Drug Overdoses Shut Down Concert At Quassy Amusement Park
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. The auditorium was pushed back toward 2nd and Hope streets and clad in limestone. A pedestrian bridge reached over 1st Street to Dorothy Chandler Pavilion. A glass dome crowned a single-story restaurant along Grand. Panorama: Inside Walt Disney Concert Hall with Frank Gehry Even in this embryonic form it was easy to see the influence on Gehry of Hans Scharoun’s 1963 Berlin Philharmonic. Scharoun produced for postwar West Germany a low-slung, open-hearted concert hall that was determined to look anti-monumental and avoid any comparison to the Nazi landmarks of the 1930s. Interview with Frank Gehry Frank Gehry on the making of Disney Hall Architect Frank Gehry discusses the creation of Walt Disney Concert Hall. Interview by Mark Swed. Gehry aimed to do something similar, but for cultural rather than political reasons. He wanted his design to protect the idea of the concert hall as refuge but also to embody the essential informality of Los Angeles. He wanted to demystify and democratize classical music, a goal that happened to match those of the leaders of the L.A. Phil, first Ernest Fleischmann and later Deborah Borda. Getting from design to finished building was a hugely complicated process even by the standards of civic architecture in Los Angeles.
Walt Disney Concert Hall’s organ conservator pulls out all the stops
When you pull out all the stops and play something tutti super fortissimo it’s unlike anything else. That’s when you find power in a way, when you’re seated in front of this enormous instrument and you’re using both hands, both feet, your whole body to play. How does the Disney Hall organ compare to others? I’ve played at many of the finest organs, in churches and concert halls in the United States and in the oldest churches in Europe and I’ve found that this one is the right size, with the right accents and nuances. I’ve done guest recitals on instruments four times its size, but I keep coming back. The way it builds and dissipates out, it’s remarkable. TIMELINE: Walt Disney Hall through the years What’s the coolest part of your job? We take people on tours inside the organ and having the opportunity to see the mechanism, or the strikers when the organ is being played, to see the outside from inside and the blowers, the wind lines, all of this. And it’s so expansive, it’s 40 to 45 feet tall and its weight is so vast. Seeing all that from within is wonderful. How do people react to the view from inside? They’re in awe, even for organists, some have never seen inside their instrument before and when they see it they say, “Wow.” All these different kinds of pipes produce different sounds and it’s fun to show.
Paul Vance said that state police are aware of these drugs, and receive information about drug trends nationwide. Also, he said, state police are aware of the issues that arise from electronic dance music shows and, like they did Saturday night, are prepared to assist local agencies. 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.
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. 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.