311 Tour
Lighting Co.
Premier Global Production Co., Nashville, Tenn.
Venue
Various (tour)
Lighting Co.
Premier Global Production Co., Nashville, Tenn.
Venue
Various (tour)
Lighting Co.
Legacy Sound Productions/Zebra Productions
Venue
Pershing Center
Lincoln, Neb.
Lighting Co.
Light Action Productions
Venue
Snowbasin, Utah
Let me just get this out there right off the bat – I'm not a rigger.
So what am I doing in an automation and control class? I'm glad you asked.
I've been involved in the production industry in one form or another for over twenty years and I've successfully dodged learning much about rigging and automation. Until now.
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Do you remember the first concert you ever attended? Of course you do. I remember mine like it was yesterday. It was a band called Krackerjack at the Corpus Christi Exhibition Center. They had a bass player named Tommy Shannon (currently touring with Joe Satriani, Eric Johnson, Jonny Lang, and Kenny Wayne Shepherd on the Experience Hendrix Tour) and a young guy on the guitar they called "Skeeter." Later on they stopped calling him Skeeter and started calling him Stevie Ray Vaughn.
The Opening and Closing Ceremonies of any Olympic Games is a daunting production task, and the ceremonies for the 2010 Winter Olympics in Vancouver, B.C. were no different. David Atkins of Australia-based David Atkins Enterprises (DAE) served as the ceremonies' executive producer and artistic director.
Scenic designer Scott Pask is admittedly a perfectionist. When PLSN called him to discuss his work on the new Martin McDonagh play A Behanding in Spokane, he was examining a set piece on the new musical Promises, Promises. "I'm on stage," he reveals. "We'll talk, but I'm kind of looking at something as well. So if I break away for a second, forgive me." This is a polite but unnecessary disclaimer. It actually takes a matter of moments to work out what he is doing, and then the passionate Pask is ready to chat in-depth about Spokane. But that moment emphasizes how he is committed to his work at every phase of creation.
The road to corporate success is littered with the ghosts of companies who have spun out in the ditch or otherwise failed to navigate the twists and turns along the way. Life on the corporate streets can be rough. But every once in a great while, a company comes along and defies the odds of survival. J.R. Clancy, the manufacturer of stage rigging systems based in Syracuse, N.Y., has not only survived for 125 years but has thrived in the theatrical rigging market.
Daughtry, the group fronted by Chris Daughtry – and also, incidentally, the group who has embraced my favorite font, Bleeding Cowboys – is on tour in 2010. After finishing up some shows in the U.S., the tour is moving to Europe and then on to unspecified locations to entertain U.S. troops. Then it's back to the States for more dates in the U.S. As Daughtry's LD, Matt Mills, says, "This one is going to go for awhile."
For the first time at the 2010 Winter NAMM show in Anaheim, a special roundtable session was held on the "greening" of music tours and production. The result was anything but predictable. Eight diverse and accomplished pros dove headlong into a two-hour conversation that began with the technicalities and practicalities of environmentally responsible touring practices. They ended on a deeper note delving into the value and worth of our industry "going green."
Over the last decade, stage lighting has taken some extreme curves and turns. What started as a weak source of light in questionable fixtures has emerged as a most viable source of light with new fixtures emerging at a rapid pace. LED lighting has become quite the buzzword with touring productions, bands and management, and is strongly associated with green lighting or environmentally friendly lighting.