Analysis: Jackson Case Will Change The Tune For Concert, Artist Insurance

Carnegie Hall concert goes on, after strike canceled performance

A strike by stagehands forced the cancellation, but the union temporarily suspended its strike on Thursday, allowing the concert hall to open its doors for now. A union leader told Reuters he was optimistic the two sides could reach a permanent deal by Friday. The dispute hangs on whether the stagehands – mostly prop-makers, carpenters and electricians – should have a role in a new educational wing that the Carnegie Hall Corp plans to open above the hall next year. The corporation wants to hire cheaper labor at the education wing. Negotiations with the union took an unprecedented turn on Wednesday when Local 1 of the International Alliance of Theatrical Stage Employees decided to go on strike for the first time in the history of Carnegie Hall. However, when James Claffey, president of Local 1, emerged from negotiations on Thursday afternoon, he announced the union had agreed to pull down the picket line for the day, citing progress in the talks. “This is a goodwill gesture towards Carnegie Hall,” said Claffey, whose local has negotiated some of the most lucrative pay in the industry. He later said further progress had been made, and that even though picketing would continue, he hoped to reach a deal by Friday. Carnegie Hall’s five full-time stagehands make an average of $400,000 per year including benefits, The New York Times reported, citing the organization’s tax returns. Claffey said there were many more stagehands represented by the union who work only sporadically. “This dispute is not about those employees,” Claffey said. “This is about everyone else. These are middle class employees.” The strike forced Carnegie Hall to cancel a performance by the Philadelphia Orchestra with violinist Joshua Bell. The concert was part of Carnegie Hall’s opening-night gala, the organization’s biggest fundraising event of the year. “We are disappointed that, despite the fact that the stagehands have one of the most lucrative contracts in the industry, they are now seeking to expand their jurisdiction beyond the concert hall and into the new education wing in ways that would compromise Carnegie Hall’s education mission,” said Clive Gillinson, the organization’s executive and artistic director.

The Lumineers illuminate Chaifetz Arena in concert

Tim Kilo State Farm Insurance

Ruben Insurance Services Inc, a large entertainment insurance firm, which has handled many of the world’s biggest tours over the last 12 months. “If you have a security guard who winds up punching someone in the face or kills someone, who is responsible? “Is it the artist, the bodyguard, the promoter? I think promoters will require stars to indemnify their own staff,” said McNaught. “Even if AEG was not held responsible, I still think this case will make attorneys find ways to tighten contracts.” An attorney for Lloyds of London involved in the Michael Jackson case declined comment for this story. The price of premiums also may go up, according to one concert producer who did not want his name used. Currently, promoters pay 3 percent to 5 percent of the value of the policy, meaning that AEG paid between $530,000 and $875,000 for the $17.5 million policy it took out with Lloyds of London for Jackson’s “This is It” tour. AEG, which had initially sought to collect on the $17.5 million policy after Jackson’s death canceled the tour, dropped a claim against Lloyds amid revelations in leaked emails that show AEG executives were concerned about his stability ahead of his planned London comeback tour. Insurers routinely send doctors to do medical exams — and occasionally hire investigators for background checks– before placing multi-million dollar policies for the stars. After the Jackson trial, the reams of information they need will skyrocket, said Adam Steck, CEO of SPI Entertainment, who recently brokered a deal for an 18-show run by rocker Meatloaf at Planet Hollywood in Vegas, starting September 26. “We’re in a high risk business, said Steck. “The case will require artists to disclose medical conditions and the producer will need to insure and vet them properly, meaning more red tape. This could affect ticket pricing at the end of the day.” In its wrongful death suit against AEG, Jackson’s family claimed AEG negligently hired Murray as Jackson’s personal physician and ignored signs Jackson, who died in 2009 at 50 from an overdose of propofol, was in poor health.

Fortunately, that’s exactly what she did as she partied with friends at a Bruno Mars concert in Manchester, this evening. The 27-year-old Liverpudlian, who sported a very golden tan, looked healthier than ever in a black skater dress with a Peter Pan collar. In her trademark LBD: Coleen gets ready to rhumble at the Bruno Mars concert in Manchester The wife of Wayne Rooney only gave birth to their second son Klay, in May, but already looks to have lost her baby weight, exposing her toned legs in the LBD. She accessorised the outfit with a black clutch bag and pointed stilettos for the sold-out gig, where she bumped into fellow WAG Danielle Gibson, wife of Everton player Darren Gibson. There, Coleen was seen dancing energetically with her mother, Colette, to Mars’ biggest hits including: Locked Out Of Heaven and Grenade. Mum’s the word: Coleen was joined at the gig by her mother named, err, Colette The pair enjoy a famously close bond, which has clearly influenced the projects Coleen accepts as a media personality. Earlier this week she tweeted her joy at working with mothers for the Tesco Mum Of The Year awards. She said: ‘Loving being ambassador of the # TescoMumoftheYear Awards as I get to hear about so many amazing mums’. The shortlisted candidates will enjoy a star-studded luncheon at a London hotel in advance of Mother’s Day 2014. Ticket to ride: The WAG made a special effort to enjoy her down-time – even leaving her native Liverpool for the night Chart-topper Mars is performing at the Manchester Arena before visiting Scotland, where he will appear at Glasgow’s Hydro. After that he will enjoy a three-night residency at London’s O2 before embarking on a major European leg of the tour. He is then scheduled to visit Australia and New Zealand, where the shows will end in Auckland on 16 March. You got the dress code memo, too!

Life on (Bruno) Mars: WAG Coleen Rooney enjoys time away from the kids – with a girls’ night out at Manchester concert

In her trademark LBD: Coleen gets ready to rhumble at the Bruno Mars concert in Manchester

When Dylans rep took the stage to asked concertgoers to enjoy an analog experience (i.e., without smartphones), she got a healthy round of boos. And despite security efforts, plenty of people shot videos and pictures during the show. Bottom line: This is a rule that is simply impossible to police. So, maybe there could be some common-sense compromises. Concertgoers could be encouraged to take pictures and videos only during the first song (which is when professional photographers shoot). And encores are already a free-for-all: From my experience, there is no effort to stop fans from rushing the stage and holding up their smartphones when a show is about to end. That leaves most of the concert for old-fashioned, artist-to-audience communication. Electro-junkies, of course, should be courteous to the fans around them: If youre going to tweet (as Im paid to do during concerts), hold the phone low and away so the glare doesnt bother your seatmates. If youre going to take a photo, do it fast and sit down. Overzealous security While artists are setting these rules, promoters and concert venues should be concerned that photo enforcers are unnecessarily antagonizing fans. Its one thing for security officers to keep the rowdies in check; its another for them to ruin your experience by hovering around and giving you the evil glare and threats of ejection (as I got when I admittedly broke the rules at Dylans show and tried three times to take pictures. I guess I did need a weatherman to know which way the wind was blowing).

Dumb rule: Banning smartphone concert pictures

Frontman Wesley Schultz said when he walked into the arena earlier in the day hed hoped itd be at least half full for the concert. The band did that and much more. The band, out promoting its self-titled debut album (recently rereleased in a deluxe version), modestly took to the Chaifetz Arena stage, which was sparingly decorated save for five vintage chandeliers overhead. Schultz tried to set a particular mood early on during the bands popular Ho Hey, requesting fans to put away their cellphone video and to just be there in the moment. (He apparently didnt know that St. Louis concertgoers do as they please, and repeated the request mid-song.) The band, featuring Schultz and his comrades Jeremiah Fraites (drums), Neyla Pekarek (vocals, cello), Stelth Ulvang (piano) and Ben Wahamaki (bass), delivered an illuminating performance that was a 75-minute run-through of its album with rootsy songs boasting homespun lyrics and shifting tempos. Submarines, Flowers in Your Hair, Classy Girl, Dead Sea and Big Parade were among the tunes plucked from the album, often resulting in sing-alongs, clap-alongs and more including the band dividing the audience in half for some call and response on Stubborn Love. Aint Nobodys Problem was one of the bonus tracks on the reissue performed here, and keeping in that spirit of highlighting the bonus tracks, the band also performed worthy new songs Darlene and Elouise in the center of the arena floor. Were used to playing smaller shows. We wanna make this feel like a smaller show, Schultz said. The band was truly up close and personal on Darlene and Elouise, not on a B stage that was nearly as remote as the main stage. Bob Dylans Subterranean Homesick Blues, in twisted form here, proved a fine complement to the bands repertoire. Fans standing on the open floor responded in kind to the Lumineers, throwing glow sticks high into the air with reckless abandon all evening. Also on the bill were Dr. Dog and Nathaniel Rateliff. Kevin C.