Testimony ends in 21st week of trial against concert promoter over Michael Jackson’s death

epa03871453 A rescue worker climbs across a line to help trapped people in Chailpanchingo, Mexico, 17 September 2013. According to media reports, Hurricane Ingrid was downgraded to a tropical storm but continued to pour heavy rain over eastern Mexico, where it killed at least 34 people.  EPA/LENIN OCAMPO TORRES

“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. “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.). So will Queen Bey continue gracing concertgoers with her regal touch?

Drug Overdoses Shut Down Concert At Quassy Park

Johnson-Arbor added that the drug can also increase heart rate and blood pressure. “What we find, every few months there is a new drug that is considered for lack of a better word ‘sexy’ thing to use,” Johnson-Arbor said. Among those drugs that have come into the spotlight recently is MDMA known on the street as Molly which has been suspected in three fatal drug overdoses in the past two months at electronic dance music events in Boston and New York City. Johnson-Arbor said that she and other professionals try their best to stay ahead of the curve, looking to cities such as New York, Chicago and Los Angeles for what new drugs are becoming popular. She said: “It’s hard because there are so many things that can be synthesized out there.” State Police Lt. J. 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.

Concert review: Zac Brown shines in live setting

Judge Yvette Palazuelos ruled that Katherine Jackson was dependent on her son for some of her living expenses and is entitled to recoup damages in the case if AEG Live is found liable for her sons death. WHAT THE JURY SAW Metzger testify via video and in person. AEGs attorneys played more than an hour of the doctors testimony and he was called as a live witness by Katherine Jacksons lawyers. Metzgers attorney Eric George take the stand after his client testified, telling the jury that Metzger wasnt being paid by attorneys for the Jacksons, an issue that was raised while the doctor was on the stand. QUOTABLE MOMENTS He wanted to redeem Michael Jackson. … He wanted to redeem his image. He felt this was it and he wanted to go out with a flash. He was still terribly hurt about the (2005 child molestation) trial and the accusations, Metzger said of Jacksons desire to perform the This Is It shows successfully. I dont believe this was in any way a recreational problem, Metzger said of Jacksons use of prescription medications. I told him it was dangerous and I couldnt help him, Metzger said about Jackson asking him for intravenous sleep medicines in a meeting at the singers home two months before his death. WHATS NEXT Closing arguments are expected to begin on Tuesday and jurors should receive the case sometime on Thursday to begin deliberations. Copyright 2013 The Associated Press.

Evolution of Disney Hall in pictures

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.

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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. From there the Brown bandas jam band tendencies started taking over, and any critical analysis would have to rest on a listeneras opinion of that genre. That theyare talented players is indisputable, and they have a fine sense of dynamics to boot. Theyare also clearly a band, not just an assemblage of hired guns to be shuffled around between tours. There were lots of endearing moments where you were reminded that this was a group of musicians with shared experiences that went back to small clubs, including the point where guitarist John Hopkins stepped up to the microphone to sing Enter Sandman. The genial vibe was such that you could even forgive Brown going for cheap approval by wrapping himself in a Canadian flag during Colder Weather. Milking national pride is a standard trick of the most dishonest of Nashville performers; at least he didnat come out in an Oilers jersey. That 14,000 fans made their way out to see them on a Sunday night at Rexall attested to both their current popularity and possibly a hunger for music that isnat as plastic and moulded as the current crop of performers. Brown is treading a delicate line, but when heas on he canat be touched in the genre.