Bruno Mars Halts Gig After on-stage Fire

He's too hot - hot damn! Bruno Mars was forced to halt a gig in Glasgow when his stage lights caught fire.The US Grammy winner was four songs into his set at Glasgow Green when on-stage pyrotechnics apparently set the lighting rig ablaze.

The flames were brought under control in eight minutes - so he didn't need to "call the po-lice and the fireman".As he returned to the stage, Mars improvised an a capella chorus of "We burned the stage down in Glasgow."During the break, video screens at the outdoor venue informed fans: "It is necessary to stop the show temporarily.

Further information to follow."Several audience member posted photos of stage crew smothering the flames with a fire extinguisher before the show resumed.There were no injuries.

A spokesperson for DF Concerts said: "During the Bruno Mars show, there was an incident involving one of the stage lights meaning the show was stopped temporarily."Thanks to the quick thinking of our stage team who assessed the situation, this incident was quickly responded to, allowing the show to continue safely."Mars went on to play a further 11 songs, including his hits Grenade, Just the Way You Are and Uptown Funk.

His tour continues this week with dates in Dublin and the British Summer Time Festival in London's Hyde Park.Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.


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Reimagining the '70s Tehran Music Scene, One Party at a Time
In the stories Arya Ghavamian and Mani Nilchiani's parents told them, there was dancing. European and American expats mingled with Iranians in the neon glow of Tehran's clubs, which pulsed with music by the Beatles and Iranian pop stars Hayedeh and Googoosh. Liquor wasn't contraband then, and the city was a vibrant artistic hub.Now, Ghavamian and Nilchiani are reimagining the cultural moment that they never experienced firsthand — the Tehran music scene of the 1970s, which came to an abrupt end after the Iranian Revolution of 1979 replaced a Western-allied government with today's Islamic Republic. A year ago, the pair began organizing Disco Tehran, a performance project and party that combines live music and D.J. sets, in New York. Though the parties often spotlight Iranian musicians like the Farsi funk group Mitra Sumara, they also feature a wide array of world music, electronic music and noise art."The reference of Disco Tehran is to a point in time when channels of cultural transactions and exchange were wide and open and flowing," said Nilchiani, 32, a professor at Parsons who also works at an international design firm. "That's what we aspire to be."In recent months, the parties packed spaces like Home Sweet Home and Le Bain at the Standard Hotel in Manhattan, attracting many beyond the Iranian diaspora. On Friday, the event returns to Baby's All Right in Brooklyn, where Alsarah & the Nubatones, a Sudanese-American retro pop group, and Nilchiani's own Sufi rock band Tan Haw will perform live, and four D.J.s will spin tunes from the Middle East, Latin America and Africa, as well as electronic music and techno.Ghavamian and Nilchiani occasionally announce secret parties, which are typically more intimate, and where Persian food is also served — a homage to the small gatherings Ghavamian hosted in his tiny Chinatown apartment that set the stage for Disco Tehran."Eating good Persian food can be a very beautiful, communal experience," said Ghavamian, 27, a filmmaker who sought political asylum after Iran's 2009 elections and hasn't returned to his home country in 11 years — a perpetual source of angst, he said. "I was feeling very disconnected and lonely, and I wanted to share this with people."Disco Tehran is an extension of that sentiment, of embracing connection in exile, even as Iran itself has become synonymous with isolationism. "That was something that, shortly after the revolution, was inverted," said Nilchiani, who studied at the Tehran University of Art before moving to New York in 2010 to attend graduate school at Parsons. "Everything became internalized in private spaces."But he added, "That's no longer the case at all. I was back in Iran last month and I went to many concerts, and there's definitely a very thriving culture." The dance party scene, however, is still lacking. But Nilchiani is wary of making blanket statements about his often misrepresented homeland. "I don't want to be the guy who says, 'I left Iran and I came here and I realized, we need to be free to make art,'" he said, putting air quotes on "free."For Ghavamian and Nilchiani, Disco Tehran is less about recreating the past than it is about channeling the potential of a cultural exchange inspired by that moment. "This fantasy of Tehran in the '70s is this utopian idea of connection between people," Ghavamian said.He added, "That feeling of togetherness was something that was seriously lacking for me as an immigrant in the United States."At a recent party in celebration of the Persian New Year, Slavic Soul Party, a nine-piece brass band served up Balkan soul and Gypsy funk followed by Innov Gnawa, a musical collective that performs Gnawan trance music from Morocco. Iranian expats mingled among Europeans and Americans in the purple glow of the stage lights as an Iranian man with gray hair snapped his fingers and spun on his toes, cheered on by a circle of dancers."The mix comes together in strange ways," Nilchiani said.Ghavamian added, "It's a Silk Road notion of connection."
Foothills Selling All but Memories; Theater Going Out of Business.
Byline: George Barnes WORCESTER - Like picking the bones, but wistfully, people from asfar away as Maine found their way to the city yesterday to purchase thepieces of the Foothills Theatre. Fur coats, paintings, steamer trunks, straw hats, stage lights andeven a gargoyle left on a table in one of the offices were on the blockat the theater's going-out-of-business sale. The theater closed May 10 and is selling off everything - itshundreds, possibly thousands of props, shop tools, signs, costumes andother items necessary to run a professional theater company. The theaterplans to hold a second sale June 13, but many good items were snapped upby shoppers yesterday. When the second sale is done, so is the Foothills Theatre, exceptin the memories of the people who performed there and those who attendedits productions. During the sale, visitors had the run of the basement warren oflarge and small rooms used by the theater in what was Worcester Center,itself now shuttered. Sometimes working with flashlights, they foundmuch of interest from past Foothills productions. In one room, crammedwith racks of clothes, there were four shelves filled with shoes andboots and 11 boxes, also filled with shoes and boots, on the floor infront of them. Mary Dykstra, drama director of Whitinsville Christian School,selected a spotlight, but said she was looking at stage curtains aswell. Her school's theater productions are staged in a gymnasiumthat converts to a theater. Theater people from all over attended the sale, hoping to buyneeded equipment for their professional or amateur productions atbargain prices. They appreciated the many items available, but expressedsorrow over the closing of a key player in the Worcester arts community. "This is one of hundreds of theaters nationally that areclosing," said David Greenham, producing director of the Theater atMonmouth, a professional theater in Monmouth, Maine. Standing on a ladder to remove stage lights, he said he was lookingto purchase the lights and whatever useful supplies he could find. Elaine Crane, artistic director of Worcester Opera Works, was inthe costume room looking for anything helpful in her company'splans to stage "Die Fledermaus" next year. "It kind of feels like you are at somebody'sfuneral," she said. Aaron Spence of the Winthrop Playmakers had a similar sentiment,saying he grew up in Grafton and attended his first theater productionat the Foothills. "You feel guilty," he said, but added it costs histheater company $10,000 per production, and he was looking to save moneyon equipment and supplies. Retired Judge Mel L. Greenburg has been with the Foothills Theatresince it was created in 1974, working with founders Marc P. and Susan L.Smith, sitting on its board of directors and working to raise money foreach year's productions and operational costs. He said a confluence of events resulted in the closing of the theater. First, the subscriberbase, which had always been loyal, began to age and younger people werenot taking the same interest. Last year the subscriber revenues weredown 20 percent. "We couldn't seem to get a new generation to come to thetheater," he said. Along with the diminishing audience, the deterioration of thefacility was piling up costs and the theater also saw a diminishingamount of corporate sponsorship money and money from foundations. Whenthe current recession hit, that was the end. "It was a combination of all these things at a bad economictime," he said. Mr. Greenberg said what he was feeling as he watched shoppers carryaway the theater's property was sense of loss of history. "There are all these costumes of hundreds of shows that wenton here," he said. ART: PHOTOS CUTLINE: (1) Elaine Crane of Worcester Opera Works, above, searchesfor costumes at Foothills Theatre, which is selling everything before itcloses June 30. (2) At left, David Greenham of Maine hands down lightingequipment he was purchasing for the Theater at Monmouth, Maine, where heis a producing director. PHOTOG: T&G Staff Photos/DAN GOULD
A House of Harmony : Santa Monica Music Lover Builds a Home Around a Concert Hall
Aaron Mendelsohn built it. Justin Blasdale brought it down.We're talking about the house in Santa Monica where Mendelsohn lives and Blasdale plays.Mendelsohn is a classical music fan who has turned his house into a 100-seat concert hall where performances are staged by an unusual home-grown arts foundation.Blasdale is a San Francisco Bay Area pianist who received a standing ovation after performing there the other night as part of the foundation's current concert series. Advertisement The house is built around the 1,200-square-foot hall. It has a spot-lit stage, soundproofed walls and 25-foot-high ceilings that have been carefully engineered to enhance the gentle strains of flutes, harps, oboes and Liszt etudes.Mendelsohn admits to having first-night jitters five months ago when carpenters and plasterers moved out and his family and their $60,000 Bosendorfer grand piano moved in.The first home concert, featuring works by Mozart and Chopin, was scheduled in six days. But would the sound quality be right? Would the artists come to play? Would music lovers come to listen?"It was like the movie 'Field of Dreams,' " said the 39-year-old stockbroker-lawyer who studied musical literature in college. "It was a Kierkegaardian leap of faith. I figured, 'If you build it, they will come.' " Advertisement It helps, of course, that Mendelsohn has formed the Maestro Foundation, a nonprofit group that supports young musicians. Through the 5-year-old foundation, he quickly recruited artists to perform in his concert hall--and audiences to fill it.Contributions by foundation members pay honorariums to musicians involved in the current 10-concert series. Any surplus is being donated to struggling local music students. The performers say they are grateful for the pay because cutbacks have put a dent in the college concert circuit where many have worked in the past.The $1-million house replaced a 1927 bungalow where Mendelsohn had lived for 10 years. He and his wife and two children spent 18 months in a rented place as designers wrestled over details of the new house.Acoustical engineers called for rounded walls and specially recessed windows to soften the echoes they feared would reverberate through the huge music room. Structural engineers demanded special reinforcing--including industrial-type steel beams over the 50-foot-deep hall. They struggled to squeeze oversized heating ducts into walls to muffle the whooshing sound that comes from most home furnaces."My wife cried when she walked in and saw the 'cottage-cheese' stuff that they sprayed on part of the ceiling," Mendelsohn said. "But we needed it for the acoustics. And she indulges me."Leah Mendelsohn, his wife of 19 years, acknowledged that her favorite music is rock 'n' roll oldies, not ancient oldies. "Classical music is Aaron's passion," she said.Violinists, flutists and other musicians are surprised when they step into the 15th Street dwelling for the first time. So are concert-goers, who find the hall empty except for rows of white folding chairs."Playing in private homes can be the nicest way of making music--or it can be the most unpleasant," said Blasdale, 44. Advertisement Sometimes living rooms are so crowded that "people are breathing around your neck," he said. Other times, the host provides a poor-quality piano or musicians find themselves relegated to cocktail-party, background-music status.Not so at Mendelsohn's home concerts.The house lights flickered to signal the 80 invited guests to take their seats when Blasdale's performance was to begin. Then they dimmed and the stage lights focused on him as he sat down to play pieces by Beethoven, Corigliano, Brahms and Schumann."This is the way chamber music is meant to be heard," whispered Becky Rodman of Pacific Palisades. "This is a step back in time."Said Joachim Bolck of Rolling Hills Estates: "It couldn't sound any better than this in a concert hall."David Gottlieb of Topanga Canyon compared the acoustic qualities of the house to those of Lincoln Center--after New Yorkers "improved it by putting in the baffles."Dodge Crockett of Santa Barbara remembered visiting the old Mendelsohn house. He marveled at how the new home's bedrooms and other living areas have been fitted in above and below the recital hall."The kitchen used to be over there where the chairs are," Crockett said, pointing across the room. "This is very imaginative. There's not a bad seat in this house." Advertisement Nearby homeowner Alan Levin praised the concerts: "It's marvelous . . . it's nice to live in a neighborhood like this."Nonetheless, the 18 windows that line the back of the semi-circular stage and look out on 15th Street are double-paned.For the neighbors, Mendelsohn's concerts are to be seen. Not heard.
Womad: 30 Years of World Music
The brainchild of British pop legend Peter Gabriel, Womad - World of Music Arts & Dance - celebrated its thirtieth year over the weekend. Yet, it still remains something of a hidden gem amongst the UK's festival season.From just £8 a ticket at The Royal Bath and West Showground in 1982, Womad now runs 160 festivals in 27 countries. While others shrink and fall by the wayside, the mother festival now based at the beautiful Charlton Park in Wiltshire experienced its biggest attendance yet in 2012.Senegalese singer and guitarist Baaba Maal said it is the audience that makes Womad unique. "They come to party of course, but more importantly they come to listen," he said. UK chamber-pop indie favourite Patrick Wolf was surprised at how much the audience listened to his set. Dressed all in black like some gothic page boy bard and playing to a packed tent on Saturday afternoon he said: "Thank you for listening, it's a real treat". His audience breathed in every detail of his acoustic set, from his description of his Appalachian mountain dulcimer made famous by "Joni Mitchell and Cyndi Lauper", to introducing his Spanish guitarist Javier Moreno who he said is "the best there is".Alongside the likes of Afrobeat pioneer Femi Kuti, Senegal's Carlou D and South Africa's township jive quintet Hot Water, Womad always puts on a fine selection of bands from the UK. This weekend saw performances from epic rockers Revere, Scottish pipers Breabach, Mercury nominees Portico Quartet and floaty tropical popsters Vadoinmessico. Sunday night's highly-anticipated headliner Robert Plant presented his latest foray into the roots music of America and the UK, entitled Sensational Space Shifters.However, wandering through the festival is where you make your finest discoveries. The Manganiyar Seduction conducted by Indian director Roysten Abel was the most extraordinary performance of the weekend. 36 boxes were stacked high and wide on stage with a Manganiyar folk musician perched inside. Like some gigantic, surreal collector's tray with each box edge lit up with naked light bulbs, these flashed on and off as each artist played their uniquely Manganiyar folk instrument. Reaching a crescendo at the end of the set with all the lights ablaze, anyone watching could be nothing but completely overwhelmed. This is definitely not your average music festival, as you can ask Prince Harry who was there on Saturday partying up a storm.During the performance Roysten Abel brought up a touchy subject, Visas. It has been an ongoing struggle for the organisers to get these musicians from all four corners of the globe into the country and every year, as a result, there are last minute programme changes. On stage Abel joked: "I have around forty Muslim musicians with the surname Khan, trying to get into the US to play, we are held up for hours." He then turned all the stage lights on to illuminate the players and said: "Tell me, do any of these guys look like terrorists?" as the crowd roared. On Friday night Brazilian DJ Maga Bo had the dance tent hopping. As the Olympics opening ceremony wowed those at home, we were taking a trip round the electronic dance map from Brazilian hip hop, to Jamaican dancehall, Reggaeton and good old UK house. Wild-eyed teenagers bounced up and down, this had doubtless shifted their whole musical world to the left.The Taste The World stage is unique to Womad, where artists from all over the world are invited to cook a traditional meal for an audience, whilst performing the odd acoustic tracks. There I tasted salted fish courtesy of Norwegian folkstress Ane Brun and a booze-laden "posh French trifle" from Algerian folk-jazz virtuoso's Lo'Jo. The BBC Radio 3 stage is also somewhere I could have happily spent all weekend at, as the line up is always second to none. This year it saw the likes of 'Desert Rebel' - Saharan blues veteran Abdallah Oumbadougou take to the stage for a packed late night set, plus Cape Breton fiddler Chrissy Crowley and Danish folk band Habadekuk. The festival is a musical voyage of discovery and one for all the family. If you are feeling adventurous you could even head to Adelaide for Womad in 2013.
Frequently Asked Questions (FAQ) for Stage Lights
1. Answering this question will help me stop been paranoid about having an STD so may answers would be good plz?Chlamydia is a bacterial infection of your genital tract. Chlamydia may be difficult for you to detect because early-stage infections often cause few or no signs and symptoms. When they do occur, they usually start one to three weeks after you've been exposed to chlamydia. Even when signs and symptoms do occur, they're often mild and passing, making them easy to overlook. Signs and symptoms may include: Painful urination Lower abdominal pain Vaginal discharge in women Discharge from the penis in men Pain during sexual intercourse in women Testicular pain in men Gonorrhea symptoms Gonorrhea is a bacterial infection of your genital tract. The first gonorrhea symptoms generally appear within two to 10 days after exposure. However, some people may be infected for months before signs or symptoms occur. Signs and symptoms of gonorrhea may include: Thick, cloudy or bloody discharge from the penis or vagina Pain or burning sensation when urinating Frequent urination Pain during sexual intercourse Trichomoniasis symptoms Trichomoniasis is a common sexually transmitted disease caused by a microscopic, one-celled parasite called Trichomonas vaginalis. This organism spreads during sexual intercourse with someone who already has the infection. The organism usually infects the urinary tract in men, but often causes no symptoms in men. Trichomoniasis typically infects the vagina in women and may cause these signs and symptoms: Greenish yellow, possibly frothy vaginal discharge Strong vaginal odor Vaginal itching or irritation Pain during sexual intercourse Painful urination Light vaginal bleeding HIV symptoms HIV is an infection with the human immunodeficiency virus. HIV interferes with your body's ability to effectively fight off viruses, bacteria and fungi that cause disease, and it can lead to AIDS, a chronic, life-threatening disease. When first infected with HIV, you may have no symptoms at all. Some people develop a flu-like illness, usually two to six weeks after being infected. Early HIV signs and symptoms may include: Fever Headache Sore throat Swollen lymph glands Rash Fatigue These early signs and symptoms usually disappear within a week to a month and are often mistaken for those of another viral infection. During this period, you are very infectious. More persistent or severe symptoms of HIV infection may not appear for 10 years or more after the initial infection. As the virus continues to multiply and destroy immune cells, you may develop mild infections or chronic signs and symptoms such as: Swollen lymph nodes often one of the first signs of HIV infection Diarrhea Weight loss Fever Cough and shortness of breath Stop all this doctor trips you are fine but this did put the fear of God within you so next time you will be prepared for any thing....------2. What is proffesional led stage lighting?When you're putting on an occasion, whether it is an unassuming school play or a party, stage lighting rental is an unquestionable requirement. Lighting is a main thrust of your production, giving brightening, center, detail and modifying the view of the group of audience. There is nothing that so vitally passes on an inclination superior to a decent lighting system, and with boundless inventive potential, will serve as an immense advantage for your creation. Focus, position and hanging:Conventional stage lighting must be set up because of these three contemplations. Focus refers to where the light will point; position alludes to where the light will start from; hanging refers to the real demonstration of hanging the light. Shading, force and example (assuming any) should be considered next. Types of stage lighting :Ellipsoidal - these lights are the conventional stage lights and thought to be the most critical. They are centering lights, the appearance in front of an audience of which can be adjusted by screens and channels.Fresnel - these lights are utilized for shading washes on the stage. Standard Jars - these lights are the sort you will see in even the dingiest of bars. Continuously a strong choice, standard jars can get hammered, are sturdy and simple to transport.Follow spots - these are spotlights used to pursue somebody around a phase. Obviously, there are increasingly choices accessible for stage lighting with the consistent progress of innovation. Presently you have the fundamentals; here are a couple of more alternatives:LEDs - these Professional LED Stage Lighting are useful for centered pillars and have been gradually supplanting conventional globules in stage lighting.Dizzies - these lights are round circles with a few Drove lights (more often than not of varying hues) covering the surface. The circle pivots in an assortment of bearings and examples, making a whirling, confounding example, consequently the name.Gels - this term alludes to the hues given to lights. They function as shading channels, and should work in congruity with the shade of the light itself to accomplish the craved impact. Once you have got your types of lighting down, you'll have to consider where to place them. Here's an essential summary of lighting positions:Front - This is utilized for the most part for perceivability and shading impacts. Side - can be utilized to awesome impact to complement activity. Back - Additionally utilized for impact. This kind of lighting can make the dream of profundity on a phase, or notwithstanding to silhouette a man totally.What is proffesional led stage lighting?------3. I have been bleeding all weekend but positive preg test. whats wrong?Spotting or light vaginal bleeding at the start of your pregnancy is a common occurrence and can even disguise the fact that you are indeed pregnant. Women have even confused this light bleeding for their period. My obstetrician told me that one in three women report having some amount of light bleeding during the first month or two of pregnancy. Most of these occurrences do not result in loss of pregnancy. I experienced spotting in two of my pregnancies before the eighth week of pregnancy and both of those pregnancies resulted in healthy girls. If you experience spotting or vaginal bleeding early on in your pregnancy you may hear the medical staff refers to it as threatened abortion, which can be scary to hear. When light bleeding leads to loss of pregnancy many terms are used to describe this loss that you may hear your health care staff speak about including those associated with spontaneous miscarriages such as threatened abortion, inevitable, incomplete, complete, or missed abortion. If you are spotting or experiencing light bleeding but have not passed any tissue or experienced any cramping, what you may have is a threatened abortion. This may mean that you are in the beginning stage of having a miscarriage or you may be experiencing things associated with a normal pregnancy that may be causing the bleeding. Light bleeding can progress into heavier bleeding quickly or over the course of a few days. Fortunately for me an ultrasound revealed that what was thought of as a threated abortion was an intact pregnancy with a strong heartbeat. Having personally experienced light bleeding in two pregnancies I can attest to the fact that the first thing a woman things of when she sees the blood is, "I'm losing my baby!" If the bleeding is brown in color it is most likely old blood. If the blood is bright red than it is fresh bleeding and more cause for concern than if it had been old blood. I was told that the color of blood is significant by one of the medical staff caring for me during my last pregnancy and she told me the meaning of the color of vaginal bleeding during pregnancy. If you also have cramping that feels like your period it is more likely that you are having a miscarriage and need medical attention, another tip I was told by this staff member. Do not panic if you are experiencing cramping though because some women have reported light cramping at the time of implantation and have continued with a healthy pregnancy. Fortunately I was not cramping in this pregnancy but had been cramping in a previous one that had led to my daughter being born at 23 weeks gestation. She survived and is a healthy teenager today.------4. Can Photosynthesis Be Carried Out Using The Light From A Torch?Look into: fluorescence induction studies Here are some resources for you: Grow light From Wikipedia, the free encyclopedia (Redirected from Plant light) Jump to: navigation, search Dual spectrum compact fluorescent grow light. Actual length is about 40cm.Grow lights are electric lamps designed to promote plant growth by emitting an electromagnetic spectrum appropriate for photosynthesis. It does this by mimicking the light spectrum from the sun, allowing indoor growth with outdoor conditions. Different light spectrums are used for the different stages of plant growth. The initial vegetative stage requires blue spectrum of light, whereas the later 'flowering' stage should be done with red/orange spectrums. The lights can be bought by spectrum colour specifically, or some companies such as Sylvania Grolux produce a full spectrum bulb which caters for all stages of growth. The light is usually used in conjunction with a reflector, to control and intensify the light emissions, and will include an electrical ballast to control the flow of current flowing to the light. This is required because of the high intensity of the light that is necessary to produce something akin to sunlight. But because of this intensity hydroponics can lead to double or more growth rate than regular growing. Lamp types used as grow lights include high-intensity discharge lamps and fluorescent lamps. Grow lights are most used for indoor gardening, including indoor hydroponics and aquatic plants. Artificial photosynthesis From Wikipedia, the free encyclopedia Jump to: navigation, search Artificial photosynthesis is a research field that attempts to replicate the natural process of photosynthesis, converting sunlight, water and carbon dioxide into carbohydrates and oxygen. Sometimes splitting water into hydrogen and oxygen by using sunlight energy is also referred to as artificial photosynthesis. Research is being done into a streamlined form of photosynthesis which breaks water into oxygen and hydrogen . This process is the first stage of plant photosynthesis (the Light-dependent reaction). Carbon dioxide is not required in this approach. The hydrogen released in artificial photosynthesis (stage 1) could be used in hydrogen engines to generate "clean" energy. The light-independent reaction (aka the Calvin-Benson cycle) is the second stage of plant photosynthesis, which converts carbon dioxide into glucose. Glucose is stored energy for a plants' growth and repair. It has been suggested that such a process replicated on an industrial scale could help to counter global warming. Specifically, the light-independent reaction of photosynthesis could be used to "mop up" excessive amounts of carbon dioxide in the atmosphere. Again, however, such a process would ultimately require a source of energy, just as plant photosynthesis does. A flashlight or torch is a hand-held portable electric spotlight.
Marilyn Manson Crushed by Falling Prop on New York Stage
Marilyn Manson has been rushed to hospital from a concert in New York after a huge prop made from two giant guns fell forwards onto him.Manson was about an hour into his set in the city's Hammerstein Ballroom yesterday when the prop - which appeared to be two giant guns joined by metal scaffolding - flipped forward. He can be seen in video posted from the event grappling with the prop for an instant, before it fell fully on him.#NileFM | #BreakingNews@marilynmanson crushed by falling stage gun props at concert, taken to hospitalWatch crowd-shot video below:— 104.2 Nile FM (@NileFM) October 1, 2017An eyewitness told the BBC that the singer laid on stage for up to 15 minutes covered by a sheet before he was carried out on a stretcher and taken to hospital.His condition is not currently known.Eyewitness Anthony Biscardi said: "He was performing the [Eurythmics] song Sweet Dreams. Towards the middle of the song it seemed as though he tried climbing onto a prop. The first touch of weight on those poles and it came crashing down onto him."Clips from the scene show tour staff instantly lifting the prop off Manson, but he does not get back up."He was pretty limp, almost as though he was unconscious," Mr Biscardi said.Mr Biscardi said a black sheet was put around Manson until he could be taken off stage. The house and stage lights went off for several minutes and came back on with an announcer saying the show was over "due to injury".A representative told Rolling Stone magazine that: "Manson suffered an injury towards the end of his incredible NYC show. He is being treated at a local hospital."Manson, 48, was three dates into his The Heaven Upside Down Tour. He was due to perform in Boston on Monday night.
The Time Travel Machine: Ashok Leyland's Auto Expo
At his office, vintage car restorer C S Ananth has literature pertaining to Austin A40 Devon within easy reach. For, until August 30, he was working on a 1948 model of the car, for his client, Ashok Leyland. The company had commissioned the restoration, seeking to make the car the frontispiece of a visual story tracing 70 years of organisational history.At an expo conducted over the last weekend, Ashok Leyland's history was parked in rooms, each roughly representing a decade. Visitors walking into the first room were greeted by a 1948-manufactured Royal Blue Austin A40 Devon, doused in soft stage lights. The car took visitors to the genesis of the company in 1948, when it was known as Ashok Motors. A timeline at throws light on the genesis:"Founded by Raghunandan Saran, Ashok Motors was set up in collaboration with Austin Motor Company, England and incorporated on September 7 (1948) for the Assembly of Austin cars."In 1949, at the company's factory in Ennore, near Madras, the Austin A40 began to be 'indigenously assembled'. Distribution of assembled Austin A40s in India continued till 1953. The Austin Motor Company was making Austin A40 Devon from 1947 to 1952, when it was replaced by the Austin A40 Somerset.Only assembled four-door Austin A40s were distributed. Along with the four-door Austin A40 Devon, the Austin Motor Company had introduced a two-door model called Austin A40 Dorset, which didn't make it to the Indian market. In the India of that period and the decades following it, two-doors did not make an impression on most buyers of passenger cars."In the West, two-door cars were in vogue. With a two-door car, buyers there were reassured about the safety of children sitting in the rear. In India, two-doors were seen as an inconvenience to elders: They would find it difficult to enter such a car," says Ananth.Moreover, the Austin A40s assembled and distributed by Ashok Motors (the company would be renamed Ashok Leyland only in 1955, when Leyland Motors Ltd became its equity partner) were bought and pressed into taxi service in the metros.In the last room, where the latest developments at the company were being showcased, a 1953 Austin A40 Somerset was parked. The car had been made electric and it drove home the company's move to work on new platforms, which include making electric vehicles. As part of the 70-year celebrations, it has inaugurated an electric vehicles manufacturing facility at Ennore.
Under the Stars and Quilts, with Randalls Island As Her Stage
It's a sleepover to beat all sleepovers. Food, stories, discussions, dances and, after an opening ceremony and a two-mile walk, settling down for the night on a 4,000-square-foot bed of quilts.For her newest performance project, "Then a Cunning Voice and a Night We Spend Gazing at Stars," the dance artist Emily Johnson will play host to 300 strangers in Randalls Island Park. This all-night event on Saturday, Aug. 19, which is presented by Performance Space 122, is no endurance test. Participants will be on the island long enough to watch the sun set and rise again. Ms. Johnson, who specializes in multidisciplinary work, is trying to spark some change and some healing in the world. "It takes us taking a step together to do that," she said. "I love bringing people together."And she's good at it. For Ms. Johnson, a soft-spoken Alaskan of Yup'ik ancestry, action taken, no matter how small, adds up. "Gather our awareness, gather our senses," she continued. "Gather our ability to care for one another, to rest together and to move toward a guided action."She can't predict what that action will be in the end, but Ms. Johnson does feel adamant that it's time for a shift. "Across the world, there are these disruptions and ripples — deep, deep anguish and deep, deep bursts of action, all of which is necessary," she said. "But how can we focus? We come together. And that is like ceremony. You don't know what the end of ceremony is, you just know that you're stepping into a process."Ms. Johnson, who lives on the Lower East Side after 21 years spent in Minneapolis, has been working toward such an event. Her recent project "Shore" extended beyond the proscenium stage to include, in a 2015 New York iteration, a performance that began outside and moved indoors, a section directed by Ain Gordon; volunteerism in the Rockaways and on Governors Island; and a potluck feast.This time, Mr. Gordon is directing the entire event; early on, he convinced Ms. Johnson to contain "Then a Cunning Voice" to a single site."She was talking about this idea of stargazing and about turning off electric light, so I sort of said, 'So we're going to do all that and then march everybody off to a theater and turn on stage lights?" he said. "That doesn't sound theatrical to me. So we began to talk about how it could all happen in one place."Mr. Gordon, a three-time Obie winner, enjoys the collaborative process because it refreshes his own. It helps that he and Ms. Johnson have different artistic impulses. "She tends to wish for things to ebb and flow," he said, "and I tend to be more decisive about 'here is the beginning and here is the end.'"In the millions of conversations we've had, I don't remember Emily saying, 'Will this be big enough for the size of the stage?' And I say that all the time."After hearing his comment, Ms. Johnson laughed for a good 10 seconds. "Good," she said.Ms. Johnson is just as fond of her other collaborators, who include the dancers Tania Isaac and Georgia Lucas, a 12-year-old from Newark who performed in "Shore," as well as the textile artist Maggie Thompson, who designed the quilts. They were created in multiple cities by volunteers at community sewing bees around the United States and in Taiwan and Australia. Inscriptions are sewn into the quilts, answering questions like, "What do you want for your well-being?" One answer reads: "A changed relationship to time."Jen Rae, a founder of the Australia-based Fair Share Fare, a collaborative art project that focuses on the future of food amid the looming disruptions of climate change, is planning the menu. In Melbourne, where "Shore" was also performed, Ms. Rae focused on indigenous food.In her work, subtly or otherwise, there is always a recognition of the notion of indigenous people and their land. Randalls Island, as Ms. Johnson pointed out, is in the Lenapehoking homeland — the lands inhabited by Native Americans known as the Lenape. For "Then a Cunning Voice," Ms. Rae is researching the history of Randalls Island, including its soil and the language and traditions of the Lenape people. It's not catering, but rather, it's food as art.Ms. Johnson knows that 12 hours is a long time to spend with strangers. She hopes that the initial walk to the performance site will be a way, she said, "to shed what we need to shed from the day.""I'm really relying on people to be ready to shift," she said. "That's going to be really necessary for this night to feel good. And that relates to what this whole night is about, which is about shifting so that we can shift the world."The audience, in other words, must be a willing participant and is very much a part of the piece itself. (An etiquette guide for the performance comes with purchase of a ticket.)"We are together and responsible for this thing," she said. "I think that that's good practice about being a responsible citizen. Why can't we enact this kind of responsibility in our lives?"Both she and Mr. Gordon are sure about one thing: the setting. "On Randalls Island, you can hear and feel the city, but you're also separate from it a little bit," Ms. Johnson said. "It's situated across from Rikers Island. I was like, all right, this is energy that wants to be exchanged and cleared and acknowledged — this feels like the right place to do this work."Mr. Gordon describes Randalls Island as being very old New York, which he likes. "All the beautification of New York — none of that has happened in how you get to Randalls Island," he said. "It's the old version of how you get somewhere. You really have to take the train to 125th Street and then you have to look for the bus stop, and it's a regular old bus, and then you say to the bus driver, 'Which stop do I get off for the Sunken Meadow?' And he says, 'I don't know.'"Laughing with delight, Mr. Gordon said: "It is kind of a secret little spot. That's how it feels to me."
Rock 'n' Roll Shabbat: the Spiritual Experience of Turning ...
It was 1984 when Dee Snider first asked me what I wanted to do with my life. The answer was, and still is, "I want to ROCK!" As the once dubbed "heavy metal rabbi," I've been exploring the question of whether rock 'n' roll music can support a deep spiritual/Shabbat experience. Given a rather conventional and full life as a congregational rabbi with two amazing children and a partner who is an OB/GYN resident, the truth is I don't really get to rock on a daily basis -- even though I need it man, oh how I need it! Sure, I infuse my daily routine with rock when I can. Lately, I listen to Anthrax's Worship Music on my commute to work, and I write sermons while listening to Perry Farrell and Jane's Addiction. Rock lyrics find their way into my teaching and preaching, but nonetheless, my relationship to rock is not what it once was. It's not the same as being in the mosh pit. It's not the same as being pressed up against the barricade in front of the stage. It's not the same as watching the house lights grow dim, waiting for the band to emerge and feeling the collective roar as the stage lights go up and the first notes wail. In the crowd you become part of an enormous community, when your voice merges with thousands of others, your individualism and ego are dimmed. For a brief moment, you can lose yourself to a collective consciousness and experience being part of something much greater. Today, almost everyone tells me they are "spiritual but not religious." Over the years I have been paying close attention to the experiences people have and cultivate that they consider to be "spiritual." Spirituality is so often characterized and caricaturized as meditation, yoga, chanting or sitting in a circle contemplating unity, oneness and the truth of our interconnectedness. In other words, for many of us, cultivating spiritual experiences is about trying to turn down the volume and pace of our daily lives. In the Jewish tradition, the spirituality of Shabbat often receives the same reductive, overly monochromatic treatment. It is not a new or radical statement to suggest that the concept of Shabbat -- and the experience of Shabbat -- is one of the greatest gifts the Jewish tradition offers its followers. The observance of Shabbat is said by many to be the "first labor law" in the history of humanity. We are commanded to "take a break" every week, to not permit our lives to be solely about work and the mundane. Shabbat, we are taught, should be an oneg, a joy and a delight. Indeed we engage in the unique joy and pleasure of being in the company of family and friends sharing meals and thoughts about deeper matters, and about Truth. This core Jewish tradition and observance is a profound teaching in and of itself. Somehow, the current normative American idea that spirituality is about slowing everything down has become prevalent throughout the organized liberal Jewish world as well. In one synagogue after another, and in one Jewish community after another, the prevailing wisdom and practice is that the "spirituality of Shabbat" is to be experienced by slowing everything down, by becoming more quiet and still. To be clear, this is not a bad thing at all. Shabbat prayer services including moments of silence, chanting and Shabbat meditation retreats for example, can be exciting, vibrant and authentic ways of experiencing the gifts of Shabbat. However, they are not the only way. There are different spiritual personalities in our world and for some spiritual types, increasing volume and speed is an equally powerful way to access an authentic Shabbat experience. In fact, while turning the volume down and becoming more still can support our experience of the spirituality of Shabbat, so too, turning the volume up on the Marshall Amp stacks can do the same thing. Rock 'n' roll can generate for me joy, delight, rest and a break from work and the mundane. Since I can't rock out every day, when would I rock, if not on Shabbat?Not only is my spiritual personality occasionally better served on Shabbat with a dose of rock 'n' roll, but it is an authentic Jewish experience to do so. Every Shabbat we symbolically reenact the moment of revelation at Mount Sinai. The biblical account of revelation at Sinai seems to me to be more like a rock concert than a silent meditation. "There was thunder and lightning, a dense fog covered the mountain, there was a loud horn and everyone shook. Mount Sinai was smoking, and trembling violently, the horn grew louder .. .all the people saw the sounds of the thunder and lightning, the blare of the horn and of the mountain smoking" (Exodus 20). One might argue that attending a rock concert, with a laser light show, fog and smoke machines, booms of horns and thunder, pyrotechnics perhaps, and a crowd of thousands all listening for Truth, would be the most accurate way to symbolically recreate revelation. There is also an implicit sensuality that runs through rock 'n' roll, ever since Elvis' hips first gyrated. While some might argue that rock 'n' roll, with its sensuality, passion and intensity is counter to the religious spirit of Shabbat, I would argue that on the contrary, Shabbat is an extremely physical as well as a spiritual time, when we are meant to take delight in sensual experiences of touch, taste and smells. There is a long standing rabbinic tradition, both in mystical Judaism and in the Talmud, that erev Shabbat, the evening of Shabbat, is a particularly auspicious time for sexual relations. Sexual relations on erev Shabbat are viewed in these texts as acts of joy with spiritual and potentially profound mystical ramifications. Sexual activity is viewed in this context as a sacred spiritual act with purpose that goes far beyond a simplistic notion of sex as an act of procreation. So in honoring the part of myself, and of many members of my community that crave the spiritual experience of "rocking out," we have created our first ever "Rock 'n' Roll Shabbat." At this service we moved our way through the matbeah, the traditional structure of a Friday night service by setting some liturgical pieces to rock 'n' roll or more upbeat tunes. We also insert rock songs into certain "thematic" prayers at key moments in the service. The service was, of course, followed by a party. For some, it was the most powerful Shabbat experience they have ever had.
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