Nirvana’s ‘live And Loud’ Concert: The Rehearsal Footage You’ve Never Seen

Walt Disney Concert Hall’s organ conservator pulls out all the stops

Tweet Photo credit: DJDM/WENN Katy Perry is set to headline a benefit concert that will be held at The Hollywood Bowl in Los Angeles on October 23, one day after her ” Prism ” album drops. Some of the proceeds of the concert called “Katy Perry’s: We Can Survive” will benefit Young Survival Coalition, a global organization that aids young women with breast cancer. Perry will be joined by some of her favorite artists at the show, which the promoters have said will be her only concert appearance this year. The 28-year-old pop star has invited Sara Bareilles , Ellie Goulding , Tegan and Sara and Kacey Musgraves . “These are all very powerful women that I really respect and look up to, and I wanted them to come together to promote this supportive message and have a fantastic night full of great music,” Perry said of her involvement at the concert on Monday, September 23. “There’s so many great acts in this lineup. And I get to play a lot of songs off the record that will have come out the night before.” Tickets for the show go on sale on Friday, September 27 at 10:00 A.M. PT through Ticketmaster. Pre-sale for Citi Thank You card members begins on Tuesday, September 24 at 10:00 A.M. PT, including VIP packages and access to Perry’s pre-concert sound check. AceShowbiz.com

GUINNESS & Co. And Jimmy Kimmel Live! Take Over Hollywood Blvd. To Host Paul McCartney Concert

Among its overseers is conservator Phil Smith, 61, who shows off the instrument to visitors. Smith, who grew up listening to organ music in church, is never too far away from work — his downtown apartment has a view of Disney Hall. What does it mean to be an organ conservator? It’s an interesting title because I don’t really conserve anything, I show it off instead of conserve it. How did you become interested in the organ? My father being a pastor at a church and my mother being a pianist and singer. My mom taught me how to play piano at age 3 or 4 when she heard someone playing and walked in and saw me playing. It wasn’t one of her students, it was me playing what I heard her rehearsing with another student. From then on she taught me. FULL COVERAGE: Walt Disney Concert Hall at 10 My father showed me an organ at some point and I thought I’d try it, I was 12 and pretty proficient piano-wise. After, I ran across the driveway and told my mom I wanted to play organ and she said, “OK, dinner is almost ready.” What do you like about the instrument? It’s the king of instruments. It’s the most complex and it’s the ultimate in power. When you pull out all the stops and play something tutti super fortissimo it’s unlike anything else.

Only when Walt Disney’s daughter Diane Disney Miller made a final gift contingent on Gehry’s full control of the design was the impasse broken. Those fits and starts matched what was happening in the city at large. During the period from design to completion, 1988 to 2003, Los Angeles negotiated riots and a major recession, rediscovered its downtown and cycled through three mayors. Gehry kept reshaping the architecture of a major civic building for a city that seemed to be trying to reimagine, if not remake, itself. One of the most remarkable aspects of Disney Hall is how from the start it sensed the extent to which the literal and symbolic holes in the Bunker Hill urban fabric needed filling. The exuberance of the design, the way it seems eager to expand outward like a bunch of balloons in a child’s fist, is in direct contrast to Moneo’s cathedral and Isozaki’s museum, both of which turn inward. Over time Gehry and a few key colleagues in his firm, including James Glymph, Craig Webb and a young Michael Maltzan, gathered the smaller buildings of the initial proposal into a single mountainous form. (The plain box along 2nd Street, holding the L.A. Phil offices, was added in a later stage.) They changed the cladding from stone to stainless steel. They slid the building closer to Grand Avenue and slipped a glass-enclosed ground floor under the steel curves above, so that pedestrians move directly, without particular ceremony, from the sidewalk into the lobby. Those who come by car ride escalators up from the parking garage below. The abruptness of that entry and the way the wide outdoor stairs leading up from the corner of Grand and 1st Street have always been underutilized, even orphaned still leaves many visitors to the building disappointed. But this interest in undermining the grander expectations of a classical music audience was a key part of Gehry’s design from the start.

Nirvana performs during Live and Loud on December 13, 1993

By James Montgomery (@positivnegativ) Clips of Nirvana ‘s legendary “Live and Loud” performance have been floating around on the Internet nearly as long as there’s been an Internet … though they certainly don’t give you a true feel for just how raucous and raw the show at Seattle’s Pier 48 truly was. To rectify that, MTV’s full “Live and Loud” concert is being released on September 24, both as a standalone DVD and as part of the deluxe, 20th-anniversary reissue of Nirvana’s In Utero album . It gives fans their first chance to witness the full, hour-plus set, not to mention exclusive, never-before-seen rehearsal footage … all of which captures the band operating at the peak of their powers. Last week, we unveiled moments of the “Live and Loud” performance, and today, we’re bringing you a pair of those rehearsal clips: “Very Ape” and “Radio Friendly Unit Shifter.” Shot on the same day as the show (at least judging by Nirvana’s onstage outfits), the footage captures both the band you know, and the one you probably don’t. The former is, of course, the surly, downright serious side of the band, and it’s on display here: Witness Kurt Cobain’s sarcastic jab at the show’s director during sound check “We’re just going to stand here until someone tells us to play” which directly precedes him launching into the curdling opening chords of “Shifter.” But the latter is, too. Turns out, Nirvana weren’t all doom and gloom, a fact those who knew them always seem to point out. Cobain spends the first portion of their “Very Ape” rehearsal absent-mindedly pounding on a drum kit located behind Dave Grohl, Par Smear jokes with bassist Krist Novoselic, and somebody has placed a ball cap on the head of the winged, transparent anatomical figure that graces the In Utero album cover. They’re not exactly sunny moments, but they certainly aren’t surly, either. In short, these rehearsal moments help paint the full picture … one that, for nearly 20 years has been incomplete. That all changes on September 24, with the release of “Live and Loud.” Sit back and enjoy. Nirvana performs during Live and Loud on December 13, 1993 Photo: Jeff Kravitz/FilmMagic

Frank Gehry’s Walt Disney Concert Hall is inextricably of L.A.

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