DOCSLIB.ORG

The Following Forms of Proof of Age ID; Valid School Identification Pass, Learners Permit, Passports, Proof of Age Cards Or Keypass

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Following Forms of Proof of Age ID; Valid School Identification Pass, Learners Permit, Passports, Proof of Age Cards Or Keypass I AM HARDWELL 2014 CONDITIONS OF TICKET PURCHASE AND ENTRY TO THE VENUE 1. I Am Hardwell (“Event”) is presented by Future Music Pty Ltd (ACN 165 510 501) of 222 York St, South Melbourne, Victoria 3205 (the “Promoter”). 2. These conditions govern the supply of all tickets (including complimentary tickets) to the Event that are issued by the Promoter, or the Promoter’s authorised ticket seller and allow access to the venue where the Event is held (including all areas under the control of the Venue owner or hirer, the “Venue”) (“Conditions”). As the individual purchasing or holding the ticket to the Event (“you”, “your”) agree to the following Conditions. These conditions work in conjunction with the Promoter’s authorised ticket seller’s terms and conditions (“Ticket Terms”). 3. Entry: You agree that: a. the Event is strictly a 15 years and older event and that you are aged over 15 years at the time of purchasing the ticket. You will be required to present one acceptable proof of age ID to enter the Event and Venue. The Promoter accepts the following forms of proof of age ID: legally accredited driver’s licenses, learners permit, passports, proof of age cards or Keypass for all Venues. Proof of age identification is required to buy & consume alcohol. ID may be requested at any time. For those aged 15 to 17 years the following forms of proof of age ID; valid school identification pass, learners permit, passports, proof of age cards or Keypass. ID may be requested at any time; Colour photo copies of passports stamped and signed by a justice of the peace will also be accepted. Photocopies of a birth certificate, signed by a justice of the peace and accompanied by 1 other form of any type of photo ID will be accepted. b. you must present a valid ticket to gain entry to the Event and Venue. Tickets will be exchanged for an official wristband once at the Venue. Wristbands removed from wrists or tampered with will be rendered invalid & will not be replaced. Lost or missing wristbands will not be replaced. Anyone found on site without a valid wristband may be deemed to have trespassed and ejected from the Event and Venue; c. tickets should be treated like cash. Tickets are not refundable and will not be replaced or refunded if lost, stolen or damaged, except as required by law or as otherwise specified by these Conditions or the Ticket Terms. Damaged or defaced tickets may not be accepted; d. entry to the Event and Venue and your continued presence at the Event and in the Venue is conditional upon you agreeing to be searched (including your person, bags, clothes or other possessions) by means of a physical search or metal detector on entry and while in the Venue; e. no pass outs will be issued unless otherwise advised or in the case of extreme weather conditions or emergency situations; f. any person gaining unauthorised access to the Event or Venue may be liable to prosecution; g. by entering the Event and Venue, you consent to (i) the recording of your likeness and/or voice by any means (including but not limited to audio and visual recordings by television cameras and photographers) (together “Images”) and (ii) the commercial exploitation, throughout the world, of your Images by any means by Promoter and its commercial partners without compensation; and h. there are restricted capacities at some stages and other tented structures. Once the maximum capacity is reached in these areas there will be no further admissions. Your purchase of an Event ticket does not guarantee admission to these areas in such cases. 4. Prohibited Items: You agree that: a. for the comfort and safety of patrons and performers, the following items are NOT allowed into the Event or Venue: alcohol; animals except service animals (e.g. seeing eye dogs, police dogs and horses); firearms, any item that could be used as a weapon; beach balls & other inflatable devices; drink & food cans; chairs & stools, any temporary shelter, including umbrellas; eskies; fireworks; glass (including bottles); large containers in excess of 600ml; large bags or large backpacks, amplification equipment; unauthorised promotional, commercial, political, religious or offensive items of whatever nature including clothing, banners, signs, symbols and leaflets or flyers; laser pointers, distress signals, whistles or loud hailers; or other items deemed or considered dangerous or capable of causing a public nuisance that could be used to distract, obstruct or interfere with any performer or other patrons enjoyment. Perfume and deodorant bottles must be sealed and must not have screw tops; b. no illicit substances or drugs may be brought to the Event or in or around the Venue. Any person found in possession of suspected illicit substances or drugs within or around the vicinity of the Event or Venue will be removed or refused entry and referred to the police; c. no recording device of any kind is allowed except hand held point and shoot cameras with a non-removable lens. Professional cameras of any kind are not allowed at the Event or in the Venue without the written permission of the Promoter. Discretion as to whether your camera is deemed a professional-standard camera’ rests with the Promoter’s security staff and debate will not be entered into. Cameras with powerful zoom lenses or multiple lenses in a carry case or SLR cameras are generally not allowed; d. no person wearing clothing, jewellery, or any other accessory displaying or indicating by form of wording, colours, logo, symbol or otherwise that they are members of or otherwise associated with criminal gangs be allowed entry to or be permitted to remain at the Event or Venue; e. prohibited items will be confiscated by the Promoter. The Promoter accepts no responsibility for confiscated items. If you have in your possession or refuse to surrender to the Event staff any prohibited object or article including but not limited to photographic or recording equipment, alcohol or drinks, that is not permitted to be brought into or used in the Event or Venue, you may be refused entry to the Event and Venue; You may bring one (1) unopened, sealed bottle of water no bigger than 600ml to the Event. Drinks required for dietary or health purposes are allowed in unopened sealed containers not exceeding 600ml provided that you hold and show security a written consent from a registered medical health professional. 5. Conduct: You agree: a. to abide by any terms of entry into the Event and the Venue (as prescribed by the Venue) to the extent those terms of entry do not conflict with these Conditions; and b. not to do any of the following at the Event or in or around the Venue: i. cause damage to, improperly use, deface or tamper with any part of the Venue or public facility or festival infrastructure, nor remove or attempt to remove any item or object from the Venue or the Event; ii. throw or attempt to throw any stone, bottle, projectile or other object; iii. use indecent, obscene, racist or discriminatory language or threatening or insulting words, or otherwise behave in a threatening, abusive, riotous, indecent or insulting manner; iv. interfere with, obstruct or hinder the Promoter, the Venue, its employees, agents or contractors in the exercise of their powers, functions or duties or behaviour in a manner which threatens, or is intended to threaten the safety of the performers, employees, agents or contractors; v. behaviour in a manner which reasonably interferes with the other patrons enjoyment of the Event; such as stage diving’, ‘moshing’, ‘climbing’ and ‘crowd surfing’. Such activities are strictly prohibited at the Event and the Venue; vi. smoke in areas within the Venue nominated as non-smoking; and vii. to hold yourself out or otherwise promote yourself or any good or service as being associated with the Promoter where they are not authorised by the Promoter to do so in a way that would infringe the rights of those parties commercially associated with the Promoter; c. in the event of an emergency situation or evacuation, you must follow all official directions by Venue and Promoter’s staff & security; d. a patron who is deemed to be affected by the consumption of alcohol or drugs may, in the Promoter’s sole discretion, be refused entry to, or ejected from, the Venue. Alcohol must not be removed from the Venue. 6. No Re-sale: You agree not to (i) re-sell any tickets to the Event at a premium over the face value of the ticket (including via on-line auction or classified sites) or (ii) use any of them for advertising, promotional or other commercial purposes (including competitions, trade promotions or travel or hospitality packages) or to enhance the demand for other goods or services, in each case without the prior written consent of the Promoter or (iii) re-sell or otherwise provide to any third party who will, or is likely to, re-sell any such tickets at a premium over the face value of the ticket (including via on-line auction or classified sites) or use any of them for advertising, promotional or other commercial purposes (including competitions, trade promotions or travel or hospitality packages) or to enhance the demand for other goods or services, in each case without the prior written consent of the Promoter. Scalping warning: if the ticket is sold or used in contravention of this condition, the bearer of the ticket may be denied admission to the Event and Venue. In addition, the resale of tickets in certain circumstances is governed by ticket sales legislation and may attract criminal penalties.
Load more

Recommended publications
  • Arguelles Climbs to Victory In2.70 'Mech Everest'
    MIT's The Weather Oldest and Largest Today: Cloudy, 62°F (17°C) Tonight: Cloudy, misty, 52°F (11°C) Newspaper Tomorrow: Scattered rain, 63°F (17°C) Details, Page 2 Volume 119, Number 25 Cambridge, Massachusetts 02139 Friday, May 7, 1999 Arguelles Climbs to Victory In 2.70 'Mech Everest' Contest By Karen E. Robinson and lubricant. will travel to Japan next year to ,SS!)( '1.1fr: .vOl'S UHI! JR The ramps were divided into compete in an international design After six rounds of competition, three segments at IS, 30, and 4S competition. Two additional stu- D~vid Arguelles '01 beat out over degree inclines with a hole at the dents who will later be selected will 130 students to become the champi- end of each incline. Robots scored compete as well. on of "Mech Everest," this year's points by dropping the pucks into 2.;0 Design Competition. these holes and scored more points Last-minute addition brings victory The contest is the culmination of for pucks dropped into higher holes. Each robot could carry up to ten the Des ign and Engineering 1 The course was designed by Roger pucks to drop in the holes. Students (2,.007) taught by Professor S. Cortesi '99, a student of Slocum. could request an additional ten Alexander H. Slocum '82. Some robots used suction to pucks which could not be carried in Kurtis G. McKenney '01, who keep their treads from slipping the robot body. Arguelles put these finished in second place, and third down the table, some clung to the in a light wire contraption pulled by p\~ce finisher Christopher K.
    [Show full text]
  • University of Southern Queensland Behavioural Risk At
    University of Southern Queensland Behavioural risk at outdoor music festivals Aldo Salvatore Raineri Doctoral Thesis Submitted in partial fulfilment of the requirements for the Degree of Doctor of Professional Studies at the University of Southern Queensland Volume I April 2015 Supervisor: Prof Glen Postle ii Certification of Dissertation I certify that the ideas, experimental work, results, analyses and conclusions reported in this dissertation are entirely my own effort, except where otherwise acknowledged. I also certify that the work is original and has not been previously submitted for any other award, except where otherwise acknowledged. …………………………………………………. ………………….. Signature of candidate Date Endorsement ………………………………………………….. …………………… Signature of Supervisor Date iii Acknowledgements “One’s destination is never a place, but a new way of seeing things.” Henry Miller (1891 – 1980) An outcome such as this dissertation is never the sole result of individual endeavour, but is rather accomplished through the cumulative influences of many experiences and colleagues, acquaintances and individuals who pass through our lives. While these are too numerous to list (or even remember for that matter) in this instance, I would nonetheless like to acknowledge and thank everyone who has traversed my life path over the years, for without them I would not be who I am today. There are, however, a number of people who deserve singling out for special mention. Firstly I would like to thank Dr Malcolm Cathcart. It was Malcolm who suggested I embark on doctoral study and introduced me to the Professional Studies Program at the University of Southern Queensland. It was also Malcolm’s encouragement that “sold” me on my ability to undertake doctoral work.
    [Show full text]
  • Christian Rock Concerts As a Meeting Between Religion and Popular Culture
    ANDREAS HAGER Christian Rock Concerts as a Meeting between Religion and Popular Culture Introduction Different forms of artistic expression play a vital role in religious practices of the most diverse traditions. One very important such expression is music. This paper deals with a contemporary form of religious music, Christian rock. Rock or popular music has been used within Christianity as a means for evangelization and worship since the end of the 1960s.1 The genre of "contemporary Christian music", or Christian rock, stands by definition with one foot in established institutional (in practicality often evangelical) Christianity, and the other in the commercial rock music industry. The subject of this paper is to study how this intermediate position is manifested and negotiated in Christian rock concerts. Such a performance of Christian rock music is here assumed to be both a rock concert and a religious service. The paper will examine how this duality is expressed in practices at Christian rock concerts. The research context of the study is, on the one hand, the sociology of religion, and on the other, the small but growing field of the study of religion and popular culture. The sociology of religion discusses the role and posi- tion of religion in contemporary society and culture. The duality of Chris- tian rock and Christian rock concerts, being part of both a traditional religion and a modern medium and business, is understood here as a concrete exam- ple of the relation of religion to modern society. The study of the relations between religion and popular culture seems to have been a latent field within research on religion at least since the 1970s, when the possibility of the research topic was suggested in a pioneer volume by John Nelson (1976).
    [Show full text]
  • 2020-2021 Mock Trial Competition
    2020-2021 MOCK TRIAL COMPETITION Val Orr, Personal Representative of the Estate of Doane Orr, Deceased vs. Dis-Chord, Inc. 1 Thank you The State Bar of Nevada Mock Trial Committee sincerely thanks the Indiana Bar Foundation and Susan Roberts, case author, for permission to use this mock trial case. The case and materials have been edited for use in the 2020-2021 State Bar of Nevada Mock Trial Program. We extend our thanks to the Washoe County Bar Association for their continued support of the Mock Trial Program including logistics and funding. Many thanks to the Nevada Bar Foundation. The state bar’s Mock Trial Program is sustained through a Foundation grant funded by the Charles Deaner Living Trust. Chuck Deaner was a Nevada attorney and ardent supporter of law-related education. The state championship round is named in his honor. Mock Trial Committee Members Andrew Chiu, Chair, Staff Counsel for AIG Lisa Bruce, Bruce Law Group Sandra DiGiacomo, Clark County District Attorney’s Office Neal Falk, Minden Lawyers, LLC John Giordani, Clark County District Attorney’s Office Edmund “Joe” Gorman, Second Judicial District Court Kimberley Hyson, Kravitz, Schnitzer & Johnson Gale Kotlikova, Heshmati & Associates Erica Roth, Second Judicial District Court John Shook, Shook and Stone Emily Strand, Pitaro & Fumo Andrew Wong, Federal Public Defender’s Office 2 INTRODUCTION This year’s mock trial case involves the death of a concert attendee from a lightning strike during an outdoor concert. The Plaintiff is the spouse of the Decedent and the Personal Representative of the estate. Plaintiff is pursuing a wrongful death claim against the rock band, claiming the Defendant failed to cancel the concert due to the bad weather and failed to communicate weather conditions to concert goers.
    [Show full text]
  • LN PR Template
    BEYONCÉ and NINE INCH NAILS HEADLINE ‘BUDWEISER MADE IN AMERICA’ MUSIC FESTIVAL IN PHILADELPHIA LABOR DAY WEEKEND Blockbuster Line-Up Unveiled Via Exclusive Spotify Playlist Performers Include Queens Of The Stone Age, deadmau5, Phoenix, Calvin Harris, Empire Of The Sun, Imagine Dragons, Wiz Khalifa, Kendrick Lamar, Macklemore & Ryan Lewis, Miguel, Public Enemy and Solange Two-Day Concert, Benefitting United Way Budweiser Made In America Festival Art Features Work By Renowned American Artist Richard Prince PHILADELPHIA. PA (April 10, 2013) – Today, Shawn “JAY Z” Carter, Budweiser and United Way of Greater Philadelphia and Southern New Jersey and Live Nation announced the line-up of the 2013 “Budweiser Made In America” music festival. Following last year’s groundbreaking inaugural concert, the two-day festival features some of today’s most diverse live performers. The blockbuster line-up was unveiled today via an exclusive Spotify playlist, http://spoti.fi/10SBoYP. Complete ticket purchasing and presale information is listed below. As he did in 2012, JAY Z has curated an explosive roster of talent, which includes headliners Nine Inch Nails, Beyoncé as well as A$ap Rocky, Nero and Haim along with more than 30 others who represent excellence, artistry and the American spirit. Performers will appear across three stages on the Benjamin Franklin Parkway in Philadelphia’s Fairmont Park on Saturday, August 31 and Sunday, September 1. "Last year Pearl Jam, Miike Snow, Gary Clarke Jr., Odd Future, Skrillex and Janelle Monáe killed," commented JAY Z. "This year, we have Nine Inch Nails, Beyoncé, Empire of the Sun, Kendrick Lamar and deadmau5. This festival is all about experiencing great music and performances as a family.
    [Show full text]
  • Feigning Or Feeling? on the Staging of Authenticity on Stage 1
    Online publications of the Gesellschaft für Popularmusikforschung/ German Society for Popular Music Studies e. V. Ed. by Eva Krisper and Eva Schuck w w w . gf pm- samples.de/Samples1 8 / v o n a ppe n . pdf Volume 18 (2020) - Version of 8 May 2020 FEIGNING OR FEELING? ON THE STAGING OF AUTHENTICITY ON STAGE 1 Ralf von Appen Deciding who or what is genuinely authentic cannot be the objective of an academic analysis of the value of authenticity. A binding, universally ac- cepted measure will not be found, because the concept of authenticity ad- dresses different, sometimes contradictory values, which are also subject to historical change and therefore cannot be reduced to a fixed common de- nominator. These conflicting values are the result of the various personal and social needs of the listener and are therefore all justified. The focus should rather be on documenting the various structures and attributes of authentic- ity and identifying recurring patterns in order to disclose the underlying ide- als, needs, attempts to identify and to distinguish, etc., hidden behind them. This is linked to a cultural anthropological interest in understanding the social and individual functions of music. As an additional goal, by heightening an awareness of the staged character of authenticity structures transmitted by media, a contribution can be made towards a more enlightened handling of economically and/or ideologically motivated staging. With these aims, I will first discuss the key terms of authenticity, liveness and staging, in order to then examine the commonly used authentication strategies based on current examples, especially live performances.
    [Show full text]
  • Punk Rock and the Socio-Politics of Place Dissertation Presented
    Building a Better Tomorrow: Punk Rock and the Socio-Politics of Place Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Jeffrey Samuel Debies-Carl Graduate Program in Sociology The Ohio State University 2009 Dissertation Committee: Townsand Price-Spratlen, Advisor J. Craig Jenkins Amy Shuman Jared Gardner Copyright by Jeffrey S. Debies-Carl 2009 Abstract Every social group must establish a unique place or set of places with which to facilitate and perpetuate its way of life and social organization. However, not all groups have an equal ability to do so. Rather, much of the physical environment is designed to facilitate the needs of the economy—the needs of exchange and capital accumulation— and is not as well suited to meet the needs of people who must live in it, nor for those whose needs are otherwise at odds with this dominant spatial order. Using punk subculture as a case study, this dissertation investigates how an unconventional and marginalized group strives to manage ‘place’ in order to maintain its survival and to facilitate its way of life despite being positioned in a relatively incompatible social and physical environment. To understand the importance of ‘place’—a physical location that is also attributed with meaning—the dissertation first explores the characteristics and concerns of punk subculture. Contrary to much previous research that focuses on music, style, and self-indulgence, what emerged from the data was that punk is most adequately described in terms of a general set of concerns and collective interests: individualism, community, egalitarianism, antiauthoritarianism, and a do-it-yourself ethic.
    [Show full text]
  • A BI-MONTHLY Volume 5, Issue 4 PUBLICATION Complimentary OF
    A BI-MONTHLY PUBLICATION OF THE ARTS Volume 5, Issue 4 Complimentary MARCH 15/MAY 15,1991 Editor-in-Chief Debra Brehmer Associate Editor Calendar Editor Business Manager Mary Therese Gantz Associate Editor-Music f r m t h e editor Bobby DuPa Associate Editor Every artist, or art writer for that matter, should at least once in their lifetimes go through Nathan Guequierre the process of organizing an art exhibition. It's truly a learning experience to be on the other end of this business, as I recently discovered in organizing The Wood Show for Editorial Assistants Judith Ann Moriarty & Mark Bucher Metropolitan Gallery. The exhibition, which runs through March 20, celebrates Art Muscle's 5th (wood) anniversary a little prematurely. Our anniversary is actually in Photo Editor September. Besides the lengthy process of receiving and responding to slides for a group Francis Ford show, the actual installation of the work was far more labor-intense than I had thought. Design Although we expend huge amounts of energy every two months during Art Muscle's Chris Bleiler pasteup process, somehow I still wasn't prepared for the anxiety, doubts and excitement of putting up this show. At 7 p.m. opening night, after a momentary panic of affixing two Sales Angel French, Sales Manager final labels while people were walking in the door, things looked pretty good. Then, at 7:10 Lisa Mahan, Sales Representative p.m. just as I was relaxing a bit and grabbing my first glass of wine, one of the largest sculptures crashed to the floor.
    [Show full text]
  • SPRING 2015 NUMBER 1 Page Ii 03-24.Docx (Do Not Delete) 3/24/2015 5:57 PM
    SJA 2-1 toc 03-24.docx (Do Not Delete) 3/24/2015 5:47 PM THE LEGAL APPRENTICE FOREWORD ....................................................................................... v Dean Jeffrey P. Grossmann WELCOME NOTE ............................................................................ vii Honorable John F. Blawie ARTICLES WHAT HAPPENED TO THE 9/11 CROSS ............................................. 1 Andres Santamaria DIAMONDS ARE A GIRL’S BEST FRIEND ........................................... 7 Gabriella Labita HAIR TODAY, GONE FROM THE TEAM ........................................... 13 Brian Stevens STAGE DIVING ............................................................................... 19 Jenane Jeanty LAW STUDENTS AND UNDERGRADUATES LEARNING TOGETHER AT THE SECURITIES ARBITRATION CLINIC ............................. 23 Professor Christine Lazaro VOLUME 2 SPRING 2015 NUMBER 1 Page ii 03-24.docx (Do Not Delete) 3/24/2015 5:57 PM ST. JOHN’S UNIVERSITY COLLEGE OF PROFESSIONAL STUDIES OFFICES OF ADMINISTRATION AND FACULTY 2014 – 2015 JEFFREY GROSSMANN, J.D. DEAN ELLEN TUFANO, PH.D. ASSOCIATE DEAN * * * ANTOINETTE COLLARINI-SCHLOSSBERG, J.D. CHAIRPERSON CRIMINAL JUSTICE, LEGAL STUDIES, HOMELAND SECURITY BERNARD HELLDORFER, J.D. DIRECTOR LEGAL STUDIES MARY NOE, J.D. ASSOCIATE PROFESSOR EDITOR JAMES CROFT, J.D. ASSISTANT PROFESSOR ASSISTANT EDITOR pg iii-iv.docx (Do Not Delete) 3/13/2015 12:19 PM THE LEGAL APPRENTICE FACULTY ADVISORY BOARD JAMES CROFT, ASSISTANT PROFESSOR B.A., J. D. ALBANY UNIVERSITY; ST. JOHN’S UNIVERSITY, SCHOOL
    [Show full text]
  • A Transformación Cultural Do Resurrection Fest Eo Seu Impacto Na Construción Identitaria Do Pú
    Mestrado en Socioloxía Aplicada: Investigación Social e de mercados Traballo Fin de Mestrado Curso académico 2018/2019 Convocatoria: Setembro “Scratching the surface”: A transformación cultural do Resurrection Fest e o seu impacto na construción identitaria do público asistente. “Scratching the surface”: La transformación cultural del Resurrection Fest y su impacto en la construcción identitaria del público asistente. “Scratching the surface”: Cultural transformation of the Resurrection Fest and its impact on the identity construction of the attending public. Alumna: A. Estefanía Tarrío Maneiro Directora: María del Carmen Rodríguez Rodríguez 1 RESUMO A presente investigación ten como obxectivo principal analizar a relación entre a transformación cultural do Resurrection Fest e a construción de identidade do público asistente. Dada a carencia de referencias bibliográficas específicas en torno á temática, foi precisa a realización dunha fundamentación teórica consistente, converténdose esta nun sostén da investigación. Posteriormente, foi empregada unha metodoloxía cualitativa, sendo combinadas diversas técnicas de recollida, así como de análise da información: análise de contido, observación participante, entrevistas en profundidade, análise de sistemas de discursos e, por último, análise DAFO. Así pois, preténdese comprender como as transformacións culturais acontecidas no festival afectan ás percepcións subxectivas dos asistentes e como ditas metamorfoses puideron repercutir na configuración do seu sentimento identitario. Palabras clave: Resurrection Fest, festivais de música, hardcore. RESUMEN La presente investigación tiene como objetivo principal analizar la relación entre la transformación cultural del Resurrection Fest y la construcción de identidad del público asistente. Dada la carencia de referencias bibliográficas específicas en torno a la temática, fue precisa la realización de una fundamentación teórica consistente, convirtiéndose esta en un sostén de la investigación.
    [Show full text]
  • Assessing the Aftermath Area Retailers, Venues, Labels Feel Impact
    $4.95 (U.S.), $5.95 (CAN.), £3.75 (U.K.) á IN THIS ISSUE DK 63.50, DM22, 12,000 Lire Qa o) w Z PRflikJ dHF *** *** ************** 3-DIGIT 908 BI GEE4E M740M099 90 OdF 0331 MAR26941 03 MONTY GREENLYGRE APT A 3740 ELM 4°i? LONG BEAC H, CA 90807 ® flUE S TRO .%iwv FOLLOWS PAGE 24 THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO AND HOME ENTERTAINMENT MAY 16, 1992 ADVERTISEMENTS L.A. Riots: Assessing The Aftermath Video Buying Area Retailers, Venues, Labels Feel Impact Groups, Distribs This story was prepared by Craig shaw district of the city. well as five mom -and-pop stores: De- Rosen, Chris Morris, Deborah Rus- Record stores that were complete- licious Records on Vermont Avenue, Butting Heads sell, Jim McCullaugh, and Earl ly destroyed included at least two Discoteca Bernal on Vermont, a Mid - Paige. chain outlets, Wherehouse Entertain- City Records outlet on Manchester BY EARL PAIGE ment's store at La Brea Avenue and Boulevard, Ruby's Records on Cren- and PAUL SWEETING LOS ANGELES-The rioting and ar- Rodeo Road and Tempo Records and shaw, and Just for the Records on son that destroyed portions of Los Tapes' Crenshaw Boulevard store, as (Continued on page 25) LOS ANGELES -The uneasy Angeles after the April 29 acquittal partnerships between video retail- of four L.A. police officers in the vid- er buying groups and distributors LIDELL TOWNSELL & M.T.F. eotaped beating of motorist Rodney have become more strained as HARMONY King rocked the music and home vid- Dion's Language Is Universal competition between the buying Lidell Townsell and M.T.F.
    [Show full text]
  • Journal of Crowd Safety and Security Management an Online Journal Vol
    Journal of Crowd Safety and Security Management An online journal Vol. 2, No 1, December 2010 Journal of Crowd Safety and Security Management JCSSM An online journal Vol. 2 No1, December 2010 1 Journal of Crowd Safety and Security Management An online journal Vol. 2, No 1, December 2010 A Note from the Editors The publication online of this issue, Vol. 2 No. 1, of the Journal of Crowd Safety and Security Management (JCSSM) has coincided with the new Government‟s announcement of severe cuts to Higher Education funding. Consequently a gradual drop in the support and resources that the Journal had in the past enjoyed from the University has ensued. Faced with limited and decreasing resources, the reduction in the Journal‟s content was necessary to ensure that the quality of editing and reviewing was not compromised. This Journal‟s issue is thus quite late and smaller in content than its predecessors; for this we apologise. The Journal has had an excellent support from you, our contributors and readers; just as importantly it still enjoys the support of the crowd safety and security industries as demonstrated by the keen willingness of authors to have their work published on the electronic pages of the Journal and by the growing visits to the Journal‟s website by individuals working in these industries. A number of organisations, Higher Education institutions, and specialist national colleges have also requested to be placed on the Journal‟s database and to be alerted as new Journal issues become available. The fledgling, but now emerging discourses of crowd safety and protective security can only grow to meet the persistent demands for explanations of the practices in these expanding industries.
    [Show full text]