I mostly find it annoying that at my university, it's basically expected that you give a standing ovation. They finish, you clap, the conductor leaves and comes back, you clap, the conductor leaves and returns again, and you stand. Every concert. No matter how excellent or mediocre. And I don't mind supporting the musicians, but it makes it seem that the best of the best are equivalent to the average in this setting.
+musicismylove92 Yeah the standing ovation + three curtain calls is pretty standard where I am too. And some performances definitely do deserve it, but not everything.
Well done. A refreshingly down-to-earth approach, with useful information to put the current uptight approach to clapping at concerts into context. But no one will clap for fear of appearing to not know you shouldn't, even though you should!
One of my favourite stories of audience appreciation didn't even involve an audience. During the first rehearsal of Rimsky-Korsakov's Cappriccio Espagnol the members of the orchestra kept interrupting with their cheers. But I think things are changing now, at least in some places. There's a show on MPR called Performance Today, which plays recordings of live concerts, and a few times I've heard a few people applaud when there's a good bit, in the same way that people will applaud a jazz soloist. It was nice to hear.
+Cadwaladr All of this is delightful to hear! I know when I lived in Knoxville the audience of the Knoxville Symphony clapped in between movements, and unfortunately I was a little (lot) of a douchebag about that kind of thing back then and felt Better Than Them. It did seem like a lot of people who wanted to get out of town and had Bigger Dreams expressed similar feelings, but everyone else, you know, liked listening to the music. Shocker!
I had no idea modern concert etiquette had anything to do with Wagner. I recently attended a showing of the Newsies musical in Indianapolis, and it was delightful to hear the audience responding to the music and the fantastic dancing by clapping or cheering when they felt like it. I think that seeing people who are new to concert experiences respond naturally is a beautiful thing. The next time I hear someone clap between symphony movements, I'm totally joining them. Also, I love the new look! Very snazzy!
+Ruth Rankin To be honest, I glossed over a LOT by just saying "Wagner" because Wagner couldn't have existed without a whole culture of people who agreed with him. But yes! Clap away! and thanks
The Listener's Guide No I had no problem with what you said, and from my reading of some history books I know that concerts-goers were not this polite even at the start of 20th century; but I believe there is still a lot of variation in manifestation of people's appreciation of each performance in the end.
Actually there is loads of etiquette, you just don't see it. Casual clothes, lots of noise, waving a phone, cheering during performance, singing along, standing, dancing. That's etiquette. If you behaved at a 50 Cent gig like you did at a classical concert - dressed nicely, put your phone to silent, seated throughout, hands folded beatifically in one's lap, refusing to clap until the end of a series of songs (which may or may not have to do with one another - you'd expect a programme in advance) - you'd look extremely strange and people would wonder what's wrong with you.
This is an excellent point. I completely agree with you here. There have been phenomenal concerts I've gone to where nobody stands and awful concerts that get instant standing ovations. This raises 2 thoughts for me. 1. (stream of consciousness here so stay with me) If we work against concert etiquette, I wonder if new classical music will be de-insentivised to change and challenge people. Had the riot at the Rite of Spring discouraged experimentation, we could have lost some amazing works that it inspired. The modern tenor high c sound was not met with immediate love at the first performance, but grew on audiences and critics. But, to argue against myself, music that is more academic than accessible is less good in some contexts than the pandering sort... there's a reason that some of the longest lasting masterworks are the pandering kind. I like your conclusion that the concert hall can be embraced or avoided to get different reactions and responses. All that being said, I do occasionally get frustrated when people start clapping for the end of a piece before the last chord (especially in late Romantic music where the last chord isn't also the final minute of music), so maybe I need to adjust my own thoughts on concert etiquette and embrace the new. 2. I have a recital that I'm doing this summer that is a mix of more serious music and silly music to point out that classical music does occasionally make fun of itself. I might try to encourage people to avoid normal concert strictures and relax and have more fun. I'll give it some thought. Good video. Thanks for making me think :)
+Ben Winkler I can understand the hesitation, for sure. Change always involves "awkward teenage years" and I certainly expect it if people ever do want to change cultures. And the idea of being "de-incentivized to change" makes me question what we think progress is, because as it stands I feel like audiences are more de-incentivized than ever to change. Most audiences don't hear music younger than 100 years old on a concert-that sounds pretty unchanged to me. Now as for them initially disliking things that history eventually accepts, that's been one of the longest traditions in the form since Beethoven ;)
I'm for and against this idea of clapping thing. I personally like the 'clapping rule' as it sets apart what western art music is from popular music. It's nice to say that this how Western Art music is different. It makes it an unique experience. But at the same time, as a performer, hearing an applause anywhere in the piece is great!
Love this video. It was very thought provoking. It reminded me of an incident years ago when I took my best friend to his first ever concert. We were waiting for the concert to begin when the conductor walked in and was greeted by polite claps. My friend turned to me with a puzzled look on his face and asked me "Why are we clapping? Shouldn't we first hear how well he'll perform before we clap??"
Yup yup -- this hits right in the heart. I honestly can't remember the last time I went to a classical concert that didn't end in a standing ovation. It always leaves me with a mini crisis at the end of each piece: Was this actually good? Do I even know what 'good' is? It definitely makes for a sobering experience, feeling all alone with your thoughts. Down with the stuffiness!
+Gianluca Bertoia I know exactly what you mean-nowadays, even when I give a standing ovation, the thing that's usually on my mind is not "wow! that was great!" but "oh, we're still going, I guess..." and that makes me feel like a liar.
Something I've seen in a couple concerts (either written on the program or just explained by the conductor / performer at the beginning) is that they politely ask not to clap until the break or the end of the concert when they want the experience to be more immersive - why not just describe the etiquette the venue or the performers prefer right in the program leaflet?
Clap after the soloist, stay in your SEAT (SMH), this drives me nuts when people are up and down thought the entire performance- so rude. I think Applause between appropriate pauses in pieces would be great but too many people are not familiar now days with classical music. I attended ETSBOA a few years back but they made the etiquette clear prior to the performances due to it being recorded.
I would say that for the majority of concerts audience contribution shouldn't be stigmatised because the true purpose of music is to communicate thought and feeling via a universal language, and as such it will move us, and as such we - being human - are driven to react. The exception I would make is for a song recital, especially a cycle like Winterreise that creates a very distinct and immersive atmosphere. I find it most effective to be completely (silently) submerged in that atmosphere before surfacing at the end. Also, since individual Lieder are far shorter than movements of a symphony, it would interrupt the flow more severely.
+Quentin Ambrose I definitely understand, and especially with something like Winterreise there are inter-movement connections that are important to hear. But I think if you want to create that atmosphere, then it is up to the performers to do things that keep the audience engaged. The example that comes to mind is Dichterliebe; I've actually read compelling arguments from theorists that the effect is better between songs 1 and 2 if you don't really put a break, which would prevent clapping as well. Singers can also do a lot with acting-even without music, if you're still acting, the audience will remain in the other world. Even within song cycles, though, I would argue that there are kinds of "movement breaks" like a symphony or a play. There are often sub-sets of two to five songs that are clearly in dialogue with each other, and I wouldn't mind giving a little breathing room between those subsets for audience response.
Awesome video! Concert etiquette for "classical" music really bugs me, even as a classically trained musician, I long for the audience to be more involved. Do you think that some of the major concert halls in the U.S. will ever break away from these "traditions"?
+Bradford Shaw Unfortunately, well-known institutions tend to be the last to make these kinds of changes because they don't need to do much to keep people buying tickets. In fact, for larger institutions, changes can be a detriment because they usually have long-time subscribers who avoid anything new. I do think that change will happen, because otherwise they'll fade into oblivion, but perhaps not as fast at smaller local venues. But that's why I love smaller ones-that's where the exciting new stuff is!
Omg as someone who used to play and watch classical music the etiquette is so odd, it seems so stale when you finish a movement and there's deathly silence, you have no idea whether you did a good job or not.
I think there just needs to be more balance, and a better understanding of what a certain piece of music is all about. The shushes and side-eye glares at enthusiastic reactions during a performance (which ironically do more to disrupt members of an audience more than the initial noise made) infuriate me as much as anyone else, but at the same time, I wouldn't want to go to a movie and have to hear people whooping and hollering at every compelling thing that happens on screen. Now in regards to movies, this of course depends on the genre, which I think can apply to music back to that understanding I was talking about. If I'm going to a concert to hear something from the late-Romantic, like La Mer or Tchaik 6, I'm probably going to get annoyed if someone makes a noise during the performance in a way that takes me out of the listening experience. Now, if I'm at a chamber concert at a private home where a group is playing Beethoven Septet, you better believe I'm going to be clapping and showing my appreciation in between movements, and maybe even adding in some friendly heckling in the more light-hearted movements. I absolutely agree that the overall goal needs to be more connection and communication all around, between audience and performers, audience members themselves, and even the musicians themselves. The gradual deprecation of this focus is what I believe has led to this disconnect and misunderstanding of what classical music can mean to people, even in the highly technologically advanced generation that we live in today. Does that mean there should be indications in programs as to whether a piece is "ok to clap in between movements"? Probably not, but I think a much better job needs to be done to provide an understanding of the context of a work, especially since "classical music" ranges over now almost 300 years. That's quite a lot of time for this music have evolved and changed, and perhaps if more people realized this, we could stop having to use this blanket term "classical music" in general.
+chocotastic As with anything, there is a whole spectrum of audience reactions that could happen, only some of which are appropriate. I like the movie example, though. To run with it a bit, some of my most rewarding moviegoing experiences have been at campus movie theaters. Everybody is paying attention to the movie and allowing it to play out, but the communal reactions are much stronger than you get in most public movie theaters. I remember watching "Across the Universe" and the audiences just breaking out in laughter at some of the more ridiculous scenes. It was a great way to release the tension and to connect with everyone, while still paying attention to what's actually happening on-screen. It wasn't quite "whooping and hollering," but it WAS enthusiastic, and that's really what I'm advocating for. I think we're touching on all the same points though: there are responses that are needlessly repressed, others that are appropriately engaged, and still others that are disrespectful and distracting to other audience members. Everyone has a different threshold, but I trust audiences will be able to settle on a nice middleground.
Maybe they still have the system because imagine going “woah”! Or clapping when prelude in e minor Chopin comes it prelude in b minor. It feels weird because there is some really sad music playing and people are clapping and cheering. It may be disruptive to some people.
This is a grey area for me. I agree that audience members should feel more at home in expressing their emotional response to a performance. However, there is a branch of concert etiquette that I think needs not only needs to continue, but be reinforced a lot. Actually, it would be better to call it live performance etiquette. I get frustrated when people treat a live performance the way they would a movie on the tv. Cell phone use should be dealt with with a good swift punch to the kidneys, for instance. The rest though, hey John Cage said it's all part of the performance.
+katpiercemusic To push back a little, social media is an important part of most peoples' lives and is also important to a lot of brands for marketing. You want that kind of "buzz" about your performances from the audiences themselves, because people would rather hear from their friends what a great time they're having than from an advertising exec. However, I agree that it can be very distracting to audience members, mostly because of the light of a cell phone automatically attracting our lizard-brain response. So-why not introduce a "cell phone section"? It can be behind people who don't want to use their phones (or behind a curtain or something) so that the bright light doesn't distract anyone, and also lets the people who want to share do so. Then, the only rule would be that those people have to have sounds disabled on their phones so as not to interrupt the concert.
Venues are never going to want to do that, if for no other reason than phones have audio, photo and film capabilities that make it easy to illegally record. I do agree that social media is a great tool. I just don't understand why people use it during the performance as opposed to intermission or after. I've even been to performances where that was encouraged. I'm just of the mind that there are certain times when we should be undistracted (but honestly I'm thinking more theater and broadway at this point). Of course if we had chamber music as it was originally intended, then people would be talking and milling and no one would notice cell phones.
Actually, in my home town of Turku, Finland, the Philharmonic Orchestra have so called #twitterconcerts, where ppl seated on the 13 & 14th (That's right after a "row break" in the hall) rows are allowed to tweet during the concert!
Your quantum hair is fading into the fourth dimension. I hear pantene can help with that. And something I'd like to know, did people ever actually throw rotten fruit onto stages, or is that just a myth? I feel like even if that is a myth it had to come from somewhere
+PHvlogger Well, I have read some letters and reviews that talk about people throwing potatoes and fruit, but as you said, it is always hard to tell if they are speaking literally or figuratively!
![DELF B2 - Compréhension orale_Nouveau Format [Test 55] - LES OBJETS RECYCLÉS](http://i.ytimg.com/vi/_uowsz7h7hE/mqdefault.jpg)
Oh my word…. Somebody should write a PhD thesis on this.
Oh wait! I did!!
I mostly find it annoying that at my university, it's basically expected that you give a standing ovation. They finish, you clap, the conductor leaves and comes back, you clap, the conductor leaves and returns again, and you stand. Every concert. No matter how excellent or mediocre. And I don't mind supporting the musicians, but it makes it seem that the best of the best are equivalent to the average in this setting.
+musicismylove92 Yeah the standing ovation + three curtain calls is pretty standard where I am too. And some performances definitely do deserve it, but not everything.
the reason they do that is to show who will be conducting the music it can be multiple conductors for certain pieces but mostly it’s just one
Well done. A refreshingly down-to-earth approach, with useful information to put the current uptight approach to clapping at concerts into context. But no one will clap for fear of appearing to not know you shouldn't, even though you should!
One of my favourite stories of audience appreciation didn't even involve an audience. During the first rehearsal of Rimsky-Korsakov's Cappriccio Espagnol the members of the orchestra kept interrupting with their cheers. But I think things are changing now, at least in some places. There's a show on MPR called Performance Today, which plays recordings of live concerts, and a few times I've heard a few people applaud when there's a good bit, in the same way that people will applaud a jazz soloist. It was nice to hear.
+Cadwaladr All of this is delightful to hear! I know when I lived in Knoxville the audience of the Knoxville Symphony clapped in between movements, and unfortunately I was a little (lot) of a douchebag about that kind of thing back then and felt Better Than Them. It did seem like a lot of people who wanted to get out of town and had Bigger Dreams expressed similar feelings, but everyone else, you know, liked listening to the music. Shocker!
I had no idea modern concert etiquette had anything to do with Wagner. I recently attended a showing of the Newsies musical in Indianapolis, and it was delightful to hear the audience responding to the music and the fantastic dancing by clapping or cheering when they felt like it. I think that seeing people who are new to concert experiences respond naturally is a beautiful thing. The next time I hear someone clap between symphony movements, I'm totally joining them. Also, I love the new look! Very snazzy!
+Ruth Rankin To be honest, I glossed over a LOT by just saying "Wagner" because Wagner couldn't have existed without a whole culture of people who agreed with him. But yes! Clap away! and thanks
Compared to rock or pop concert etiquette (which is close to non-existent), classical music concerts are heaven for me personally.
+Tekin Beyoglu I'm not saying we should have a mosh pit at concerts or anything, but a little more interaction would be nice, no?
The Listener's Guide No I had no problem with what you said, and from my reading of some history books I know that concerts-goers were not this polite even at the start of 20th century; but I believe there is still a lot of variation in manifestation of people's appreciation of each performance in the end.
all true!
+The Listener's Guide Mosh pit at a classical music concert? Imaging that made me laugh :D
Actually there is loads of etiquette, you just don't see it. Casual clothes, lots of noise, waving a phone, cheering during performance, singing along, standing, dancing. That's etiquette. If you behaved at a 50 Cent gig like you did at a classical concert - dressed nicely, put your phone to silent, seated throughout, hands folded beatifically in one's lap, refusing to clap until the end of a series of songs (which may or may not have to do with one another - you'd expect a programme in advance) - you'd look extremely strange and people would wonder what's wrong with you.
This is an excellent point. I completely agree with you here. There have been phenomenal concerts I've gone to where nobody stands and awful concerts that get instant standing ovations. This raises 2 thoughts for me. 1. (stream of consciousness here so stay with me) If we work against concert etiquette, I wonder if new classical music will be de-insentivised to change and challenge people. Had the riot at the Rite of Spring discouraged experimentation, we could have lost some amazing works that it inspired. The modern tenor high c sound was not met with immediate love at the first performance, but grew on audiences and critics. But, to argue against myself, music that is more academic than accessible is less good in some contexts than the pandering sort... there's a reason that some of the longest lasting masterworks are the pandering kind. I like your conclusion that the concert hall can be embraced or avoided to get different reactions and responses. All that being said, I do occasionally get frustrated when people start clapping for the end of a piece before the last chord (especially in late Romantic music where the last chord isn't also the final minute of music), so maybe I need to adjust my own thoughts on concert etiquette and embrace the new. 2. I have a recital that I'm doing this summer that is a mix of more serious music and silly music to point out that classical music does occasionally make fun of itself. I might try to encourage people to avoid normal concert strictures and relax and have more fun. I'll give it some thought. Good video. Thanks for making me think :)
+Ben Winkler I can understand the hesitation, for sure. Change always involves "awkward teenage years" and I certainly expect it if people ever do want to change cultures. And the idea of being "de-incentivized to change" makes me question what we think progress is, because as it stands I feel like audiences are more de-incentivized than ever to change. Most audiences don't hear music younger than 100 years old on a concert-that sounds pretty unchanged to me. Now as for them initially disliking things that history eventually accepts, that's been one of the longest traditions in the form since Beethoven ;)
I'm for and against this idea of clapping thing. I personally like the 'clapping rule' as it sets apart what western art music is from popular music. It's nice to say that this how Western Art music is different. It makes it an unique experience. But at the same time, as a performer, hearing an applause anywhere in the piece is great!
Love this video.
It was very thought provoking. It reminded me of an incident years ago when I took my best friend to his first ever concert. We were waiting for the concert to begin when the conductor walked in and was greeted by polite claps.
My friend turned to me with a puzzled look on his face and asked me "Why are we clapping? Shouldn't we first hear how well he'll perform before we clap??"
Yup yup -- this hits right in the heart. I honestly can't remember the last time I went to a classical concert that didn't end in a standing ovation. It always leaves me with a mini crisis at the end of each piece: Was this actually good? Do I even know what 'good' is? It definitely makes for a sobering experience, feeling all alone with your thoughts. Down with the stuffiness!
+Gianluca Bertoia I know exactly what you mean-nowadays, even when I give a standing ovation, the thing that's usually on my mind is not "wow! that was great!" but "oh, we're still going, I guess..." and that makes me feel like a liar.
Looking good, Stevie boy!
+MoonShoesPatty *twists toe coyly on the ground, blushing*
Something I've seen in a couple concerts (either written on the program or just explained by the conductor / performer at the beginning) is that they politely ask not to clap until the break or the end of the concert when they want the experience to be more immersive - why not just describe the etiquette the venue or the performers prefer right in the program leaflet?
Clap after the soloist, stay in your SEAT (SMH), this drives me nuts when people are up and down thought the entire performance- so rude. I think Applause between appropriate pauses in pieces would be great but too many people are not familiar now days with classical music. I attended ETSBOA a few years back but they made the etiquette clear prior to the performances due to it being recorded.
I would say that for the majority of concerts audience contribution shouldn't be stigmatised because the true purpose of music is to communicate thought and feeling via a universal language, and as such it will move us, and as such we - being human - are driven to react.
The exception I would make is for a song recital, especially a cycle like Winterreise that creates a very distinct and immersive atmosphere. I find it most effective to be completely (silently) submerged in that atmosphere before surfacing at the end. Also, since individual Lieder are far shorter than movements of a symphony, it would interrupt the flow more severely.
+Quentin Ambrose I definitely understand, and especially with something like Winterreise there are inter-movement connections that are important to hear. But I think if you want to create that atmosphere, then it is up to the performers to do things that keep the audience engaged. The example that comes to mind is Dichterliebe; I've actually read compelling arguments from theorists that the effect is better between songs 1 and 2 if you don't really put a break, which would prevent clapping as well. Singers can also do a lot with acting-even without music, if you're still acting, the audience will remain in the other world.
Even within song cycles, though, I would argue that there are kinds of "movement breaks" like a symphony or a play. There are often sub-sets of two to five songs that are clearly in dialogue with each other, and I wouldn't mind giving a little breathing room between those subsets for audience response.
Awesome video! Concert etiquette for "classical" music really bugs me, even as a classically trained musician, I long for the audience to be more involved. Do you think that some of the major concert halls in the U.S. will ever break away from these "traditions"?
+Bradford Shaw Unfortunately, well-known institutions tend to be the last to make these kinds of changes because they don't need to do much to keep people buying tickets. In fact, for larger institutions, changes can be a detriment because they usually have long-time subscribers who avoid anything new. I do think that change will happen, because otherwise they'll fade into oblivion, but perhaps not as fast at smaller local venues. But that's why I love smaller ones-that's where the exciting new stuff is!
No. Until crowds stop singing along at rock gigs, classic concertgoers won't clap in the middle of a piece of music (such as between movements).
Omg as someone who used to play and watch classical music the etiquette is so odd, it seems so stale when you finish a movement and there's deathly silence, you have no idea whether you did a good job or not.
You'll know at the end of the piece (which may have more than one part).
I think there just needs to be more balance, and a better understanding of what a certain piece of music is all about. The shushes and side-eye glares at enthusiastic reactions during a performance (which ironically do more to disrupt members of an audience more than the initial noise made) infuriate me as much as anyone else, but at the same time, I wouldn't want to go to a movie and have to hear people whooping and hollering at every compelling thing that happens on screen.
Now in regards to movies, this of course depends on the genre, which I think can apply to music back to that understanding I was talking about. If I'm going to a concert to hear something from the late-Romantic, like La Mer or Tchaik 6, I'm probably going to get annoyed if someone makes a noise during the performance in a way that takes me out of the listening experience. Now, if I'm at a chamber concert at a private home where a group is playing Beethoven Septet, you better believe I'm going to be clapping and showing my appreciation in between movements, and maybe even adding in some friendly heckling in the more light-hearted movements.
I absolutely agree that the overall goal needs to be more connection and communication all around, between audience and performers, audience members themselves, and even the musicians themselves. The gradual deprecation of this focus is what I believe has led to this disconnect and misunderstanding of what classical music can mean to people, even in the highly technologically advanced generation that we live in today. Does that mean there should be indications in programs as to whether a piece is "ok to clap in between movements"? Probably not, but I think a much better job needs to be done to provide an understanding of the context of a work, especially since "classical music" ranges over now almost 300 years. That's quite a lot of time for this music have evolved and changed, and perhaps if more people realized this, we could stop having to use this blanket term "classical music" in general.
+chocotastic As with anything, there is a whole spectrum of audience reactions that could happen, only some of which are appropriate. I like the movie example, though. To run with it a bit, some of my most rewarding moviegoing experiences have been at campus movie theaters. Everybody is paying attention to the movie and allowing it to play out, but the communal reactions are much stronger than you get in most public movie theaters. I remember watching "Across the Universe" and the audiences just breaking out in laughter at some of the more ridiculous scenes. It was a great way to release the tension and to connect with everyone, while still paying attention to what's actually happening on-screen. It wasn't quite "whooping and hollering," but it WAS enthusiastic, and that's really what I'm advocating for. I think we're touching on all the same points though: there are responses that are needlessly repressed, others that are appropriately engaged, and still others that are disrespectful and distracting to other audience members. Everyone has a different threshold, but I trust audiences will be able to settle on a nice middleground.
Maybe they still have the system because imagine going “woah”! Or clapping when prelude in e minor Chopin comes it prelude in b minor. It feels weird because there is some really sad music playing and people are clapping and cheering. It may be disruptive to some people.
Also, agreed - you are too fine :P
As long as people don't interrupt the music...
OH MY GOODNESS that german accent.
This is a grey area for me. I agree that audience members should feel more at home in expressing their emotional response to a performance. However, there is a branch of concert etiquette that I think needs not only needs to continue, but be reinforced a lot. Actually, it would be better to call it live performance etiquette. I get frustrated when people treat a live performance the way they would a movie on the tv. Cell phone use should be dealt with with a good swift punch to the kidneys, for instance. The rest though, hey John Cage said it's all part of the performance.
+katpiercemusic To push back a little, social media is an important part of most peoples' lives and is also important to a lot of brands for marketing. You want that kind of "buzz" about your performances from the audiences themselves, because people would rather hear from their friends what a great time they're having than from an advertising exec. However, I agree that it can be very distracting to audience members, mostly because of the light of a cell phone automatically attracting our lizard-brain response. So-why not introduce a "cell phone section"? It can be behind people who don't want to use their phones (or behind a curtain or something) so that the bright light doesn't distract anyone, and also lets the people who want to share do so. Then, the only rule would be that those people have to have sounds disabled on their phones so as not to interrupt the concert.
Venues are never going to want to do that, if for no other reason than phones have audio, photo and film capabilities that make it easy to illegally record. I do agree that social media is a great tool. I just don't understand why people use it during the performance as opposed to intermission or after. I've even been to performances where that was encouraged. I'm just of the mind that there are certain times when we should be undistracted (but honestly I'm thinking more theater and broadway at this point). Of course if we had chamber music as it was originally intended, then people would be talking and milling and no one would notice cell phones.
Actually, in my home town of Turku, Finland, the Philharmonic Orchestra have so called #twitterconcerts, where ppl seated on the 13 & 14th (That's right after a "row break" in the hall) rows are allowed to tweet during the concert!
Where I live, performers know when they did poorly, people usually get up and leave if the performance it is not good enough.
Hehe nice video! Good points :p
Regarding the redesign:
I don't like the background. Either change the shirt or the background.
Your quantum hair is fading into the fourth dimension. I hear pantene can help with that.
And something I'd like to know, did people ever actually throw rotten fruit onto stages, or is that just a myth? I feel like even if that is a myth it had to come from somewhere
+PHvlogger Well, I have read some letters and reviews that talk about people throwing potatoes and fruit, but as you said, it is always hard to tell if they are speaking literally or figuratively!
+PHvlogger (also I only use the finest pixelated hair products, thank you for noticing)
Great video Steve! But I would really realllllyyyy reconsider that fake German/Austrian accent.
+scratchingcat are you telling me it wasn't convincing? :P
Simple. You don't like the environment, go to a Jay-Z gig. There's etiquette there too, even though you don't think there is.