“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. The key is to “let audiences know what their limitations are,” as Beyonce did by tossing her bottom-slapper out of the Denmark concert, says Paul Wertheimer, founder of Crowd Management Strategies, a safety consulting service specializing in concerts and festivals. Beyonce allowed the fan who grabbed her to stay for the remainder of the show (even shaking his hand and telling him, “It’s all right … Thank you, I love you, too”), but Wertheimer believes it could have sent the wrong signal, potentially emboldening other fans to try similar stunts. “It’s a gamble for an artist when they allow that to occur,” Wertheimer says. “When Beyonce does her well-meaning, no-damage-done kind of thing, it sends a message to the audience that they can do it, and that someone else can try and do it. It’s a dangerous precedent to set.” It’s also possible that the security company hired by Morumbi Stadium in Sao Paulo wasn’t as well-trained as those you might see in the USA, Bongiovanni says. Although each artist has their own sets of bodyguards to get them to and from a venue, arenas are responsible for hiring crowd-management services for large events (the two biggest being Staff Pro and Contemporary Services Corporation in the U.S.).
Frank Gehry’s Walt Disney Concert Hall is inextricably of L.A.
Frank Gehrys Walt Disney Concert Hall is inextricably of L.A. Frank Gehry’s Walt Disney Concert Hall is inextricably of L.A. The exterior of Disney Hall. More photos A remarkable work of public architecture, it reflects and engages Los Angeles like few other buildings. Photography by Los Angeles Times staff Sept. 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.
Phil at Walt Disney Concert Hall. (Lawrence K. Ho / Los Angeles Times / May 17, 2013) Also See more stories X A chorus of memories: Disney Hall, as they saw it and lived it Video: Inside Disney Hall Disney Hall usher’s ‘side’ job becomes a way of life Photos:Disney Hall conductors Interactive graphic: Disney Hall, inside and out Disney Hall: Yasuhisa Toyota’s fluid, innovative approach to sound Diane Disney Miller reflects on a Disney Hall turning point Disney Hall: Musical dream bankrolled by taxpayers, private donors L.A. Phil board Chairman David C. Phil responds to critic Full Coverage: Walt Disney Concert Hall September 20, 2013, 9:00 a.m. The Los Angeles Philharmonic kicks off its celebration of Walt Disney Concert Hall’s 10th anniversary with three free community concerts: Wednesday at City of Hope in Duarte, Thursday at Wilshire United Methodist Church in Los Angeles and Saturday at Carpenter Performing Arts Center in Long Beach. On Sept. 29, the orchestra heads to Disney Hall for a free 4 p.m. concert, with music director Gustavo Dudamel conducting and a live simulcast across the street on a giant screen at Grand Park. The season begins with a gala on Sept. 30 and includes an anniversary concert on Oct. 23, the actual date of Disney Hall’s 2003 opening.