbling his unorthodox forms across building sites instead of canvases. The building, which will turn 10 years old next month, responds to the lonely moonscape urbanism of Bunker Hill with a shimmering, canny gregariousness that spills down Grand Avenue in both directions. It understands and adapts to its peculiar context far better than the buildings by well-known architects that preceded (Arata Isozaki’s Museum of Contemporary Art, Moneo’s cathedral) and followed it (Coop Himmelblau’s arts high school) on Grand. And thanks to Gehry’s productive collaboration with the acoustician Yasuhisa Toyota, Disney Hall solves the devilish practical challenges that have frustrated a long line of concert-hall architects. Its auditorium, lined with a billowing collection of Douglas fir panels and seats upholstered in an almost-garish floral pattern that dares you to dislike it, delivers a remarkably and reliably lively sound. In short, Disney Hall accomplishes all the things Gehry has become famous for and all the things he was supposed to be incapable of doing. Disney Hall under construction in 2001. More photos When Gehry was named one of the finalists in the competition to design a new building for the Los Angeles Philharmonic in 1988, he was keenly aware of the typical objections to his work. In an early presentation of his proposal, he made a point of saying that his buildings “aren’t from Mars.” He emphasized how much his career was “bound to this city.” He was, in fact, the only local architect among the four finalists. His initial design, quite different from what was ultimately built, imagined a small village for classical music at the top of Bunker Hill. At the center was a conservatory holding a lobby and topped with a sloping roof.
Concert review: Zac Brown shines in live setting
Without making any mention of the controversy swirling around Carcasses, Rodriguez presented his fellow musician as a “talent” and recalled that they worked together recently on an album. During Friday’s show, Carcasses provided piano accompaniment for Rodriguez on his song “Segunda Cita” and also performed two other instrumental numbers with other musicians. Carcasses did not make any remarks to the crowd of 300 people, but he told foreign correspondents afterward that he hoped he had put the controversy behind him. During a Sept. 12 official concert in Havana that was broadcast live on national television, Carcasses sang a song calling for free access to information and the election of the president by direct popular vote. The jazz fusion artist said Monday he had been barred indefinitely from performing at future state-run events because of his comments during the concert, which had been organized to demand the release of Cuban intelligence agents imprisoned in the United States. But authorities on the Communist-ruled island later reconsidered and lifted the sanction. The 66-year-old Rodriguez, Cuba’s best-known folk singer, came to Carcasses’ defense on Tuesday. He said his fellow musician had committed a “regrettable error” in pressing his demands at an event organized to call for the release of agents “who have sacrificed their lives for the security of the people.” However, as a Cuban citizen, Carcasses “has the right to express what he thinks in his country,” Rodriguez added. Considered heroes in Cuba, the four agents were arrested in 1998 and convicted of espionage in 2001, receiving sentences ranging from 15 years to life in prison. While a fifth agent who was also arrested and convicted of the same crime has since been paroled and allowed to return to Cuba, the other four spies remain in prison. The Cuban Five insisted they were spying on Miami’s Cuban exile community, not the U.S.
Frank Gehry’s Walt Disney Concert Hall is inextricably of L.A.
Johnson-Arbor said that the problem with synthetic is drugs “you don’t know what you’re getting.” “There’s no quality control,” Johnson-Arbor said. “Just because someone sells it as 2C-P, it may not be that.” Johnson-Arbor, who is also a consultant for the Connecticut Poison Control Center, said that this is true of other drugs that people use, including the more popular drugs, such as heroin and cocaine. She said that adding to the problems related to these drugs is that there are no antidotes or cures. She said that once the person gets to the hospital, all medical staff can do is support procedures, like placing an IV to replenish fluids. “Just because you make it to the hospital doesn’t mean you are out of the woods,” Johnson-Arbor said. A 30-year-old New Milford man, Kyle Stoddard, was charged with interfering with a police officer for getting in the way while police were treating the victims Saturday night, according to police. The rest of the crowd of about 1,200 young people was orderly and left without incident after police shut down the concert. The scene was secured shortly after midnight, police said. Saturday’s concert featured musical acts including Nicky Twist, Midas and DJ Knowledge. The show was organized by Tight Crew, a Rhode Island-based production company. “We specialize in large-scale electronic dance music events in safe, friendly and unique environments,” according to a statement on Tight Crew’s website. “Security staff is always on hand to ensure the safety of our patrons. We have a strict zero tolerance policy towards drug use and violence. We want everyone to have a fun/safe experience at each event.” In a statement Sunday, Quassy Amusement Park said its thoughts and prayers were with those who were hurt.
Not only has he managed to climb to the upper echelons without having to choose baseball cap versus cowboy hat (he goes for the tuque), he thinks nothing of speaking his mind, recently taking Luke Bryan to task for his recent hit Thatas My Kind of Night. Itas nice to see someone actually giving an honest opinion in an industry where everyone is careful not to step on anyone elseas toes, ostensibly out of courtesy but more likely out of fear of reprisal. Not that Brown should be left out of criticism. Heas got his own style of shmaltz, specifically his biggest hit, Chicken Fried, right down to the verse about freedom and the flag, parked up against the one about beer and blue jeans. So heas not immune to the promptings of writing clichAs either. Then again, who isnat? Where Brown is miles above most of his country music peers is in the live concert, where you actually get the feeling youare not seeing a carefully choreographed show that doesnat change from city to city. These are regular guys in T-shirts, throwing riffs back and forth for the joy of it. The vibe is jam band, the sound is somewhere between southern rock and Jimmy Buffett, the song choice often unpredictable. The opening actually wasnat all that unpredictable; he started with the subtly reggae infused Jump Right In, establishing the son of Jimmy Buffett credentials heas been establishing over the years. From there he went straight into his version of a80s neo-traditional country with songs like As Sheas Walking Away and Ainat In No Hurry, solid, mid-tempo tunes that fit snugly into the current trend though far better. Whiskeyas Gone kicked the concert up a notch, amped-up bluegrass with fiddle player Jimmy De Martini taking over.