Theatre Safety Blog

Stage Directions Magazine Addresses Rigging Safety

2012-02-10T18:50:00.002-06:00

The February 2012 issue of Stage Directions Magazine has two interesting articles discussing rigging safety:

The Move To Automation article interviews numerous industry people and gets their take on the safety issues at hand. http://www.stage-directions.com/current-issue/59-sets-scenery-and-rigging/3970-the-move-to-automation.html

Stephen Ellison's Tech Talk article Time To Get Tested dispels a few myths about Fire Curtains, Fire Curtain Testing, and day-to-day use. http://www.stage-directions.com/current-issue/65-td-talk/3971-time-to-get-tested.html

If you aren't a Stage Directions subscriber, go and sign-up now. It's free, always a good read, and available as a digital or print edition.

Indiana OSHA Fines Three Entities

2012-02-09T11:22:00.000-06:00

[Updated - 2012-02-09 - 5:30PM CT]
February 8, 2012. Following investigations into the stage canopy collapse at the Indiana State Fair on August 13th of last year, IOSHA has filed fines against the canopy provider Mid-America Sound Corporation, The IATSE Local 30 that provided labor to erect the stage, and the Indiana State Fair Commission, sponsors of the event.

The IOSHA order against Mid-America Sound claims that MAS knowingly allowed the stage to be erected without cross bracing and failed to provide adequate documentation for the erectors. MAS said that they will challenge the findings and is already producing documents that they had previously withheld.

Of particular concern was that IOSHA fined the Labor Union Local 30, which is not an employer, and claimed that they were acting as an employer of the stage hands that were injured and killed. This charge is being vigorously disputed by the Union as they say they were only act as an agent to arrange labor resources. However, unlike almost all other union offices, this local's officers actually operated a business entity that directly paid the laborers that were contracted to the Indiana State Fair. If this charge is upheld, it will have a significant impact on the way this Local, and possibly others, is operated.

The State Fair Commission's fines were minimal and they were charged with failing to have an effective emergency plan in-place. The fines were minimal because the State Fair Commission did not have any employees that were significantly injured in the event.

A little perspective:

This is just the beginning of the legal process. The report from the forensic engineering firm that is analyzing the failed structure has not yet been published, nor has any other official assessments of the event. The IOSHA orders are only addressing one small segment of the incident: The labor relationship between the Employers and the Workers with regard to their safety. It is not IOSHA's place to address injuries to the general public or the over-all failure of the State Fair Commission that administered the event. To date, there have been numerous law suits and over 100 tort claims filed that are seeking compensation for the damages and loss of life.

This blogger was told that Sugarland, the band that was to have played that night, had first right of refusal to not play (although they did not assert that right), and they did not have the right to override the State Fair Commission and demand to play. Being willing to play is not the same thing as demanding to play. This places the burden of responsibility back on the State Fair Commission for not cancelling the show and clearing the fairgrounds in a timely manner. It's always a contentious position to be in when one state agency is penalizing another state agency.

Interviews with the Indiana State Police Troopers that were in the scene before the storm struck also said that they were fully expecting the Commissioners to cancel the show in light of the incoming weather front, and were dismayed when the announcer only said that the show would be delayed. Had they known that the State Fair management team was not securing the site, they could, and probably would have overridden their decision and forced the issue for the sake of public safety. Unfortunately, that announcement was made hours too late, and the brunt of the storm plowed through the area just moments later.

Additional Resources:

Indy Star article:
http://www.indystar.com/article/20120208/NEWS05/120208016/Agency-cites-State-Fair-union-stage-collapse

Prior Blog Posts:
http://www.theatresafetyblog.blogspot.com/2012/01/alert-notice-on-temporary-structures.html
http://www.theatresafetyblog.blogspot.com/2012/01/indiana-legislature-posts-bill.html

TheatreSafetyBlog says: THANKS!

2012-02-09T10:21:00.000-06:00

Sometime in the past week this blog passed a milestone of 100,000 views. The hit counter is rolling regularly now, and I want to let the readers know that I really enjoy doing this. It has been quite rewarding to read the comments and questions that are posed both publicly and privately.

Again: Thanks!

Free Truss Rigging Workshop at PLASA Focus

2012-02-03T00:50:00.000-06:00

Rig-Safe.net has announced that they will be hosting a free Truss Rigging Workshop at the upcoming PLASA Focus event in Austin, Texas. In consideration of the coming summer festival season, this is a timely event to help prevent incidents like happened over the last few summers.

Where:

Stateside at the Paramount Theatre

719 Congress Avenue

Austin, Texas 78701

When:

Tuesday, February 21, 2012

10am to 5pm with a lunch break

Cost:

* FREE! *

Advance registration is required

Who:

Stagehands

Facility Managers

Educators

Students(minimum age 18)

Rig-Safe.net is a consortium of

James Thomas Engineering, Rigging Innovators, and Shur-Rig.

Indiana Legislature posts Bill requiring outdoor stage inspections

2012-01-20T14:54:00.000-06:00

The Indiana State Legislature posted a bill to require all venues statewide to have outdoor stage structures inspected by an engineer or other qualified person. More information at:
http://theatreface.ning.com/profiles/blogs/follow-up-to-indiana-state-fair-stage-canopy-collapse

This may provide a model of other states to go-by as they develop their new regulations. Maybe we can prevent a repeat of the last few summers of show disasters.

Marking your Territory

2012-01-17T16:13:00.000-06:00

For most of the venues I visit, the second most prevalent NFPA violation I see is junk blocking electrical panels and fire protection equipment. (The number one violation I see is non-fire retardant scenery and costumes - but I'll rant about that another time.)

You've seen it (or more correctly - you've see the crap blocking it): Mounds of equipment stacked in front of Circuit Breaker Panelboards, Fire Hose Cabinets, Fire Alarm Pull Stations, Fire Extinguisher Cabinets, etc. How the heck is someone supposed to get to it if they can't even see it!?

Keeping a tidy house (or shop or stage) is a never-ending task. It requires that all personnel understand that you can't pile stuff in front of electrical panels and fire protection equipment. It doesn't matter if it is 5 seconds, 5 minutes, 5 hours, 5 days, 5 months - it can't go there.

So, what's a facility manager to do?

How about if you MARK THE AREA CLEARLY ? Stop-Painting.com has a solution: The offer BIG round floor-mounted signage dots that are 17.5" diameter. The electrical panel sign at left is one example of what they offer. They make custom-worded signs for other applications, too. For added durability, they also offer a clear epoxy resin sealer kit so that you can apply a protective coating over the signage dots.

They also offers their Superior Mark floor tape that is THICK and has beveled edges so it doesn't snag on rolling stock. You can get it in 36" pre-cut strips with 45 degree interlocked corners so they are easy to install and get the proper distance from the panelboard face. The strips come in six colors. Red is best for Fire Protection Equipment, and Yellow is best for Electrical Equipment.

For the panel face you should install signage that fit the available space that looks similar to this:

Note that for high voltage panels that the clearance must be greater, and also note that the clear space is IN FRONT OF THE PANEL - not measured from the wall face. NFPA 70 NEC Reference: Chapter 110.26.

The code also requires that the width of the clear area be the greater of:
a.) The width of the equipment, or
b.) A minimum of 30".

Life's a Grind - Don't go Blind

2012-01-16T16:05:00.000-06:00

Bench Grinder Safety Checklist

Standard
29 CFR 1910	Description	YES	NO²
	From the Abrasive Wheel standard:
215(a)(2)	Do side guards cover the spindle, nut and flange and 75% of the wheel diameter?
215(a)(4)	Is the work rest used and kept adjusted to within 1/8-inch (0.3175cm) of the wheel?
215(b)(9)	Is the adjustable tongue guard on the top side of the grinder used and kept to within 1/4-inch (0.6350cm) of the wheel?
215(d)(1)	Is the maximum RPM rating of each abrasive wheel compatible with the RPM rating of the grinder motor?
215(d)(1)	Before new abrasive wheels are mounted, are they visually inspected and ring tested?

	From other OSHA standards:
22(a)	Is cleanliness maintained around grinders? (Clean-up dust and scraps.)
94(b)(2)	Are dust collectors and powered exhausts provided on grinders used in operations that produce large amounts of dust?
133(a)(1)	Are goggles or face shields always worn when grinding?
212(b)	Are bench and pedestal grinders permanently mounted?
304(f)(4)	Is each electrically operated grinder effectively grounded?
305(g)(1)(iii)(A)	Are fixed or permanently mounted grinders connected to their electrical supply system with metallic conduit or other permanent method?
305(j)(4)(ii)(F)	Does each grinder have an individual ON and OFF power control switch?

Footnotes:
1. Extracted from OSHA Publication No. 2209. This check list does NOT include ALL elements of
29 CFR 1910.215; it is a only a guide.
2. A mark in this column indicates a need for corrective actions.

A Bench Grinder Safety Gauge is available from Rockford Systems:
http://www.rockfordsystems.com/online/safeguarding/grinder-safety-gauge.cfm

An example list of injuries involving Bench Grinders can be found here:
http://www.osha.gov/SLTC/machineguarding/grinder_accidents.html

Remember to wear proper PPE - Face Masks, Eye Protection, and a leather apron to protect your torso from flying parts and pieces.

NEVER GRIND ALUMINUM - The resulting dust can be explosive! Use a hand file to clean-up rough edges.

Sulleberger on Safety

2012-01-14T08:10:00.000-06:00

"Management at every level is responsible for safety. Safety should be a core business function because it is too important to be managed by exception." Sullenberger writes on the Sustainable Business Forum. Chesley Sullenberger knows just a thing or two about Safety and Leadership - he's the guy that landed a passenger jet in the Hudson River just moments after encountering a flock of birds that killed the engines on take-off. Everyone got home OK that day.

How is Safety a 'sustainable' element for show business? Sustainability is the act of keeping both the environment around you alive and healthy - and yourself alive and healthy. The 'yourself' can be individuals, groups, businesses, or entire planets. Green initiatives are all about a sustainable world in both the business sense and the human survivability sense.

It is essential that you get Sully's point across to the management of your venue or production company. Without the survival of the workers, performers, and the audience - there will be no show. We all need to be healthy and well-functioning to be effective at our jobs and in the enjoyment of the shows we attend.

Check-out Sully's words at: Values Start at the Top http://sustainablebusinessforum.com/node/55730

Also check-out the link at the bottom of the article to another writing of his "Aviation Safety is a Team Sport"

Alert Notice on Temporary Structures Published by SCOSS

2012-01-13T12:43:00.001-06:00

2012-01-11 - UK - The Standing Committee on Structural Safety (SCOSS) is the independent body established in 1976 to maintain a continuing review of building and civil engineering matters affecting the safety of structures in the UK. SCOSS aims to identify in advance those trends and developments which might contribute to an increasing risk to structural safety. www.structural-safety.org

SCOSS has published a 4-page Alert on Temporary Stage Structures that discusses the ramifications of the numerous stage structure collapses that plagued the entertainment production industry over the past few years. The report highlights the required and recommended procedures for engineering temporary stage structures in the UK. Although this is a UK based organization, the guidelines discussed and referenced in the document are good reference information for anyone involved in the show industry.

The Alert can be downloaded here: http://www.structural-safety.org/assets/uploaded/documents/258_11-01-12%20Temporary%20Stage%20Structures%20Alert.pdf

Big Valley Jamboree country music festival (2009-08-01)-post collapse

Dude, that's so retro!

2012-01-07T19:09:00.001-06:00

Sometimes you just need to retrofit your existing hardware to bring it up to current safety standards, or at least to "best practices." For counterweighted stage rigging, this may be the result of your annual inspection for safety and upgrades. Many older counterweight arbors were not equipped with spreader plates to help keep the weight bricks in-place in the event of an arbor crash. For more information about arbor crashes and maintenance, see these resources:

The spreader plates are flat metal pieces that keep the two vertical weigh guide rods from bowing apart and allowing the counterweights to come loose. Best Practice is to insert a spreader plate every two feet in the weight stack. To calculate how many spreader plates your arbors should be equipped with just take the height in inches between upper and lower arbor frames and divide by 24.

Many stages have a spreader plate that is painted RED inserted just above the ballast weight (aka: "pipe weight") to provide a visual reminder to the weight loading crew that they should stop removing weights at this point.

At the USITT Stage Equipment Expo in Charlotte, North Carolina, Steven Rees, owner of Graybeard Solutions, introduced the Retrospreader™. It is a two-piece assembly that can be installed on an existing counterweight arbor without disassembling it. Steven has done his homework on this item and it has been stress-tested and patented.

The Retrospreader™ can be ordered to fit any two-rod arbor. More information can be found at their web site:
www.retrospreader.com

Electrical Safety in the Theatre

2012-01-03T07:57:00.000-06:00

Electricity can pose aserious hazard in the workplace, however, it is unlikely that we’ll be doingmuch without it in the foreseeable future. Lighting, sound, rigging, projection, and toolsall require it. A 12-year study by the National Instituteof Occupational Safety and Health (NIOSH) identified 244 workplace deaths thatwere the direct result of an electrical accident. Misuse or neglect of electrical equipment putsemployees at risk of electrical shock, electrocution, fires, and explosions. Making your crew / staff / guests / employeesaware of the risks and teaching them to following basic safety principles willhelp reduce the chance of electrical-related accidents at your venue.

Basic Electrical SafetyPrinciples

It is important foremployers to be aware of the risks associated with electrical equipment. Whenplanning or performing work on or near electrical equipment or machinery, thesafety tips that follow will reduce the risk of an accident:

Plan ahead; consider possible problems that may occur and how toprevent them.
Use the right tools for the job including procedures, drawings,and other documents.
Identify all potential hazards in the work space, including therisk of electrical shock.
Test every circuit and every conductor; every time, to ensure thatthey are powered-down before service.
Train workers to ensure that they have the skills and experiencerequired to perform work around electrical equipment.
De-energize all electrical equipment and conductors beforebeginning work.
Treat electrical equipment and conductors as energized untillockout / tagout (LOTO) and grounding procedures have been implemented.
Wear protective clothing, including hard hats, insulated clothing,and gloves.
Only use insulated tools.
Determine approach boundaries and comply with suggested minimumclearances for power lines or exposed conductors.

Electrical Safety Regulationsand Standards

The Occupational Safetyand Health Administration (OSHA) has a number of regulations relating toworkplace electrical safety. Some important regulations include 29 CFR 1910:Subpart Electrical:

1910, Subpart I – Personal Protective Equipment
1910.137Electrical Protective Devices
1910 Subpart S – Electrical
1910.301thru 308 Design Safety Standards for Electrical Systems
1910.331thru 335 Electrical Safety Related Work Practices

The following NationalFire Protection Association (NFPA) standards cover electrical safety:

NFPA70 National Electrical Code addresses electrical systems and equipmentinstalled and used within the workplace.
NFPA 70EStandard for Electrical Safety in the Workplace discusses protection fromelectrical hazards such as shock, arc blasts, and explosions initiated byelectricity.
NFPA 79Electrical Standard for Industry Machinery covers fire safety andelectrical specifications for industry machinery and manufacturing systems.

Checklist of WorkplaceElectrical Safety Practices

Require employees to use Personal Protective Equipment (PPE) whenworking on or near electrical equipment. Depending upon the Arc Flash Hazard present, this may involve donningspecial clothing, gloves, hoods, and face shields.
Inform employees as to the location of potential electrical safetyhazards. Inform them before they enterthe work area AND mark the specific hazards with signage, barrier tape, etc.
Establish an effective lockout / tagout (LOTO) procedure forworking on electrical circuits and equipment.
Use safe work practices to prevent shock or other injuries. De-energize live equipment, dischargecapacitors, use lockout / tagout (LOTO) procedures, wear the appropriate levelof PPE, and never work alone.
Only permit trained or approved personnel to perform maintenanceor work on electrical equipment. Thinking you know what you are doing is not the same as being trainedand certified. Have a second person checkyou work afterwards to ensure that wiring connections are the proper polarity(Hot, Neutral, Ground), and that covers are re-installed after work as is completed.
Ensure that all portable electrical tools are grounded orinsulated properly. Use Portable GroundFault Circuit Interrupters (GFCI) if the power source is not alreadyprotected. Inspect all cords and devicesto ensure that cord strain reliefs are properly clamped to the cable casing.
Install and cover electrical boxes and fittings in accordance withthe National Electrical Code (NFPA 70) and other regulations. When removing covers, make sure that screwsare not lost (use magnetic holders to retain loose parts where practical). When working at height, secure covers withsafety lanyards before removing the final attachment fasteners.
Have someone who is trained and certified in the NationalElectrical Code (NFPA 70) inspect the electrical system regularly. This includes cleaning-out the dust and dirtfrom inside Dimmer Cabinets, Floor Pockets, and Circuit Breaker Panels; Replacing/ Repairing broken switches & receptacles; Repairing / Replacing broken oroverheated lamp holders; and checking the wiring lugs in feeder panels with aninfrared thermometer to ensure that they are tight and not overheating.
Train appropriate individuals in the use of fire protectionequipment and emergency response procedures. Know the difference between a Safety Program and an EmergencyPreparedness Plan. A Safety Program, ifwell implemented, may save you from ever needing to implement your EmergencyPreparedness Plan.
Develop procedures to replace and dispose of damaged or defectiveelectrical cords, circuits, or other electrical equipment. Implement a ‘Tag and Bag’ process to identifyand mark equipment that must be repaired or replaced. Do not store defective equipment where it maybe accessible to the casual user so that it is not inadvertently utilized. Assigning Inventory Numbers to equipment canhelp to log and track items in the repair process, and also may help you totrack repair expenses.

MoreInformation:

NIOSH web site: www.cdc.gov/niosh/topics/electrical/

OSHA web site: www.osha.gov/SLTC/electrical/index.html

ESFi web site: http://esfi.org/

Electrical Construction & MaintenanceMagazine: http://ecmweb.com/

Mike Holt web site: www.MikeHolt.com

1 Plus 1 Plus 1 = Hey, that's not such a good idea!

2011-12-26T08:01:00.002-06:00

We've all done it. If you look around right now you'll probably see one, too. Plugging one extension cord into another extension cord may seem like a minor issue, but each time you plug stuff together you add a little more resistance into the power line. More resistance means more heat generated and more voltage drop at the far end of the cord. If the device(s) you are powering don't get the voltage they want, they may demand more current, and when they do that, then the heating in the cord goes UP and the voltage goes DOWN. Kind of a vicious cycle.

Relocatable Power Tap (Plug Strip)

It's not just Extension Cords, either, it's Relocatable Power Taps, too. A what!? Yeah, its a fancy term for a "Plug Strip" that UL uses. Jim Hutchison's Blog JimOnLight has a great article about using RPT's safely, so go there to read that, and keep reading here for more Extension Cord Safety Do's and Don'ts.

So don't just think about the fully portable types like at left, you also have to consider the rack- mounted ones like this:

Rack-Mounted Relocatable Power Tap (Plug Strip)

Also note that a Relocatable Power Tap is intended only for indoor use as a temporary extension of a grounding alternating-current branch circuit for general use.

Do
• Do inspect an extension cord for physical damage before use.
• Do check the wattage or current rating on the appliance or tool that the extension cord will be used with; do not use an extension cord that has a lower rating.
• Do make sure all equipment and extension cords bear the mark of an independent testing laboratory such as UL, ETL, CE, TUV, etc.
• Do make sure the plug on an extension cord is fully inserted in the outlet.
• Do replace an outlet (receptacle) if a plug is too loose and can easily fall or be pulled-out.
• Do match up the plug and extension cord on a polarized cord (one hole on the plug is larger than the other).
• Do keep extension cords away from water.
• Do use GFCI (Ground Fault Circuit Interrupter) protection when using extension cords in wet or damp environments or in areas considered construction sites like the scene shop and stage.
• Do keep extension cords away from children and animals.
• Do pull on the plug, not the cord when removing an extension cord from the outlet.
• Do store extension cords indoors (UV light damages the plastic casings).
• Do unplug extension cords when not in use.
• Do keep slack in flexible extension cords to prevent tension on electrical terminals.
• Do use cable pathways to cover cables passing through walk areas.
• Do use high temperature cord sets for stage lighting circuits.
• Do put safety covers on the unused receptacle outlets on extension cords.

Don’t
• Don’t use an extension cord marked for indoor use outdoors.
• Don’t plug one extension cord into another.
• Don’t overload cords with more than the proper electrical load.
• Don’t run extension cords through doorways, holes in ceilings, walls, or floors.
• Don’t move, bend, or modify any of the metal parts of the extension cord plug.
• Don’t plug a three-prong into a two-hole extension cord.
• Don’t force a plug into an outlet.
• Don’t use an extension cord when it is wet.
• Don’t overheat an extension cord.
• Don’t cover an extension cord with anything.
• Don’t drive over an extension cord - especially with hard wheel devices like Fork Lifts.
• Don’t drag an extension cord.
• Don’t attach extension cords to the wall with nails or staples.
• Don’t run extension cords under rugs or carpets or in high traffic areas.

Other Resources:
Extension Cord Facts: http://www.generalcable.com/NR/rdonlyres/AEFA0995-ADF0-4AA8-96F4-E3CB20FF72AA/0/Pg92_Extension_Cord_Facts.pdf
Underwriters Laboratory: http://www.ul.com/global/eng/pages/offerings/perspectives/consumer/productsafety/cords/
Wikipedia:
Power Strip: http://en.wikipedia.org/wiki/Power_strip
Extension Cord: http://en.wikipedia.org/wiki/Extension_cord

Stage Rigging Quizlet - Flash Cards for Fanatics

2011-12-22T07:24:00.001-06:00

Study these flash cards | Study theatre flash cards

Fire Safety Blogs from TheatreFace

2011-12-21T08:17:00.004-06:00

Since this is Theatre Fire Safety Month, I've put together a list of Fire and Safety blog entries from my other blog so you can find them easily. Hey, check-out some of the other stuff while you are there, too - I've been typing my fingers to a nub for you.

Fire Safety Scavenger Hunt: http://theatreface.ning.com/profiles/blogs/fire-safety-scavenger-hunt

Emergency Preparedness: http://theatreface.ning.com/profiles/blogs/emergency-preparedness

Rollin', Rollin' Rollin' Rawhide!: http://theatreface.ning.com/profiles/blogs/rollin-rollin-rollin-rawhide
(All about Overhead Rolling Fire Doors)

When you don't plan for maintenance - You are inherently planning for repair:
http://theatreface.ning.com/profiles/blogs/when-you-dont-plan-for

A pat on the back is only a few centimeters away from a kick in the butt:
http://theatreface.ning.com/profiles/blogs/a-pat-on-the-back-is-only-a-few-centimeters-away-from-a-kick-in

Never argue with idiots: http://theatreface.ning.com/profiles/blogs/never-argue-with-idiots

Santa's Elves need to keep the workshop floor clear of obstacles

2011-12-19T11:17:00.002-06:00

An elderly lady accompanying five members of her family to Santa’s grotto at a well known department store in London was injured during her visit, and the jury (not a team of reindeer) decided in her favor. She successfully sued the events management company organizing the festive treat blaming Santa and his elf for failing to prevent her fall.

The grotto was operated by two employees, one who played Santa and the other an elf. The elf escorted visitors in and out of the grotto whilst Santa sat on his customary throne entertaining his guests. The elf and Santa both stated that they checked for loose items on the floor. The injured lady's case was that she had lost her balance by stepping on a plastic icicle on the floor of the grotto which should have been seen and removed.

Santa and Elf leaving the Courthouse

Section 2 of the UK Occupiers’ Liability Act of 1957 required the events company to see that visitors would be reasonably safe in visiting the grotto. This was found to not be the case. The elf was concerned with many other duties – at a guess – toy-making and feeding reindeer perhaps! It was found that Santa and the elf were not as careful in checking the floor as they should have been. If the icicle was there to be stepped on, it was there to be seen.

The overly benevolent view of the performance by Santa and the elf of their duties at first instance was overturned by the Court of Appeal who allowed the claim. Their checking of the grotto floor was held inadequate in protecting the public from falls.

Making a List, Checking it Twice!

Santa with his Safety Checklist

With claims against events holders attracting increasing publicity, this case highlights that the bar is set high for those responsible for carrying out hazard spotting. Some guidance can be gleaned for events managers from the facts that have been touched upon in this case. The main problem the events company could not overcome was the concern that time demands on their staff limited their attention towards taking precautions. Staffing should be suited to the event in order to demonstrate that sufficient time and regard has been given to periodic checks, ideally being documented, as part of a documented risk assessment. A higher standard of inspection is demanded for smaller areas such as this grotto, particularly in the context of the poor lighting present.

Employees need to be extra vigilant at all times, even in the season of goodwill to all men.

Be on the lookout for reindeer poo, too! That could make you slip and fall off of the roof.

Railing on and on

2011-12-17T10:04:00.000-06:00

My friends at Simplified Safety posted an interesting blog entry at http://simplifiedsafety.com/blog/safety-on-the-set-theatrical-guardrail/. It shows the use of Kee Klamps and schedule 40 pipe to build a guardrail on a theatre set. It is a well-intentioned application, however, it also clearly shows that the set designer / constructor did not fully understand the building codes and OSHA requirements for railings.


Railing along upstage platform.

Railings are intended to prevent people and objects from falling over an elevated edge. To be successful they must not only stop someone from falling over the edge should their center of gravity extend past the edge, but they must also prevent someone from slipping under the railing AND they must prevent objects from being knocked / kicked off of the edge.

Translation:

The Upper Railing must be at least 42" above the platform (per International Building Code and OSHA). The railing in the picture scales to about 36" tall.
There must be a Toe-board (Kick-plate) that is 4" tall and the bottom of the Kick-plate must be no higher than 1/4'" above the platform. There is no kick-plate present.
There must be intermediate railings or infill such that an sphere that is 21" diameter cannot pass through it (this limitation drops to a 4" if the railing is in a public place). If the top of the top rail is at 42" and is 1.9" diameter, and the kick plate is 4" tall, then this leaves 36.1" of open space. Installing an intermediate railing midway between the top of the kick plate and the bottom of the upper railing will satisfy this requirement. There is no intermediate railing present.
Uprights for Railings must be in place ant no more than 8' intervals. Just because you have a 2o' piece of pipe doesn't mean that you can just install upright supports at the ends. The uprights in this application appear to meet this requirement.

An additional requirement is that railing must support a load of at least 200 pounds pulling any direction.

Upwards: Will it pull the railing right up out of the fittings or tear the bolts / pins / screws out?
Downwards: Will it buckle and collapse under sever loading?
Sideways: Will it collapse in a parallelogram?
Inwards or Outwards: Will it support the weight of performers pulling or pushing on it, or falling against it, or leaning over it?

Kee Klamps can be a great tool to build frameworks, railings, platform supports, lighting towers, and many other elements in a theatre production. As with any tool or fabrication, you must take the time to understand the building codes and do a structural analysis so that your finished product is stroung enough to perform safely.

The Building Codes and OSHA do not differentiate between five seconds, five minutes, five days, or five years. The objects you build, be they stairs, railings, platforms, or whatever must meet the requirements set forth regardless of how long they will be in service.

Well, at least it wasn't like this 8' unguarded drop behind the performer . . .

December is Fire Safety Month (yes, AGAIN)

2011-12-16T08:24:00.013-06:00

The always vigilant writer Patrick Hudson at BackStage At BackStageJobs.com has been after this one again, and he has some good words to read.
It hasn't been a pretty year for Fire Safety in Theatres: http://backstageat.backstagejobs.com/?p=837
It’s always a series of problems, not just one: http://backstageat.backstagejobs.com/?p=729
Twenty-Two Years, Multiple Theatre Fires: http://backstageat.backstagejobs.com/?p=738

Compartmentalize Your Storage: Keep the fuel load to a minimum!
But don't do it like this:

Paint Storage Cabinet Made From Wooden Bookcase

Pants on Fire!

2011-12-15T07:15:00.000-06:00

Station Nightclub Fire - West Warwick, Rhode Island 2003

Most of us mere mortals never get to play Fireman in real life, so getting the opportunity to handle fire extinguishers, find-out about the adrenaline rush of putting out a fire, and experiencing the actual time constraints of a fire event up-close and personal doesn't come along too often.

This can change for all of us if we get together with our local community and make an effort to get Fire Extinguisher Training Programs set-up and active. Most communities and fire departments cite the expense of recharging fire extinguishers as the main reason they don't provide this kind of training. So, whats a wanna-be fire fighter to do?

Bullex Corporation decided that there needed to be a better way and they came-up with a training device that doesn't go through fire extinguisher powder. It's call the Bullseye and it kind of looks like a flat-screen TV with a big remote control. The screen is not a TV display though, instead, it is a computerized fire simulator that grows, glows, flickers, and dances just like a real fire (only without the heat & smoke). At the base of the unit are special sensors that detect laser light that comes from a simulated fire extinguisher.

The Bullseye simulated Fire Extinguishers are pretty fancy units - not just a Wii controller stick. They come in three sizes just like the real deal: 5 pound, 10 pound, and 20 pound; and they have a loudspeaker inside of them so you get that sense of whoosh! as they simulate a discharge. Real nozzles, pull-pins, and squeeze handles, too. They are even heavy like a real fire extinguisher.

The trainer sets-up the fire simulation to suit the type of training to be performed - they set the type of fuel and how big the (simulated) fire is going to be, and they say GO! (Or, maybe they don't say GO! and you have to figure it out for yourself - just like real fire.)

The system has a timer that keeps track of how long you take to respond and how long it takes you to put-out the fire. And guess what? If you use-up all of your fire extinguisher before you put out the fire -- it keeps burning. D'OHP! The system knows how much stuff you have to shoot and when it's gone, it's gone! Game over.

WHY IS THIS IMPORTANT?

Real fires don't have an OFF button, and real Fire Extinguishers only have a limited amount of fire fighting capacity. IF YOU WASTE IT - YOU LOOSE.

PASS - Know this phrase!
Pull the pin - this is so you are ready to do the job when you get to the fire.
Aim the nozzle at the BASE of the fire - if you point it somewhere else you will just waste the fire fighting chemical.
Squeeze the handle - don't squeeze it until after you have aimed! (Just like a ketchup bottle)
Sweep the nozzle side-to-side along the base of the flame so you coat the fuel source with the chemical.

The cost of a training kit is about that of a small car, but if you spread that out over the whole community, it can approach a-dollar-a-head. And there is no reason that the unit couldn't be used to train everybody from kindergarteners up to senior citizens. Hands-on Training is the most memorable and effective training you can provide. The community can make the rounds with this and see that schools, social organizations, community groups, and churches could all share in the benefits. Training all of your performers and stage crew would be a high priority. Maybe you can give them merit badges! I'd say that if you didn't keep this thing busy at least 360 days per year that you were probably missing the point.

Dang, this is starting to sound like a Ginsu knife advertisement . . . however, one more thing that is interesting: Bullex knows that this is a chunk 'o change to spend, so they rent the unit for test drives, too. And if you decide to buy one within a year of the test drive, then they apply the rental fee to the purchase price. Good Deal!

More info at: www.BullexSafety.com

Stage Truss Collapse in Italy Kills One, Injures Seven

2011-12-14T00:20:00.004-06:00

2011-12-12, Trieste, Italy. The concert trussing for a Jovanotti concert in the Palazzetto dello Sport an arena in northeastern Italy collapsed as it was being erected and a 20 year old student worker, Francesco Pinna, died from injuries sustained. Italian news agency ANSA reported that rescue crews said the stage structure was nearing completion when the front buckled and collapsed, crushing workers below. The accident took place at about 2 pm. Around twenty technicians were erecting the stage, lighting, and PA system when the structure collapsed. Rescue services intervened to take the injured workers to hospital.

Jovanotti Ora Concert Tour Stage Truss after Collapse in Palazzetto dello Sport

Police officers are now seeking to reconstruct the dynamics of the incident. Early reports say that the scaffolding “crumpled in on itself.” Workers who were putting the finishing touches to preparations were overwhelmed by the collapse and some were trapped by steel tubes."

The concert has been cancelled and the remainder of the Ora Tour has been suspended pending investigation. The sports complex in the San Sabba district, next to the Nereo Rocco football stadium, was seized by the authorities and cordoned-off. “All concerts have been suspended”, announced Maurizio Salvadori, owner of the Trident agency that manages the artist. “We’ll decide what to do tomorrow but at the moment no one wants to go on stage. It is not known why the structure collapsed. As always, everything was certified by an engineer. The structure was used all summer with no problems.” Mr Salvadori explained that the “ground support”, scaffolding that carries speakers and reflectors, had given way. The mayor of Trieste, Roberto Cosolini, hurried to the site of the accident and underlined the urgent need for “the investigations and expert reports to ascertain responsibility for this incident to be carried out with maximum rigour”.

“This tragedy takes my breath away. It struck me deeply.” Jovanotti tweeted his reaction to the fatal accident. “My grief goes out to Francesco Pinna, a student worker whose life came to an end today,” commented the singer, whose real name is Lorenzo Cherubini. He added: “A tour is a family working to bring life and joy onto the stage.” A little later, the singer added: “The injured lads are specialised workers who do jobs they love while staying in the background. I’m with you. I love you.”

Other videos of the damaged stage floor and mangled truss can be see by searching YouTube.

Power Play

2011-12-13T08:31:00.002-06:00

Each year, thousands of injuries occur when an electrically powered tool or machine unexpectedly starts after a power interruption. This preventable hazard is caused when a tool's switch is left "ON" after a power outage, circuit breaker trip, or accidental unplugging from the wall outlet. A button that locks the power trigger ON on many tools can become a dangerous feature when a cord is accidentally pulled from an outlet or a power drop-out occurs. Drills, saws, grinders, sanders, and routers frequently are equipped with this 'feature' that can launch the tool off a workbench or across the floor when the power is unexpectedly restored.

The Safety Gate™ Professional Retrofit is a UL Listed, simple, low cost, safety product that attaches to your tool's power plug in seconds, providing restart protection wherever and whenever you use it. It locks in-place using the tiny holes in the plug prongs, yet can be simply removed and used on other tools or stored away.

The Safety Gate™ works by recognizing when a tool's power switch is left "ON" and prevents power from being delivered to the tool. The bright yellow LED indicator tells you that your SafetyGate is in "protect mode." To reset it, you just turn the tool's power switch to "OFF". It's completely automatic and there are no buttons to push or switches to reset.

The patented SafetyGate™ design complies with OSHA, NFPA, and CSA standards in eliminating the hazard of dangerous restarts. Hand tools and small machines can have the same safety restart protection that are mandated for larger industrial machinery.

More product information at: www.safetygatestore.com/professional

ANSI Approves PLASA Dust Effect Standard

2011-12-12T15:09:00.000-06:00

Luke, I'm Your Father

The PLASA Standards group has announce that on Friday, 2 December 2011, the ANSI Board of Standards Review approved the adoption of ANSI E1.40- 2011, Recommendations for the Planning of Theatrical Dust Effects, as an American National Standard. The new dust effect standard is written as a recommendation, a document that gives a mixture of guidance "should" statements and mandatory "shall" statements.

A great variety of materials might be suitable for dust effects, either as dust lying on props and scenery or as aerosol clouds, so it does not specify exactly what dust must be addressed. However, the standard will help people to avoid inappropriate materials, to select those that are least likely to cause health or safety problems, and to use them with care. Publication is expected in a few weeks.

Cough, Cough, Wheeze - Dust Mask, Please!

2011-11-30T11:47:00.000-06:00

Specialty Tools and Fasteners Distributors Association (www.STAFDA.org) is a not-for-profit educational trade association comprised of distributors, manufacturers, and rep agents of light construction, industrial, and related products. STAFDA membership also includes publishers of industry trade press (affiliates). STAFDA has more than 2,500 members from the U.S., Canada, and overseas.

Their recent annual convention showed a strong interest in dust collection and containment accessories that would be helpful around the Scene Shop. There is a good summary of this aspect of the show at The Powertool Authority Blog: www.coptool.com/blog/2011/11/dust_collection_a_strong_focus.html

Check it out and maybe you can find a way to just need dust masks in lieu of respirators!

OSHA Makes Mandatory Signage Posting Easier

2011-11-25T09:45:00.013-06:00

Publication 3165 - English - Job Safety and Health: It's the Law

The OSHA Job Safety and Health: It's the Law poster (OSHA 3165) is available for free from the OSHA Office of Publications. Employers do not need to replace previous versions of the poster, however, all covered employers are required to display and keep displayed, a poster prepared by the Department of Labor* informing employees of the protections of the Occupational Safety and Health Act P.L. 91-596, December 29, 1970 and its amendments. (* Federal Government Agencies must use the Federal Agency Poster.)

OBTAINING THE OSHA 3165 POSTER:

DOWNLOAD: - Right-Click on the hyperlink below to download the Adobe PDF version of the poster. Save the file "osha3165.pdf" to a directory of your choice, and then open the Adobe Acrobat Reader program to load the file.

Download high resolution PDF version OSHA 3165 [PDF 6.69MB]
Download low resolution PDF version OSHA 3165 [PDF 2.04MB] or
CLICK HERE for a text version [HTML]

ONLINE ORDER: If you would prefer to obtain a pre-printed copy of this poster, you may do so by submitting your order through the Online Publications Order Form. Simply select Publication Number 3165 from the list.

More important information at: www.osha.gov/Publications/poster.html

Even if your school or venue is NOT covered under OSHA regulations (or the State Plan equivalent), it is a good idea to display this poster and discuss it with your students so that they are familiar with OSHA and it's influence over other similar facilities that are under OSHA jurisdiction. Your venue may be in a public school that is shielded from OSHA rules, however, your students may travel to a private school or a commercial venue like a theme park or touring show that is subject to the full regiment of regulations imposed by OSHA. They must understand and obey the rules that they will work with in their career, so there is no time like the present to start learning about them.

OSHA Provides Guidelines to Retailers for Crowd Management

2011-11-24T10:00:00.001-06:00

The opening of a new store or a large product sale like those on Black Friday to launch the holiday gift buying season follow closely with the Crowd Management tools that should be used by Performing Arts Event Planners and House Managers. OSHA published a Fact Sheet to help with this particular scenario and it can found at www.osha.gov/OshDoc/data_General_Facts/Crowd_Control.html. The text below can, with a little editing become the basis for a good venue crowd management reference document.

Crowd Management Safety Guidelines for Retailers

Crowd-related injuries during special retail sales and promotional events have increased during recent years. In 2008, a worker died at the opening of a "Black Friday" sale.

Under the Occupational Safety and Health Act of 1970, employers are responsible for providing their workers with safe and healthy workplaces. The Occupational Safety and Health Administration (OSHA) encourages employers to adopt effective safety and health management systems to identify and eliminate work-related hazards, including those caused by large crowds at retail sales events.

OSHA has prepared these guidelines to help employers and store owners avoid injuries during the holiday shopping season, or other events where large crowds may gather. Crowd management planning should begin in advance of events that are likely to draw large crowds, and crowd management, pre-event setup, and emergency situation management should be part of event planning. OSHA recommends that employers planning a large shopping event adopt a plan that includes the following elements.

Planning

Where large crowds are expected, have trained security or crowd management personnel or police officers on site.
Create a detailed staffing plan that designates a location for each worker. Based on the size of the crowd expected, determine the number of workers that are needed in various locations to ensure the safety of the event (e.g., near the door entrance and throughout the store).
Ensure that workers are properly trained to manage the event.
Contact local fire and police agencies to determine if the event site meets all public safety requirements, and ensure that all permits and licenses are obtained and that local emergency services, including the local police, fire department and hospital, are aware of the event.
Designate a worker to contact local emergency responders if necessary.
Provide legible and visible signs that describe entrance locations, store opening times, and other important information such as the location of major sale items.
Prepare an emergency plan that addresses potential dangers facing workers, including overcrowding, crowd crushing, being struck by the crowd, violent acts and fire. Share emergency plan with all local public safety agencies.
Train workers in crowd management procedures and the emergency plan. Provide them with an opportunity to practice the special event plan. Include local public safety agencies if appropriate.

Pre-Event Setup:

Set up barricades or rope lines for crowd management well in advance of customers arriving at the store.
Make sure that barricades are set up so that the customers' line does not start right at the entrance to the store. This will allow for orderly crowd management entry and make it possible to divide crowds into small groups for the purpose of controlling entrance.
Ensure that barricade lines have an adequate number of breaks and turns at regular intervals to reduce the risk of customers pushing from the rear and possibly crushing others, including workers.
Designate workers to explain approach and entrance procedures to the arriving public, and direct them to lines or entrances.
Make sure that outside personnel have radios or some other way to communicate with personnel inside the store and emergency responders.
Consider using mechanisms such as numbered wristbands or tickets to provide the earlier arriving customers with first access to sale items.
Consider using Internet lottery for "hot" items.
Locate shopping carts and other potential obstacles or projectiles inside the store and away from the entrance, not in the parking lot.
If appropriate, provide public amenities including toilets, washbasins, water and shelter.
Communicate updated information to customers waiting in line. Distribute pamphlets showing the location of entrances, exits and location of special sales items within the store.
Shortly before opening, remind waiting crowds of the entrance process (i.e., limiting entry to small groups, redemption of numbered tickets, etc.).

During the Sales Event:

Make sure that all employees and crowd control personnel are aware that the doors are about to open.
Staff entrances with uniformed guards, police or other authorized personnel.
Use a public address system or bullhorns to manage the entering crowd and to communicate information or problems.
Position security or crowd managers to the sides of entering (or exiting) public, not in the center of their path.
Provide crowd and entry management measures at all entrances, including the ones not being used. If possible, use more than one entrance.
When the store reaches maximum occupancy, do not allow additional customers to enter until the occupancy level drops.
Provide a safe entrance for people with disabilities.

Emergency Situations:

Do not restrict egress, and do not block or lock exit doors.
Know in advance who to call for emergency medical response.
Keep first-aid kits and Automated External Defibrillators (AEDs) available, and have personnel trained in using AEDs and CPR onsite.
Instruct employees, in the event of an emergency, to follow instructions from authorized first responders, regardless of company rules.

OSHA releases videos in the wild - hopeful that no one will be killed or injured

2011-11-23T09:27:00.005-06:00

OSHA animated educational videos show how to protect workers from construction hazards.

WASHINGTON (2011-11-14) – The U.S. Department of Labor's Occupational Safety and Health Administration (OSHA) has released 12 educational videos about potential hazards in the construction industry. The educational videos are easy to understand, short segments and geared to employers and workers. Each year, nearly 800 construction workers die on the job; one in every five workplace fatalities occurs within the construction industry. The videos are based on real-life incidents and include detailed depictions of hazards and the safety measures that would have prevented these injuries and fatalities.

"I urge anyone who works in the construction industry or operates a construction business to watch the videos. Share them with your co-workers and friends in the construction industry; organize screenings for your workers; and post them to your web pages," said Assistant Secretary of Labor for Occupational Health and Safety Dr. David Michaels. "Every step we take to educate workers about their rights and the safety measures employers must take to protect workers in construction helps us avoid preventable injuries and the tragic loss of life."

These videos cover falls in construction, workers who are struck by vehicles and heavy equipment, sprain and strain injuries, trenching and excavation hazards, and carbon monoxide poisoning. These videos are written for workers and employers, including workers with limited English proficiency.

Most of the videos are two to four minutes in length, and all but one are animated. Each video is available in English and Spanish for Web viewing or downloading. All video scripts are also available online in English and Spanish. The videos are located at http://www.osha.gov/dts/vtools/construction.html (Spanish-language videos are available at http://www.osha.gov/dts/vtools/construction_sp.html). After selecting a video from this page, users may choose to watch the video online, download the videos for future screenings, or view the videos on the U.S. Department of Labor's YouTube channel.

Under the Occupational Safety and Health Act of 1970, employers are responsible for providing safe and healthful workplaces for their employees. OSHA's role is to ensure these conditions for America's working men and women by setting and enforcing standards, and providing training, education and assistance. For more information, visit http://www.osha.gov.

Remember: Theatre Shops and Stages are for all intents and purposes a construction site - treat it like one!

Be a carpenter with a magnetic personality

2011-11-22T14:24:00.001-06:00

Screws, nuts, bolts, nails, tacks, staples, bent nails, and even small tools can be pesky items to keep-up with on stage and around the shop, and if you are up on a ladder (or maybe higher, too) you don't want to drop little items -- it's bad for the people below (yet another reason to ALWAYS wear a hard hat around the shop and stage), you don't want to climb down to get them, and you don't want to find them later by kneeling down on them and imposing significant pain on your kneecaps.
So what's a person to do? As the 6th century B.C. Chinese military stratigist Sun-tzu wrote in The Art of War: Keep your friends close, and your enimies closer. This is pretty easy: Buy some magnetic wrist bands and tool pouches to keep track of those metal bits that are so easy to drop or mis-place.

MGD Tools (www.MGDTools.com) makes a group of products called Magnogrip. Made from red and black Cordura with Velcro closures and super stron magnets, they are handy and comfortable to wear. They offer wist bands, nail pouches, and other handy items.

And for those of you that watch too much late-night TV, the former master of TV huckstersim Billy Mays promoted the Tool Band-it. Info here: https://www.asseenontv.com/tool-band-it-the-official-site-of-asseenontvcom/detail.php?p=296691&v=daily-deal_20110705

Similar tool bands by Pro-Hold can be found at: http://www.fastcap.com/estore/pc/ProHold-Magnetic-Wrist-Strap-4p27.htm

Key things to remember:

Magnetic parts holders are NOT a substitute for lanyards. DO NOT rely on them at height to protect others below from dropped tools. Use buckets and pouches that are secure to hold hardware when working at height.
Magnetic wrist bands can really mess-up credit cards and driver's licenses that have the magnetic data stripes on them. Keep them away from your wallet / purse. They can also mess with the data on Hard Disk Drives that are in MP3 players, computers and stand-alone data back-up drives.
Magnetic wrist bands should NOT be worn when working near saw blades or anywhere that moving machinery might draw your hand / arm into the tool. These magnets can be more powerful than you might think!

(Heavy Breathy Speech) Luke, wear your respirator!

2011-11-21T17:52:00.002-06:00

Stinky nasty chemicals can do more than make you cough, your nose run, and your eyes water - they can kill you. Maybe not today, or tomorrow, but they can hasten your schedule towards meeting the grim reaper. Knowing what kind of respirator to wear, how to wear it, when to wear it, and how to maintain and inspect it are all part of the plan (the safety plan, that is).

ISO Signage for Mandatory PPE - Respirator

Although some models include other features, respirators are more than just dust masks or face and eye protection. Learn about the different types of respirators so you provide yourself and others with the correct PPE for the task.

RESPIRATOR FIT TESTING
Join Lab Safety Supply Technical Support Specialist Sally Smart as she provides the basics to help you make sure respirators are used effectively to keep everyone safe. On Tuesday, November 29, at 1:00 PM CST you'll learn about fit testing techniques and equipment. This free webinar can be found at:

http://www.labsafety.com/forms/tech-talk-webinar

The workshop will also be available in the TechTalk Archives if you missed it. There you will find a host of other good subject matters addressing PPE, Electrical Safety, and OSHA, and Hearing Conservation, just to name a few.

After learning about respirators it makes you re-think the chemicals and materials you may be using around your shop. Maybe it is easier to choose GREEN solutions to construction so you don't need to worry about the toxic fumes and gases. Going green can save you a lot of PPE hassle.

OSHA (www.osha.gov) has set standards for respiration protections in 29 CFR 1910.134. All industries, except agriculture, must follow the requirements for any situation that dictates the use of respirators.
OSHA requires

a written respiratory protection plan.
appropriate respirators, supplied by the employer.
medical evaluation of each employee assigned to wear a respirator.
fit tests of the respirators.
employee training on use and care of respirators.
scheduled reviews of the respiratory protection plan.

PHS has summarized this in a whitepaper that can be downloaded for free at:
A Guideline for Your Respirator Compliance Program

NIOSH (www.cdc.gov/niosh) also has free information available at: www.cdc.gov/niosh/topics/respirators/.

Don't forget to shave down there
(down there where the respirator has to seal)

-- Go GREEN and you won't have to shave! --

Thanks to TheatreFace Blogger Rachel E. Pollock for the post reference!

Use and Selection Guides for Fall Protection PPE from ISEA

2011-11-11T17:22:00.000-06:00

Two new documents from the International Safety Equipment Association (ISEA) will help protect workers whose jobs expose them to fall hazards. A Personal Fall Protection Equipment Use and Selection Guide provides practical, hands-on guidance for fall protection users and administrators in their selection, use, maintenance and inspection of fall protection equipment. A companion document addresses topics in fall protection on which manufacturers get frequent inquiries.

Prepared by manufacturers in the ISEA Fall Protection Group, the use and selection guide describes the process of developing a corporate fall protection program, explains the components of fall protection systems, gives examples of how to select equipment for various types of work, and outlines steps for planning the use of fall protection systems.

The guide also contains inspection and maintenance guidelines, definitions, a list of applicable OSHA regulations and US and Canadian consensus standards, and links to ISEA companies and other sources of information.

“Falls are a leading cause of death and injuries in the workplace, and they’re preventable,” said Bob Apel of MSA, chairman of the Fall Protection Group. “At many work sites, fall hazards can’t be eliminated, and ISEA members make the best equipment and systems in the world to prevent and stop falls. This guide will help employers and users understand how to select the right equipment and use it properly.”

The second document, Frequently Addressed Topics in Fall Protection, is the first in a new series of “PPE Perspectives” papers from ISEA. It answers some of the most commonly asked questions that fall protection manufacturers are asked about equipment and systems, applications, and other considerations in planning and implementing a fall protection program.

Equipment issues include anchorage strength and location, horizontal lifelines, harness attachments, positioning of self-retracting lifelines, twin-leg lanyards and tie-back applications. There are discussions of the importance of ensuring compatibility among components and connectors in a fall arrest system, determining the service life of equipment, planning systems to protect heavy workers, and post-fall suspension. Specific application topics include welding, residential roofing and aerial lift devices.

Both documents are available online in PDF format, so that they can be read online, downloaded to computer or portable device, or printed. They are available free of charge, and will be updated as required by changes in regulation or standards.

Click here for more information on the ISEA Fall Protection Group, and here to access the ISEA Buyers Guide for fall protection.

Personal Fall Protection Equipment Use and Selection Guide
Frequently Addressed Topics in Fall Protection

UK Health & Safety Executive (HSE) Solicits Input

2011-10-31T22:48:00.000-05:00

The Event Safety Guide (HSG195) is to be updated for a third edition and the HSE committee is seeking commentary about the changes that should go into the next edition. Formally known as ‘The event safety guide, A guide to health, safety and welfare at music and similar events'. The revised guide focuses on risk assessment and management. It is aimed primarily at organizers of music shows and similar events, although the principles set out in the guide may be applicable to other events.

Unfortunately, there is no similar guide in many parts of the world, so this can only be used a a reference for best practices outside of the UK. This is a well thought-out guide and the information should be referred to by event organizers world-wide, regardless of it's legal enforceability. Remember: We are trying to save lives and produce safe events, so seeking-out well researched resources like this should help tremendously in running shows with injury prevention as a goal, not an afterthought.

The current drafts of the documents are available on-line for free, and the associated comment forms are also provided. Go to: www.eventsindustryforum.co.uk/event_safety_guide/

Deadline: Please submit comments by Friday, November 11, 2011.

HSE will consider all comments. However, due to the large number of interested parties, it will not be possible for HSE to reply to every comment.

In light of the numerous event disasters over the last few years, it is important that you do your part to help develop standards that we can all work and live with. Don't sit on the sidelines - participate!

If you aren't a part of the solution, you are part of the problem!

Another good reason to visit the Event Industry Forum website is to sign-up to be a member of relevant organizations that participate in this standards development process.

If nothing else, just read the material and be aware of it!

FEMA? - No, the OTHER FEMA

2011-10-29T00:42:00.000-05:00

The Fire Equipment Manufacturer's Association (FEMA) web site http://femalifesafety.com has several resources that can be helpful in training staff and students about fire safety. They have a Fire Extinguisher Training Video and other Fire Extinguisher information, as well as information about using a racked Fire Hose Systems. Take the quizzes and download the info they offer. Learn not to burn.

Zombies are key to workplace safety.

2011-10-22T21:30:00.001-05:00

Slippery floors, hot cooking equipment, heavy lifting, loud noises and working alone are some of the dangers teens face as they take that first job or seasonal employment. These are not too dissimilar from the hazards encountered in a performing arts environment. These dangers can lead to fatalities and serious injury if workers are not aware of them and how to protect themselves against being injured on the job. To help teens stay safe at work, the American Society of Safety Engineers (ASSE) launched an interactive online computer game called “Don’t be a Zombie at Work” and to illustrate how occupational safety, health, and environmental professionals are key to staying safe.

Located at http://www.dontbeazombieatwork.org, the ASSE game is free and features the imaginary evil “BodgeDab” industries. Players find themselves helping their co‐workers avoid becoming a “zombie” by finding tools and information from professionals to stay safe on the job. The game involves a mysterious corporation that has just moved into a large city, led by reputed evil boss Damballa Bokor, and opening businesses all over town. At the same time, the people working at these establishments are becoming “unnatural” ‐‐ zombie-like. And the "virus” is quickly spreading among all workers. The player’s job is to move through these establishments ‐ a restaurant (Club BodgeDab), a warehouse, and an office to save the workers by undoing the workplace hazards. This will save the zombiefied employees and create a safe work environment. If done successfully, the player moves to the final challenge ‐ BodgeDab headquarters and a showdown with Damballa Bokor.

Throughout the game Elle, an ASSE professional, is working undercover to help stop BodgeDab industries and inform the player of the dangerous and underlying dangers of BodgeDab industries.

Just a call away, Elle and a team of safety professionals provide the player with clues on how to prevent workplace hazards, save the zombies and stop the dreaded BodgeDab industries.

In addition to Elle and the safety professionals, the player has several tools that can be moved to a tool box / inventory to fix the hazardous situations in each level. Instructions are provided throughout the game as are quizzes.

The “Don’t be a Zombie at Work” game, developed by ASSE members, is another tool ASSE has created and made available to its members and the public in an effort to prevent workplace injuries and fatalities. The other free young worker tools include the “Be Safe At Work: Tips for Teens” book mark and the brochures titled “Important Workplace Safety Guide for Young Workers” and “Preventing Roadway Crashes” available by contacting ASSE at customerservice@asse.org , by calling 847‐699‐2929 or downloading them from www.asse.org/newsroom in the press kit.

In 2007 a total of 117 teens under the age of 18 died from work‐related injuries and another 77,000 teen workers were hurt badly enough to end up in hospital emergency rooms. Nationally, about 230,000 teens suffer work‐related injuries, with most of those injuries occurring in the retail or service industries, according
to the National Institute of Occupational Safety and Health (NIOSH). Overall, close to 6,000 workers die from on‐the‐job injuries and 4.4 million more suffer from injuries and illnesses in the U.S. alone.

Founded in 1911, the Des Plaines, IL‐based ASSE is the oldest and largest safety society. Its 32,000 occupational safety, health and environmental professional members lead, manage, supervise, research and consult on safety, health, transportation and environmental issues in all industries, government, labor, health
care and education. For more information please go to www.asse.org/newsroom or to http://www.dontbeazombieatwork.org.

Weebles Wobble - But They Don't Fall Down

2011-10-18T08:45:00.001-05:00

What better time to talk about Ghost Lights than during the Halloween season? One of the prime reasons to have a Ghost Light on your stage is to prevent accidents. Stages have places you can fall off of like trap openings and the front of the stage, and they have plenty of thing to bump into and trip over, or at least bust-up your face or shin real good. Ouch! Halloween scars that are permanent. Just what every aspiring actor needs.

One of the most common reasons for not having a Ghost Light is that they aren't commonly available from theatrical supply houses. All of the Ghost Lights I've ever seen have been cobbled together by well meaning shop craftsmen. The problem with this approach is that whenever you manufacture something you assume the liability for it as well. When you combine this with poor electrical knowledge and make-shift adaptations the results can be electrically hazardous as well as physically hazardous. So where is the safety in that?

I was at the local big-box hardware store the other day and I noticed this gizmo:
Item 212004, Model GL600 (www.lowes.com/pd_212004-337-GL600_0)

Lowes sells it under their Utilitech brand (made by Cooper Lighting), it is UL and CSA safety listed, fairly inexpensive, and most of all, pretty darn indestructible. The unit has a weighted base that houses the fluorescent lamp ballast, and incorporates a groove around it to wrap-up the cable when it is not in use.

The case is plastic and has a tie loop at the top if you need to hang it up for storage or suspend it. The clear plastic tube that house the lamp acts as a container to keep broken class off of the stage should you give it a really significant whack.

Fortunately, the unit does NOT come equipped with a lamp (yes, this is a GOOD THING). When you outfit it with a lamp you can choose the color temperature (CCT) and color rendering index (CRI, or Ra) so that it doesn't clash with your other work lighting, and if you elect to beef-it-up a bit you can install a hard-use lamp like those made by ShatRShield (www.shatrshield.com/catt8page.html).

This unit uses less than 40 Watts of power and lights-up a pretty good area around the stage, so pop one out onto the proscenium line so nobody has to grope in the dark and fall off into the orchestra pit. That's a dangerous fall to make unexpectedly, and many people over the years have been killed or received career-ending injuries from injuries received this way.

And a note about the Energy Nazies: There is always some well-meaning but oblivious-to-the-safety-implications individual that feels compelled to turn-off every light they find glowing. For a Ghost Light to be effective, it must be left ON. You have to twart them at their game. What can you do? Post a sign at both the on/off switch on the Ghost Light AND at the end of the cord(s) that supply the power. Be polite, but be firm.

"I want you to meet my little friend." said Al Pacino's character in Scarface. This will confuse the energy Nazies for sure: Add a photoluminescent tube over the lamp. This will continue to glow for about 40 hours after you remove the power from the lamp - so it will give any stage marauders a bit of a chance see where they are going should the power go off (or be switched off). The Lumenite® Light Sleeve is a semi-translucent, photoluminescent sleeve that fits readily over new or existing fluorescent tubes.

More info here:
www.lumenite.biz/shop.php/light-sleeves/lumenite-light-sleeve-t8-1-36w-lamp-48-1200mm-/p_2.html

Falling Down on the Job

2011-10-17T11:07:00.002-05:00

[Today’s Theatre Safety Blog post is presented by Guest Blogger and author Jenn Zuko Boughn. She runs the Daily Cross Swords blog at http://bonzuko.com and wrote the book Stage Combat – Fisticuffs, Stunts and Swordplay for Theatre and Film. Jenn is an instructor at Metro State College in Denver, Colorado, and her student-run stage combat club can be found on YouTube. Further information on the subject can be found at http://en.wikipedia.org/wiki/Category:Theatrical_combat]

As a stage combat instructor (and performer); I always say that knowing how to fall properly is probably the most important movement skill one can learn. The main reason for this is that it’s something that shows up in plays way more often than actual fight scenes do, and therefore is very often not accommodated for by the hiring of a fight choreographer or specialist. Yet, an actor can be seriously injured if she merely hurls herself to the ground repeatedly without knowing what she’s doing.

When I teach advanced stage combat, I use different language when we learn basic skills for live theatre (stage falls), martial arts (break falls, rolls) and skills that are more for film, i.e. stunt work (being thrown, air break falls, falls from a height). These three categories of how to fall down are vastly different in execution and are meant for very different things.

Live Theatre techniques are built for the world of the stage. This means that actors, not stunt people or people who have training, are doing the falling. They’re doing the falling in real time, on a hard stage floor, and with no special effects or safety equipment to speak of (barring knee pads and the like under a costume). Most actors are not tumblers or martial artists with years of training, and even if they are, it’s unlikely they’ll be able to translate their falling skills from padded mats to a hard stage seamlessly. Alongside the safety aspect of falling on a hard surface, there is the need for the fall to be theatrical—that is, an audience needs to be able to follow the physical move, not be yanked out of suspension of disbelief in concern for the actor, and most importantly the fall must be in line with the character’s arc. It’s not merely a cool move, it’s part of the story unfolding.

In live theatre falls an actor (again, not an expert) needs to be able to execute the move with all the above, multiple times. A standard run for community or professional local theatre is around a month for rehearsal, and a month or two of performances. An actor must be taught techniques that will allow them to perform these falls multiple times, often in short time frame, without injury.

Martial Arts techniques can be useful to a certain degree when it comes to staged combat for stage or film, especially as a style choice, but in general, martial arts falls aren’t a great idea for the stage. Break falls and rolls are ways to cushion the blow of falling without undue injury when engaged in actual self defense. The issues that arise from translating this to stage are threefold:

1) Actual combat situations are much too fast and small for a live audience to be able to follow.

2) Break falls and rolls on a hard floor will cause minor injury — even if done perfectly by someone with many years of training. When done ‘adequately’ by someone who just learned how, they can result in devastating injuries.

3) Rolling makes the character look particularly skilled in a unique way. It’s rare that one actually plays a ninja on stage that would have these moves naturally occur within the course of the character’s story arc. In other words, the martial arts version of falls, including rolling, can help anyone save themselves from in a variety of calamities from stage combat mistakes to slipping on the ice, but it can and will cause injury to the non-master, and is not nearly as theatrically useful.

Stunt work is different than stage combat falling in that the moves are inherently very dangerous, many not even possible to do on a regular hard stage. This includes any falls that catch air, or come from tumbling mechanics, anything that must land from a height (even just a table), or anything that can’t be done without elaborate safety equipment in place, such as crash pads.

Stunt-type falling is typically done by a stunt person, not the actor, and is not done in real time, but rather in small bits, with many takes to ensure the best reaction makes it into the film. Stunt work may be done repeatedly for the multiple takes, but not repeatedly in the same way over time that live theatre requires. Wires, pads, and other equipment are available to help with the safety of the stunt person. These things don’t violate an audience’s suspension of disbelief because they can be hidden off-camera, edited out, or otherwise concealed.

The only time that stunt-style falling can be appropriate for live theatre is if the stage itself is built for such things. For example, the Spider-Man or Indiana Jones stunt shows seen at amusement parks are made with crash pads, wires, sprung floors, stunt people as actors, and other efforts to make the live show that is centered around the stunts. In this case, the very visible equipment is part of the audience’s expectations, in that the show itself is not as much an immersive story but a display of skill.

This type of show is a different experience than what one would see in most live theatre, and in fact some current Broadway spectacle-musicals, such as Tarzan and Spiderman: Turn off the Dark tend to come under critical scrutiny because it’s apparent to an audience that the equipment is pervasive and clunky (which takes the audience out of the action), or the actors are in constant danger (which in effect does the same thing).

If an audience member is distracted by either too much equipment function showing, or by a true concern for the actors’ safety, there is no longer a suspension of disbelief, and therefore the audience is not engaged in an effective theatrical experience.

For falls on stage that not only work theatrically but are also safe, a trained fight choreographer must be used in the early rehearsal process, to embed the physical moves in the play in such a way that the actors may do their work without fear, and the audience may enjoy the piece without concern for their safety.

Nailed It! Will someone please dial 911?

2011-09-26T17:20:00.000-05:00

Just because you have one doesn't mean that you know how to use it. OSHA and NIOSH have teamed-up to publish a Nail Gun Safety Guide.

“Nail gun injuries are responsible for approximately 37,000 emergency room visits annually. In some cases, workers have died from their injuries,” said OSHA Administrator Dr. David Michaels. “This document will help construction employers make necessary changes to improve nail gun safety and protect their workers from preventable injuries and death.”

While nail guns are easy to operate and can increase productivity, they also can cause internal and external bodily injuries, according to OSHA. These injuries occur as a result of unintended nail discharge; nails that bounce off a hard surface or miss the work piece and become airborne; and disabling the gun’s safety features, among other causes.

The guidance outlines six steps to prevent nail gun injuries:

Select the proper product: Use full sequential trigger nail guns.
Provide training and keep a log of approved users.
Establish written Nail Gun work procedures.
Provide PPE and see that it is properly worn.
Encourage reporting and discussion of injuries and close calls.
Provide first aid and medical treatment.

Download the guide here: http://www.osha.gov/Publications/NailgunFinal_508_02_optimized.pdf

Play nice. Share your tools. Share your knowledge.

Be careful where you point that thing.

Performers need some limits and restraints, too.

2011-09-21T12:13:00.000-05:00

This video of a 1982 U2 concert at Gateshead clearly shows a performer that has completely disregarded his own safety (and possibly the safety of others had he fallen). The artist climbs the support structure starting around 2:30 in the video.

Were any laws broken here? Maybe not, as it was the artists' own initiative to do this, however, promoters, venue owners, stage managers, and staging rental companies must be on the alert for this type of unexpected and unplanned behavior so that proper precautions are taken to thwart it or see that it is done with the proper safety protocols in-place.

Where Are We Headed with Outdoor Concert Regulations?

2011-09-19T21:01:00.001-05:00

PLSN published a Guest Editorial by this blogger in the September 2011 Issue of Projection, Lights and Staging News. In it I discuss the potential for a coming storm of concert legislation that may affect the entertainment industry. Check it out at:
http://www.plsn.com/current-issue/87-guest-editorial/7967-where-are-we-headed-with-outdoor-concert-regulations.html

I think I'll go strapless on the catwalk today

2011-09-18T08:00:00.013-05:00

Your nemesis - Expanded Metal Grating.

And his side-kick - Bar Grate.

Wurk Pads from the front.

Working on the Gridiron Deck, Loading Gallery, or Beam Catwalk is not usually all that glamorous, but you can make a fashion statement that is functional and comfortable. Who knows, maybe you will turn a few heads while wearing these Wurk Pads? For some unknown reason, masochists must design these work surfaces, as someone that works upon them would never let this happen. Theatre crews spend way too much time on their knees, and anything you can do to relieve some of that suffering is a good thing.

Wurk Pads - the secret revealed.

The key design element is that they use heavy duty clips that grab your pant legs and won't let go (well, unless you tell them to). So, wa-la! Nothing sneaking around behind the crook of your knees to bind-up and get all sweaty. Sweet! No sweat.

This can come in handy if you have big feet, too, as some over-the shoe knee pads just won't open-up far enough to slip over your work boots. I suppose that if you had to work for a stretch on your hiney, you could clip one to each cheek and give them some relief, too.

Knee pads aren't just for crawling around on the steel, either: the stage and shop floor can harbor small screws, nails, tacks, and other pebble-sized objects that can render your brain useless should you set your full weight down on them via your knee-cap, so put these in your PPE kit - and don't kowtow to anyone without them.

More info at: http://simplifiedsafety.com/store/wurk-pad-clip-on-strapless-knee-pads.html

Rigging Schools set-up for December 2011 & January 2012

2011-09-16T09:00:00.001-05:00

Columbus-McKinnon Entertainment Technology division (CMET) has scheduled more schools for rigging training.

Rigging Seminar (December 5th - 6th, 2011)
The Rigging Seminar will be presented by Eric Rouse, an ETCP Certified Rigger and ETCP Recognized Trainer. The head of the Scenic Technology program at Penn State University, Eric has been working in the industry for 20 years. He has designed fl ying systems and performed installations throughout the USA and in Japan.

This two-day rigging seminar is an intensive exploration of rigging terminology, equipment, and concepts.
Day one begins with basic rigging concepts and then progresses to more advanced principles. Topics will include truss rigging, fall protection, math concepts, and rigging formulas.
Day two will cover deadhangs, bridles, and the math used to determine sling length, tension, and vertical and horizontal forces on the building structure.
Taking this course is an excellent refresher if you are preparing for an industrial certification exam. Those individuals who are already certified will receive 12 renewal credits.

For additional information, please contact Dave Carmack at CM:

Phone: (276) 475-3124 extension 287 • Email: david.carmack@cmworks.com

----------------------------------------------------

Tomcat trusses has also announced their school for February 2012 to be held in beautiful Midland, Texas. In 2008 in response to the changing needs of the industry and thanks to the input of a team of industry experts, TOMCAT launched a new and improved curriculum. These changes allowed participants to receive both beginning AND advanced training in their area of specialization: Hoist or Rigging. Participants can earn 32 renewal credits at each of these ETCP recognized workshops that provide a unique, hands-on learning experience with industry experts. Tomcat invites you to review the Hoist and Truss workshop section as well as the Rigging and Truss Workshop section to learn more about this unique training.

Tomcat Workshops include: All instruction and materials, lodging, lunches, dinners, snacks, transportation for dinner outings.

More information can be found at: http://tomcatglobal.com/workshop.html • Phone: (432) 694-7070 • Email: sales@tomcatusa.com

PLASA Launches Safety in Entertainment Website

2011-09-08T08:00:00.008-05:00

EW YORK - PLASA announces the launch of the Entertainment Industry Safety Initiative website, now live at www.safetyinentertainment.org. The site is designed to raise awareness of safety in the live event production industry among companies and individuals by providing information and resources regarding safe work practices, record keeping, accident reporting, and more. The site currently focuses on codes and regulations in the United States, but will be expanded to cover other countries in the future.

The website was created by PLASA after meeting with representatives from across the industry, including a variety of trade and professional associations, employers, venues, and labor unions last March at USITT. At the meeting, there was unanimous agreement among the attendees that there is a need and a desire for a central location where information can be easily found to help facilitate safety programs and to promote the general health and safety of the industry. Development of the website is ongoing, and contributions and suggestions from the industry are encouraged. The site currently only focuses on the US resources, but it will be expanded to encompass resources from many countries.

The site includes news, information, and standards from the Occupational Safety and Health Administration (OSHA); references to relevant standards from ANSI (many created by PLASA's Technical Standards Program), NFPA, NEC, and NIOSH; OSHA technical resources, record keeping and reporting tools, sample forms, publications, and information about illness and injury prevention. Much of the information has been gathered and consolidated from participants in the inaugural meeting.

Eddie Raymond, Chairman of PLASA North America, said, "Employers have a responsibility to protect the lives and safety of their workers. We want to help make it easier to find information and tools that employers can use to facilitate their safety programs and compliance with OSHA."

Lori Rubinstein, Executive Director, North America, commented, "We had a tremendous response at our first meeting. Many of the participants have assisted in collecting these resources and making them available to the entire industry. Our hope is that this website will help make the industry a safer place to work."

For more information, please visit www.safetyinentertainment.org.

Stage Safety Special Report from CX-TV

2011-09-07T08:05:00.002-05:00

An expert panel discusses the Indiana stage collapse, Pukkelpop disaster, Ottowa Bluesfest stage collapse and the German Love Parade deaths.
Panel members:
Michael 'Shackles' Kent, AVERT Risk Management/ASSURE Event Safety
Roderick van Gelder, Stage Safety Pty Ltd
Travis Semmens, Aust. Concert & Entertainment Security
Richard Matheson, Engineer, VDM Consulting
Iain 'Spud' Barclay, ESS Australia
Moderated by Julius Grafton and produced at the Sydney Australia CX-TV News studio on Tuesday, August 30, 2011.

This Industry Special report does not have ad breaks. VIEW HERE NOW.

Tread Lightly - and don't bust your butt doing it

2011-09-06T08:35:00.005-05:00

I continue to find more and more amazing steps and stairs both backstage and in the audience chamber that don't comply with ADA and NFPA Life Safety Code requirements for clearly marking the edges of steps. Many of these are in brand new buildings - why are code inspectors and architects not addressing this?

The ADA (Americans with Disabilities Act) places great emphasis on the need for people to clearly see the edges of floor transitions. The ADA guidelines and rules are not just about preventing and marking bumps under wheelchair wheels! It is about all of us needing to see under low-light conditions, and these conditions occur in many places outside of the theatre, too.

When light levels are low our vision becomes monochromatic (black & white, or really shades of gray), so there is less information for our brain to process. Strike One.
We usually don't look directly where we are going to step, we rely on our peripheral vision, which is much less detailed than our central cone of vision. Strike two.
Where we step is largely governed by out sense of where we think our feet are going, and a large dose of trust that the destination is safe (i.e. flat, level, and large enough to stand upon). If it's not, then Strike 3.

What you (don't) see above is the two steps leading down from a sort platform stage into the front cross-aisle. And no, the dark-gray to light-gray transition is not the step. It's like (not) seeing a polar bear in a snowstorm. And that is with the houselights UP. Imagine this in the dark with black and-white vision . . .

At left is a stairwell in the catwalk system. The picture was taken with a flash so it appears much brighter than the actual working space. Black steps with no contrasting edges, and the step treads are only about 8" front to back, not hardly enough to plant your foot on when you are going up them, and very hard to get a feel for when descending in the dark - your toes want to fall right on over the edges that you can barely see.

The diamond plate tread pattern can be helpful if you have a coarse tread work shoe, but if there is very much dust build-up it can still be quite slippery.

One way to retrofit steps for traction and visibility is to add a stair nosing assembly that has both traction grit and a photoluminescent strip combined. The GBC ST-1001 Bull Nose Stair Nosing is a good example of this type of product.

GBC makes another product that has a slide-in media slot that can be used for decorative inserts or possibly a paid advertising space and generate revenue resource for a venue.

Boom - Boom: Out Go The Lights

2011-09-05T08:28:00.002-05:00

Emergency Lighting Systems have come a long way in the past few years. Both LED and battery technology have improved significantly, so it is much easier to obtain brighter and longer lasting illumination of signs and emergency egress routes. In the US we typically refer to both local building codes, the NFPA 101 Life Safety Code Chapter 7 and NFPA 70 National Electric Code Article 700. In the UK there is BS 5266.

Hochiki Europe has put together a great little guide book that shows where and how Emergency Lighting should be deployed in a facility. The guide book can be downloaded here:

http://www.hochikieurope.com/bs5266/Hochiki%20Europe%20BS5266%20Guide%20Booklet.pdf

Although the BS 5266 standards are slightly different than the US standards, this is still a good example guide to read for US venue operators as the basic principles are well documented and the graphic examples are clear and concise.

One of the leading failures of many emergency lighting systems is the battery. If the battery system is not maintained and tested they can fail to perform. The lights must be tested regularly, and they must be operated under emergency power for an extended time to ensure that when called upon they will light the way for safe egress from a facility.

The example above shows corroded battery cells with low electrolyte levels.

Emergency Flashlight for Preparedness . . . where did I put that !?

2011-09-02T07:00:00.021-05:00

The Panasonic BF-541 Emergency Light, which is powered by two D-cell replaceable batteries (sold separately), can be easily wall-mounted anywhere fast access to lighting is needed. An automatic switch feature turns the Emergency Light ON automatically when removed from its holder. The light will glow up to 18 hours with its high-luminance krypton bulb when used with alkaline cells. If you replace the lamp with an LED you can probably extend the run time further (why didn't they think of that?)

To save battery power when not in use, the battery is disengaged and the light goes OFF when returned to its holder. Because there is no switch, it encourages users to return it to a location where it might be found by others rather than just laying it down and forgetting about it. The exterior case of the flashlight also has a little photoluminescent marking dot which glows in the dark, making it a wee bit easier to find when the lights go out. I think I'd put a BIG honking strip of photoluminescent tape down the side to make sure that it is visible.

Other flashlights of interest might be:
http://theatresafetyblog.blogspot.com/2010/02/jumpin-jack-flashlight.html
http://theatresafetyblog.blogspot.com/2010/02/were-dark-on-mondays-and-when-power.html

TheatreFace Video Chat - Wednesday August 31 at 11 AM Pacific Time

2011-08-29T15:26:00.001-05:00

This week TheatreFace checks in with the people who keep everything safe up there -- the riggers. On Wednesday, August 31 at 2 p.m. Eastern / 11 a.m. Pacific we'll be chatting with reps from J.R. Clancy and TheatreFace.com blogger (and Teqniqal Systems theatre safety consultant) Erich Friend. We'll be discussing what exactly a rigging inspection means, and why they're important.

More info at:
www.theatreface.com/profiles/blogs/jrclancy-erichfriend-videochat

Video streaming by Ustream

Event Safety Guides - Freebies

2011-08-24T08:00:00.002-05:00

The UK Health & Safety Executive (HSE) publishes The Event Safety Guide. First authored in 1993, it has been updated and reformatted for easier reading in the Second Edition. Available here:
http://www.hse.gov.uk/pubns/priced/hsg195.pdf

Overview

Revised to align with recent law changes and event industry best practice. Provides 'tried and tested' advice on which to organise health and safety at music events, although many chapters may also apply to other gatherings sharing similar characteristics. Intended to enable organisers, local authorities, emergency services and HSE to work together to improve safety. As such, this guidance was devised in consultation with an event industry working group. In addition to broader safety headlines, such as venue and site design, fire procedures and major incident planning, the guidance also scopes pertinent circumstantial issues. Accordingly, specifics like transport, barriers, electrics, refreshments, merchandising, amusements, attractions, sanitation, noise, vibration and many other relevant subjects are also considered.

This supersedes the 'Guide to health, safety and welfare at pop concerts and similar events.'

---------------------

Safe Use and Operation of Temporary Demountable Fabric Structures is a guide book put together by MUTA and is available here:

http://www.performancetextiles.org.uk/Literature/mutamarq.pdf

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HSE Managing Crowds Safely (web page): www.hse.gov.uk/pubns/indg142.htm

Event Safety Solutions Blog: http://eventsafetysolutions.wordpress.com/

The Special Event Guru Blog: http://specialeventguru.blogspot.com

IAVM Trained Crowd Manager Course (NOT Free, but worth every penny!):

http://www.iaamtraining.com/

Safety Standards Protect Workers — Improve Productivity

2011-08-23T11:35:00.000-05:00

The American National Standards Institute, Inc. (ANSI) publishes safety standards for the workplace. These standards are key to ensuring worker safety, protecting the environment, and improving productivity.

You can find standards for ladder safety, construction, clothing, equipment, workplace surfaces, signage, occupational health, fire safety, handling of chemicals and gases, labeling and safeguarding standards for equipment, noise, and vibration, and more at www.webstore.ansi.org/safety_standards. Download individual copies or explore multi-user site licenses. If you are part of a school or university system, they may already have a site license that you can benefit from.

Searches are available for a wide range of safety standards from these organizations:

American Ladder Institute (ALI)
American Society of Safety Engineers (ASSE)
American Society of Testing and Materials (ASTM)
National Eletrical Equuipment Manufacturer's Association (NEMA)
National Fire Protection Association (NFPA)
International Standards Organization (ISO)
International Safety Equipment Association (ISEA)
American Industrial Hygiene Association (AIHA); and many others.

NFPA Announces New Editions of Codes and Standards

2011-08-19T18:19:00.000-05:00

Theatres are complex buildings, and they don't usually don't come with an Instruction Manual. You need to know what you can do, and what you can't do. And it usually helps if you can quote the authorities 'Chapter and Verse'. This way people understand that it's not you that's being a pain in the butt, but that there really is a law, rule, or standard that defines the proper way to handle situations around the venue.

The 2012 NFPA 101 Life Safety Code has been made available for purchase on the NFPA web site:
http://www.nfpa.org/catalog/product.asp?pid=10112&title=2012-NFPA-101-Life-Safety-Code&category_name=&target_pid=10112&source_pid=10109&link_type=edition_change

This edition has changes that relate to egress paths, so they have used that theme on the cover design.

The 2012 NFPA 204 Standard for Smoke an Heat Venting (that smoke hatches / vents over the stage for the theatre folks) has also been updated and information can be found here:
http://www.nfpa.org/catalog/product.asp?pid=20412&title=2012-NFPA-204-Smoke-and-Heat-Venting&category_name=&target_pid=20412&source_pid=20412&link_type=edition_change

This describes the means of operations, quantity required, and recommended inspection procedures and scheduling.

If you have a Fire Curtain (many theatres) or Fire Doors (almost all buildings), then you need to fully understand the requirements for inspecting and testing these critical devices. The 2010 NFPA 80 Standard for Fire Doors and Other Opening Protectives is the key to this part of your facility management.

This talks about door props, latches, crash bars, automatic closers, painting doors, and identifying Fire Doors.

Also of interest to many is the 2011 NFPA 70 National Electric Code which is everything you need to know, and them some, about electrical issues. There are sections about the wire and cable we are permitted to use in the theatre environment, special requirements for dressing room lights and power receptacles, and many important items. Product information can be found here:
http://www.nfpa.org/catalog/product.asp?pid=7011SB&title=Code-70-2011-National-Electrical-Code-NEC-Softbound&category_name=&target_pid=7011SB&source_pid=7008SB&link_type=edition_change

The companion book for those working on electrical equipment (almost all of us, whether we should or not) is the 2012 NFPA 70E Standard for Electrical Safety in the Workplace. This addresses Lock-Out-Tag-Out (LOTO) procedures, ArcFlash, working 'HOT', and many other life-threatening activities when working with electricity.
http://www.nfpa.org/catalog/product.asp?pid=70E12&title=2012-NFPA-70E-Standard-for-Electrical-Safety-in-the-Workplace&category_name=&target_pid=70E12&source_pid=70E09&link_type=edition_change

Many of the NFPA publications have companion Handbooks that are available that break-down the codes and standards into manageable concepts with great graphics and explanations describing both proper and improper conditions.

Put these books in your budget. Each one usually has a 3 to 5 year update cycle, so setting aside the funding for each of these should be a simple task. If you need justification for the expenditures, then ask the powers that be how you are supposed to do your job without the actual books that define the Laws you must obey and the Standards to which you should adhere.

Warning: Reading these books may induce drowsiness. Do not drive or operate heavy machinery while reading them.

Entertainment Innovation Conference planned for at UNCSA

2011-08-18T18:35:00.000-05:00

Officials at the University of North Carolina School of the Arts (UNCSA) have announced the school's third annual Entertainment Innovation Conference (EIC). Formerly known as the Southeast Regional Entertainment Technology Conference, EIC will be a three-day event hosted by UNCSA's School of Design and Production. The event runs Thursday, September 8 thru Saturday, September 10, 2011, and will be held at the UNCSA Performing Arts Center in Winston-Salem, North Carolina.

Cirque du Soleil and its corporate partners will lead workshops at EIC covering the use of the cutting-edge technologies in Cirque du Soleil productions.

The conference is open to industry professionals, including students and faculty members of university theatre departments.

The UNCSA Entertainment Innovation Conference is one of several regional conferences highlighting the unique, extensive, and carefully orchestrated technological requirements that go into a Cirque du Soleil production. The conferences are a rare opportunity to get a behind-the-scenes looks at Cirque du Soleil productions - perhaps some of the most complicated entertainment experiences being performed today.

Conference topics include: Stage Properties, Scene Design, Stage Management, Company Management , Show Operations (Health & Safety), Wigs/Makeup, Multi-Media, Sound/Audio, Automation, Rigging, Artistic/Performance, and Research and Innovation in Performance (CRIP).

Presenters at the 2011 conference will include:
*        Rochelle Wolfe, Cirque du Soleil Resident Shows Division
*        Stacy Meyers, Cirque du Soleil General Stage Manager
*        Sharean Oxley, Cirque du Soleil Assistant Company Manager, "O"
*        Chris Velvin, Cirque du Soleil Health and Safety Manager
*        Tisha Tinsman, UNCSA alumna and Cirque du Soleil Lead Wig/Makeup Technician, "Viva Elvis"
*        Eric Ludacer, UNCSA alumnus and Cirque du Soleil Head of Projections, "Love"
*        Mac Johnson, Meyer Sound Labs
*        Gemma Guy, Stage Technologies
*        Casting Directors, Cirque du Soleil.

For more information about the UNCSA Entertainment Innovation Conference, including registration and hotel information, please visit http://eic.uncsa.edu/

C U There!

This is Our Summer of Discontent - Storm at Pukkelpop Festival Kills 5, Injures Over 140

2011-08-18T18:05:00.003-05:00

2011-08-18 - Mother Nature racked-up another one today in Hasselt, Belgium. A sever storm with high winds, hail up to 1/2" diameter, and LOTS of water made a shambles of the festival grounds and surrounding area. There are trees uprooted and broken like toothpicks (and these are BIG trees, too), and reports of at least four stages and many tents destroyed. Early pictures and videos show shredded tents, bent metal, and a crowd management nightmare. More pictures here.
There were an estimated 60,000 people attending the shows, so there were few places to get in out of the down-poor and wind. Many of those places were of questionable structural integrity being tents and portable buildings. This was the first day of a three-day festival, and the venue was turned into mud and flooded areas in less than ten minutes. Promoters attempted to bring-in mobile cranes to lift some of the damaged structures, but they had to postpone doing so because the heavy cranes were sinking into the soft ground.

One of those who watched a tent collapse was Laura Elegeert, 17, of Saint-Nicolas, Belgium. She said "It was utter confusion, mass panic. People were trying to get out of this tent that collapsed by using their pocket knives and cutting holes in the fabric."

At a news conference Friday, Hasselt officials and festival organizers described weather conditions at the event's opening day as exceptional and said weather forecasters had not predicted a storm of that intensity.
The Belgian weather service refused to give the exact speed of the wind, saying only that the storm was "violent."

Images of the stage wings toppled-over show huge flat sail-like surfaces and no apparent counter-ballasts to secure the framework.
Skin, the lead singer of Skunk Anansie, which was performing on the main stage when the storm hit, described the chaos on the band's Facebook page. He said "a burning hot sunny day turned into a mini-hurricane."
"(A) tower fell onto our truck, we had to run for our lives mid-set as hail hit the stage and the wind began to tear it to pieces," he wrote. "This was the scariest moment I have ever seen or felt in my 20 years of being an artist."
ABC News coverage: http://abcnews.go.com/Entertainment/wireStory?id=14334480
Arial photos of the festival grounds the following day. This really shows the scale of the event and the broad swath of downed trees, tents, and staging. http://album.hbvl.be/foto-album/p/3/ravage-na-drama-op-pukkelpop-luchtbeelden.aspx
This festival, and others in the region have incurred deaths in the past. In 2000, nine people were crushed to death and 43 injured during a Pearl Jam concert, and last year 20 were killed and 342 injured during the Love Parade Festival in Duisberg, Germany.
Summer's not over yet, so let's all be careful out there! Do you have a clear plan for a weather event? Where to go? Who to meet? Who to Call? When to 'call' the show?

Updates on Indiana State Fair

2011-08-18T04:00:00.011-05:00

Here are some more postings by fellow bloggers to read-up on this tragic event:
Meteorological Musings by Mike Smith:
http://meteorologicalmusings.blogspot.com/2011/08/fundamental-problem-at-indiana-state.html
http://meteorologicalmusings.blogspot.com/2011/08/horror-in-indianapolis.html
Severe Weather Blog by Jon Davies:
http://davieswx.blogspot.com/2011/08/81311-indiana-stage-collapse-example-of.html
Control Geek Blog by John Huntington:
www.ControlGeek.net
TheatreFace Blog by Erich Friend (me):
www.theatreface.com/profiles/blogs/indiana-state-fair-incident-overview-not-your-average-greek
Jim On Light Blog by Jim Hutchison:
www.jimonlight.com/2011/08/17/help-a-killed-and-an-injured-brother-in-the-indiana-state-fair-stage-collapse-hoosierstatecollapse-please-rt/
National Public Radio (NPR) by Joel Rose:
www.npr.org/blogs/therecord/2011/08/17/139721112/who-is-inspecting-outdoor-stages
www.npr.org/2011/08/17/139725599/safety-in-question-with-growing-outdoor-concerts?ps=r
Crowd Management Strategies web site by Paul Werthheimer:
Time To Rethink "Rain Or Shine" Mentality? - www.crowdsafe.com/new.asp?ID=2075

What If The Indiana Governor Is Correct? - www.crowdsafe.com/new.asp?ID=2077

Indiana State Fair Official: "He" Did It. - www.crowdsafe.com/new.asp?ID=2078
More news about the Indiana State Fair:
Gov. Daniels hires outside firm to review fair procedures: www.wthr.com/story/15293118/gov-daniels-hires-outside-firm-to-review-fair-procedures & www.indystar.com/article/20110819/NEWS15/108190339

Engineers question cross bracing on State Fair stage: www.wthr.com/story/15286083/engineers-question-cross-bracing-on-state-fair-stage (a really good comparison of this year's stage to a prior year's stage)
Weather Assessment by MSNBC: www.msnbc.msn.com/id/44166368/ns/weather/#.TkteS2FICcE
6th and 7th victims die in weeks following the incident:
www.reuters.com/article/2011/08/20/us-indiana-fair-toll-idUSTRE77J02B20110820
www.wthr.com/story/15307336/seventh-person-dies-from-fair-collapse

Survivor Update:
September 21, 2011 - State Fair incident victim awakens from coma. News story at:
http://heraldbulletin.com/local/x94880346/Pendleton-woman-injured-in-state-fair-stage-collapse-wakes-from-coma-writes-messages-to-loved-ones
October 27, 2011 - Stagehand recounts the event. News story at:
www.wthr.com/story/15893812/stagehand-recounts-sugarland-stage-collapse

Forklift Incident Drops LED Screen on Worker Killing Him

2011-08-16T08:25:00.010-05:00

2011-08-08 - Thousand Oaks, California. The owner of an LED video screen rental company was crushed and killed when the 1,500 pound screen fell from a fork lift while disassembling the unit after a show. The incident occurred around 1:00 PM at Earl Warren Showgrounds after the weekend rodeo event. Killed was 49 year old David Mann, owner of Jumbo Screen Company (www.jumboscreen.com).

This is an image of a similar 10' x 17' screen in use. CalOSHA is investigating the incident and details of why the screen came loose from the fork lift are not available. Other workers were able to lift the screen off of the victim before emergency crews could arrive, however, attempts to resuscitate the man were not successful.

Shown at right are workers surveying the damaged screen after emergency crews had transported Mr. Mann to a local hospital.

Notes for show workers: Do NOT stand under heavy objects being lifted. Be sufficiently far away from the object so that if they fall to the ground you will not be struck by it. for vertically oriented objects, be outside of the height of the object so if it falls over you will not be crushed by it. Secure your loads and double-check them.

OSHA Information regarding forklifts:
http://www.osha.gov/SLTC/poweredindustrialtrucks/index.html

Forklift Safety Guide (State of Illinois):
http://www2.illinoisbiz.biz/osha/PDF/Books/01%20Eng_Forklift.pdf

And a safety video (be patient - it starts out slow and builds to a really amazing ending):

Indiana State Fair Stage Collapse - Post Mortem Questions

2011-08-15T10:42:00.000-05:00

The picture is getting a bit clearer now that the news has buzzed this into notoriety. One resource has posted a time-line of events (http://media2.wane.com/_local/site/PDFs/News/State%20Fair%20Incident%20Time%20Line.pdf) that shows the level of emergency planing that didn't happen. This brings to light the pre- and post-emergency actions by the promoter and emergency crews.

The weather issue has been discussed extensively, however, the electrical power issue has not. The stage canopy collapsed at 8:49 PM, yet the timeline shows that the power wasn't cut to the stage for almost another half hour. There were hundreds of people climbing in, under, and on that aluminum structure and the power was still HOT! Truly, someone was asleep at the switch. Fortunately, no one was electrocuted. Crushed, yes, but electrocuted, no.

How come the power wasn't killed BEFORE the canopy blew down? At the time the storm was identified to contain rain, hail, lightning, and wind (most summer storms contain these four elements, so this isn't 'unexpected' or 'freakish'), the lighting and sound power should have been disconnected, and the winch power left on-line until the canopy was safely brought down to the stage level. This should have happened waaay earlier than the timeline shows.

NEWS FLASH: Water and Electricity and Aluminum structures are not a good mix. Add people to that and you have a recipe for further disaster.

Event Planning: When you are doing outdoor shows there should always be someone at the power source so that power can be shut-off in the event of an emergency. The power source and disconnect location should be located outside of the crash radius of the structure so that the workers there can operate the controls / disconnects and so the falling structure can't bury the one thing you must get to if an incident like this occurs.

Third Stage Collapse in 5 Weeks Injures 45, Kills 6

2011-08-15T00:11:00.009-05:00

Following the weather induced collapse of stages in Ottawa, Canada and Tulsa, Oklahoma, this event at the Indiana State Fair on Saturday, August 13, 2011 should be a wake-up call to promoters, Health and Safety administrators, and insurance companies that shoddy stage construction, ill-prepared emergency plans, and apparently non-existent weather monitoring by qualified individuals has to be curtailed. Lives are at stake and people are being injured and killed.

More pictures and news reports about this most recent debacle can be found here:
ABC News: http://abcnews.go.com/GMA/video/die-indiana-stage-collapse-14300933
CNN News: http://www.cnn.com/2011/US/08/14/indiana.stage.collapse/ (Kudos for best video image!)

Further thought provoking commentary by this blogger and others can be found on fellow blogger's site: Jim On Light (http://www.jimonlight.com/2011/08/15/indiana-state-fair-stage-collapse-five-dead-now-what/)

What has this author upset are the bone-headed attitudes that are portrayed by the participants and onlookers: They seem to accept that these stage collapses are 'no big deal' or that they are somehow 'unforeseeable' or 'unpredictable' events. I say:

Indiana Governor Mitch Daniels described the canopy collapse at the State Fair as a "freakish accident." “I’m not clear how anyone could have foreseen a sudden, highly localized blast of wind,” Daniels said. REALLY!? NOT clear? An he is the Governor of the state. I guess an IQ test isn't a prerequisite for the job. Has he not heard of weather radar? Wind shear radar? Wind Speed Radar? Or maybe good old common sense: "We can see a storm coming right at us, and it a huge mother fucker, and we have 25 tons of lighting and sound gear suspended 60 feet in the air with a 1/4 acre sail attached to it while being supported by a dozen skinny aluminum truss columns"? How does that work for you? I'm not even sorry for saying this is asinine. It is.

After the Tulsa, Oklahoma windstorm that tore a video display frame from the upstage area and sent it crashing to the ground, Ivins, the Flaming Lips' bassist, said the video-screen collapse was unpreventable. "It was a freak thing that happened," he said, adding that the Lips are working on repairing the rolling video screen for their next festival gig, in Somerset, Wisconsin, in about two weeks. "Maybe the stage could've been facing a different direction. We could have tied the screen down, but it would probably have taken the whole stage down. We try to take as many precautions as we can, all the time. It's just sometimes there's stuff out of your control. You just never know what's going to happen." Really!? Dang, dood, why do you even get out of bed in the morning (or maybe afternoon) if you don't know what is going to happen. Yeah, life is unpredictable, but basic physics is VERY predictable.

These kinds of incidents (not accidents) ARE Predictable and Preventable. It's called engineering, review, and planning. We know weather happens. We know it is powerful. We know if something blows over or collapses and lands on someone it will very likely injure or kill them. What is so hard to understand about this!? With attitudes like those promulgated above, it is no wonder that more people don't get killed at concerts.
Demand more safety planning and review. Shit doesn't just 'happen' -- it happens when you DON'T plan for it.
Here is a superb article by William Gorlin that was published in October 2008 that addresses many of the structural and operational considerations of temporary structures:
A Mighty Wind (Load) http://livedesignonline.com/theatre/mighty_wind_load_1008/index.html

Fall Protection with Trolley Beams

2011-08-11T19:29:00.003-05:00

Rigid Lifelines contributed this article as a guest blogger from their Fall Protection Blog. This fall protection equipment company provides fall restraint and fall arrest systems that provide fall safety solutions to a variety of different industries.

The performing arts industry, like many other industries, entails many different fall hazards. Performers, stagehands, lighting and sound technicians, set decorators, and other workers are frequently confronted with fall hazards. Productions may place performers on elevated platforms, and frequently support crews must reach-out over guard rails or lean over the edges of platforms to access work pieces. Each of these unique challenges demand that specific fall prevention solutions must be designed by a certified fall protection professional.

Fortunately, there are several ways to address such hazards. Passive fall protection, such as guard rails on a catwalk, may be sufficient for workers who require ceiling access, for example, to install or adjust lighting or sound equipment. Frequently, however, catwalks and structural I-beams are not fully protected, and workers are required to be tied-off when accessing such areas, which may be as high as 100 or more feet above the ground in large venues. In that case, the OSHA 4-foot general industry rule requires that they be protected, so some type of a fall protection arrangement is necessary.

As with many other industries, the fall protection solution depends on the job. If workers are going to traverse a wider lateral distance, like along a roof beam or loading gallery, then they are probably going to want a system where fall protection is provided along a linear path. This could be achieved with an active system that utilizes a safety harness and lanyard attached to a cable or some type of rail or I-beam system. In such a system, the cable, track, or beam is attached to the existing ceiling support structure. When attached to the fall protection system, workers can move along with a trolley, allowing them to work relatively unimpeded. In the event of a fall, the anchor system is designed to actively arrest their free-fall with the shock absorption lanyard and fall protection harness.

A safety cable that is stretched tight between two points will inherently add some extra ‘give’ to the system, so this must be accounted-for when determining how far the system will allow the worker to fall before coming to a full stop. This extra travel may also affect the rescue procedures need to recover a fallen worker.

A rigid track type system gives very little, so it can provide a more robust protection.

Examples of the Rigid Lifelines Fall Arresting Track profiles are shown at left. The single track is for short spans, the truss-type single track is for longer spans, and the dual track is designed to allow two workers to pass each-other without having to trade fall arrest lines. NOTE: This is very special load-rated track and it is NOT the same thing as curtain track used in the theatre. Do NOT attempt to use theatrical curtain track and scenery carriers for fall protection purposes.

In scenarios where the work area is limited and the worker does not to move about very much, a single point attachment can be used to allow a worker to hook-in with their restraint lanyard to a designated point in the ceiling (using a structural eye-bolt or some type of a load-rated beam clamp). In this case, the worker’s movement is limited, per OSHA, to 30° off of plumb, but they are still protected in the event of a freefall. The 30° limitation is to prevent the worker from swinging too far in a pendulum motion where they might swing back and smash into a wall or other protruding hazard.

Worker attaching to a designated fall protection attachment point (Courtesy of RUD)

Depending on the activities needed by the show, performers may require a customized fall prevention or fall arresting system. If the performer(s) are being suspended from a special performance flying system, then they may have a back-up fall arrest system to protect them should the primary fly system fail and place them in a free-fall condition during the performance. It is very common to see aerialists tied-off to self retracting life lines in Cirque de Soleil shows.

In other scenarios, the performers may have to work at the edge of a high platform. If they are moving about, then they may require a dynamic system with retractile reels that keep the slack in the line to a minimum. One popular Broadway show that has received recent media attention is Spiderman. In that show, the performer runs out on a cantilevered platform and looks over the edge into an abyss below (the orchestra pit some 30 feet down). You can see the fall protection lanyard trailing behind the performer, but the audience doesn’t seem to focus on it. This system is designed to be a fall restraint system (one that never allows the performer to actually fall). This particular system failed during one of the early shows because it had not been properly inspected and the fall restraint line was allowed to become abraded. When loaded by the running actor, it snapped and the performer fell into the orchestra pit and was injured.

Other fall restraint systems are simpler, they use a fall restraint lanyard that is a fixed length. It too, prevents the worker / performer from getting in the situation where an actual fall is possible. These are common on loading galleries ad when working leaning out over a balcony railing.

Where more maneuverability is needed and the worker must be able to place themselves in a situation where they could actually fall, then a shock absorbing lanyard or an automatically retracting self-locking fall arrest device must be used.

Automatically retracting self-locking fall arrest device
(Courtesy of Rigid Lifelines)

The typical theatrical fall protection focus, however, is on systems designed for workers who will be working in a potential fall hazard area — such as workers who must adjust lighting equipment at height or climb about on fixed or portable trusses. Common locations for Fall Protection requirements in the theatre are:

Balcony Railing Lighting Bars
Tormentor Boom Lighting Pipes
Scissors Lifts and Boom Arm Lifts
Weight Loading Gallery Rails
Open Beams and Trusses
Fixed Vertical Ladders (with and without cages)
Roll-up ladders (like are used to access concert trusses)
Upper level storage areas where there can be open sections of the railing
Follow Spotlight Platforms
Elevated Paint Bridges

Example of an overhead trolley for attachment
of fall protection equipment.
(Courtesy Rigid Lifelines)

Rigid Lifelines has provide numerous systems to nightclubs and theatrical venues in the Las Vegas area. Typically, a customer will mount an enclosed track system to the ceiling in a nightclub where lighting/sound equipment needs to be modified or arranged on a regular basis. In such cases, workers need to access the uppermost areas of often cavernous performance spaces. With a Rigid Lifelines trolley system, they can hook into the track and walk around on a catwalk or on beams, and in the event of a fall they’re protected by the overhead securement system. As noted previously, when a cable type system is employed, a worker might fall a significant distance and then find themselves suspended too far below the catwalk / beam to pull themselves back up to safety. With Rigid track, however, a worker will only fall a few inches, making it easier to recover the worker from the suspension phase.

Theatrical performances such as “Cirque de Soleil,” in which the performers or support crew must access the ceiling structure, have used Rigid Lifelines track systems to protect workers from a freefall to the lower level. So while the performing arts industry entails unique fall hazards — sometimes almost intentionally because of the nature of a specific performance — the fall protection solutions are nonetheless similar to those seen in general industry.

Also note that workers / performers that are using fall protection devices must be trained about donning and using the equipment, checking it for damage, and keep records of use, abuse, and inspections. Additionally, the workers using the equipment and those supervising them must have a rescue plan worked-out in advance so that a person that has fallen is not left hanging and suffer suspension trauma. Suspension Trauma occurs when the blood circulation to the extremities is reduced or cut-off due to the tightness of the fall protection harness that is imposed when the worker is hanging by the attachment point(s).

More information and resources about fall protection systems can be found at:

OSHA – www.osha.gov

ISFP – www.isfp.org

NIOSH – http://www.cdc.gov/niosh/topics/falls/

HSE – http://www.hse.gov.uk/falls/index.htm

WorkSafeBC – http://www2.worksafebc.com/Publications/OHSRegulation/Part11.asp

ACTSafe– http://www.actsafe.ca/category/resources/library/working-at-heights/

Ridgid Lifelines Resources page - www.rigidlifelines.com/resources.html

Solowski Info Center page - http://www.fallpro.com/fall-protection-info-center/

Burning the candle at both ends...(Updated)

2011-07-22T09:40:00.002-05:00

When Disney's Imagineering group needed a spooky candle for their "Haunted Mansion", they couldn't be bothered with using real candles. The fire hazard alone makes that a no-go, but as with all things in theme parks, the operational cost has to be evaluated, too. Replacing real wax candles multiple times per day would be both material and labor intensive. Using incandescent lamps wasn't a real good option either, as they consume lots of energy, have relatively short lives (by theme park standards), and still generate a lot of heat. More heat means more air conditioning, means more electric bills. Besides that, they just don't look like a candle - you know: flickering randomly, soft ethereal glow, and all that spooky stuff.

Well, if you can bring Abe Lincoln, and other animatronic things to life, why not a candle? Add a little Disney magic to some LED's and a bit of creative molding for a candle body, and poof: You have a Dream Candle.

First introduced at the 2010 CES show by Luminara LLC (originally Dream Candles, LLC), they have exclusive rights to commercialize Disney's patented idea. They now have product available and information can be found at www.myluminara.com (this site redirects to a UK site, but if you go to www.facebook.com/pages/Dream-Candles-by-Luminara-LLC/415944677305 you can find US resellers.)

Don't use real candles on stage unless you can meet the requirements of NFPA Life Safety Code 101, Section 13.7.3. If you do plan to use real candles, then you should obtain a copy of NFPA 160 Standard for the Use of Flame Effects Before an Audience. This standard is referenced by the 2009 NFPA Life Safety Code 101, Section 13.7.3.(2). Failure to know the requirements of the law is not an excuse to break the law.

There are other pretty good LED candles out there, like Smart Candle (http://smartcandle.com/), and some are even less expensive than real candles, and they don't drip hot wax on your actors, melt your props, or ignite your costumes that you failed to treat with fire retardant. (Ref: 2009 NFPA Life Safety Code 101, Section 13.4.5.11 - Flame Retardant Requirements).

Fire Doors 101

2011-07-19T09:18:00.014-05:00

Associate Editor Kylie Wroblaski at Buildings.com posted a good article about Fire Doors:

www.buildings.com/Default.aspx?TabId=3334&ArticleID=10186

Take note of the other posts on Fire Doors to see how they play in your theatre.

Make a pre-emptive strike against the spread of smoke and fire by keeping all fire doors closed and latched unless you are moving equipment or personnel through the door. Do not prop fire doors open with chairs, microphone stands, stage weights, flag poles, desks, speakers, pianos, boxes, backpacks, wedges, flip-down props / stops, or by tying the handle to a nearby railing or wall. If the door cannot close and latch on it's own, then it must be repaired.

Ottawa BluesFest Stage Canopy Collapses During Storm

2011-07-18T12:33:00.002-05:00

Sunday, June 17, 2011, Ottawa, Canada - A storm blew over an outdoor concert and collapsed the stage canopy on Sunday afternoon. Three people suffered minor injuries, and the remainder of the show was cancelled. Here is a mobile phone video shot by Ben DiTommaso:

This really shows how fast a weather event like this can take down a structure.

The extensive article in the Ottawa Citizen (http://www.ottawacitizen.com/Bluesfest+stage+collapses+storm/5116446/story.html) describes the storm's arrival and the crowd management issues. It is interesting that the local weather reports indicated a fast approaching (100 km/h) system with wind gusts up to 140 km/h. Yet the Festival director, Mark Monahan, referred to the storm as "an unexpected event." The question needs to be asked as to why the organizers didn't consider evacuating the site earlier? It was easy to see from the weather information available that the system was going to pass right over the city. This would have been an excellent opportunity to use the big video screens to announce the impending weather and request that the crowd take-cover. Event organizers should have pre-composed informational video frames and audio announcements to address this, and other emergency information.

Additional videos, interviews, and and print coverage can be found at the CTV news web site:
http://ottawa.ctv.ca/servlet/an/local/CTVNews/20110718/OTT_Bluesfest_Day2_110718/20110718/?hub=OttawaHome

As mentioned in previous posts, it takes time to clear an area and secure stage canopies and towers, so there MUST be a willingness and effort on the part of the show management to pre-emptively protect the public. If one of the tall towers that were supporting the speakers were to have blown-over onto the crowd, the injuries
could have been substantial. NEVER UNDERESTIMATE THE POWER OF MOTHER NATURE.

Rihanna Concert Shutdown By Fire on Truss

2011-07-15T20:46:00.004-05:00

The concert on 10 July 2011, in Dallas, Texas' American Airlines Center Arena (AAC) came to an abrupt halt after some pyrotechnics started a fire on a lighting truss near the front of the stage. Witnesses say the front rows of the audience quickly cleared-out after sparks and fire started spewing from the truss. Local TV station and CBS affiliate KTVT had first-hand reporting because several of their employees were attending the show. KTVT's coverage of the situation can be found here: http://dfw.cbslocal.com/2011/07/08/rihanna-concert-ends-with-fire/

A video of the fire shot by concert goers can be found on YouTube:

Up close view:

Quick acting show crew managed to get to the blaze with a fire extinguisher and subdue the flames. (Not an easy task 30' in the air on a wiggly piece of truss! Kudos to that guy!) It appears that the AAC and concert promoter Live Nation didn't have a coherent emergency plan, as it was several minutes before the arena lights came up, and then another minute before an announcement was made that the show was over and that patrons should exit the facility. Although there was some sense of urgency by the crowd that caused a back-up at the arena exits, once they made it to the concourse they were greeted by vendors still trying to sell them t-shirts and other souvenirs. Hmmm. What part of 'LEAVE THE BUILDING" didn't they get?

When watching the video shot by local news crews at the Great White concert in the Station nightclub in Providence, Rhode Island, three minutes into the fire there had already killed numerous people. So, what took so long in the AAC? Who was asleep at the switch in Dallas?

You can hear the show cancellation announcement on some of the videos found on-line, and it's not very good sounding (OK, it was a cell-phone mic making the recording, but you can still get a sense that the speech quality was less than ideal). Yet another reason that a professionally recorded announcement is a good idea. The playback device should be EQ'ed so that the voice track has maximum intelligibility (i.e. not muddy with too much bass) when played-back through the venue's sound system. It should automatically override ALL other program feeds so that any stage mics, musical instruments, and/or background music tracks are completely muted.

When there is a fire or other emergency incident during a show, there should always be someone that has the authority to call the show, get the lights on, and see to it that an appropriate announcement is made to the audience without any delay. There is no time to think abut Box Office losses, only people's lives.

Know the difference between a safety plan and an emergency plan - the first is what you need so you don't need the second, The second is what you need when the first one wasn't successful. An article published in the IAVM (formerly IAAM) Facility Manager magazine about this can be found here: www.scribd.com/doc/21929545/Teqniqal-Systems-Facility-Safety-Planning

IAVM (International Association of Venue Managers) sponsors regular training classes on Emergency Planning and Employee Training to address these types of scenarios. Is your venue a participating member? If not, consider becoming one, as they have a large body of resources that can help any venue, large or small, non-profit or for-profit, private or public.

This blog's author, Teqniqal Systems, also provides assessment, guidance, and training for venue staffs. Just like the Girl Scouts, you should always 'Be Prepared.'

OSHA approves alternate definition for means of egress standard.

2011-07-14T20:14:00.000-05:00

The U.S. Department of Labor’s Occupational Safety and Health Administration (OSHA) has recognized the International Code Council’s (IIC) 2009 International Fire Code (IFC) as an alternate compliance option for means of egress in its Occupational Safety and Health Standards. The ICC petitioned the federal agency asking for its code to be recognized as a way for an employer to demonstrate compliance with the OSHA Exit Routes and Emergency Management (formerly called Means of Egress) requirements.

“In jurisdictions where the 2009 International Fire Code is enforced, employers whose buildings have been inspected and approved can use that approval to demonstrate compliance with OSHA requirements (Section 1910, Subpart E, Standard 1910.35),” International Code Council CEO Richard P. Weiland said. “We thank OSHA for recognizing the safety attributes of our code as well as the professional expertise and science that goes into the code’s development.”

The Council’s petition, which started in 2004, was offered on behalf of ICC Members and all jurisdictions that adopt and enforce I-Codes; building and fire code enforcement officials; and building owners and managers with facilities that are maintained in compliance with the I-Codes.

“Allowing the IFC regulations to be used for exiting buildings will save money by eliminating the need to demonstrate compliance with dual regulations, and by avoiding potential construction modifications due to conflicting codes,” Weiland said. “OSHA’s recognition demonstrates collaboration between the agency and those who share the mission of protecting the health and safety of building occupants.”

The U.S. Department of Defense and the U.S. General Services Administration supported the Code Council’s petition along with local and state jurisdictions, including New York state, Jefferson County, Colorado, and the city of Hampton, Virginia.

Twenty-seven states with approved Occupational Safety and Health plans also will have to update their plans to incorporate the new rule within six months of the final rule’s publication. The final rule was published in June and takes effect July 8, 2011.

The International Code Council (www.iccsafe.org), a membership association dedicated to building safety, fire prevention, and energy efficiency, develops the codes used to construct residential and commercial buildings, including homes and schools. Most U.S. cities, counties and states choose the International Codes, building safety codes developed by the International Code Council. The International Codes also serve as the basis for construction of federal properties around the world, and as a reference for many nations outside the United States.

Breath deep (if you can)

2011-07-11T17:45:00.000-05:00

Professional Propmaster, Eric Hart, writes a handy blog called "Eric Hart's PROP Agenda". His latest post about the need for fresh air in the shop and in particular, your lungs, is a good read. Check it out!

http://www.props.eric-hart.com/safety/breathe-nothing-but-air/

ISO Standard Signage for Mandatory Dust Protection

Other good resources include:

Dust Masks vs. Respirators: http://www.osha-answers.com/lore/article.php?id=044

Wood Dust: http://www.osha.gov/SLTC/wooddust/index.html

PPE Selection: http://www.osha.gov/SLTC/etools/respiratory/index.html

Dust Mask Training: http://www.slideshare.net/Hvacmach/dust-mask-safety-training

Petzl releases warning about counterfit PPE climbing products found

2011-06-23T19:58:00.000-05:00

February 2011 - Recognized as a world leader in climbing and rescue hardware, Petzl has come forward to warn buyers about counterfit products they have discovered in the marketplace. The products are visually identical to the true Petzl products, however they fail prematurely when loaded. If you have purchased similar devices recently, then you should follow the manufacturer's instructions regarding inspection and assessment of the devices to ensure that what you have is an authentic Petzl product.

More information can be found at:
http://www.petzl.com/en/outdoor/news-1/2011/02/12/warning-regarding-presence-counterfeit-versions-petzl-products

Hats off to Petzl for being proactive with equipment safety. It is an exceptional company that will publish warnings, recall notices, and keep their customers informed without someone telling them to do so.

If you vist their web site, be sure to check-out the wallpaper section - AMAZING PHOTOS!

National CPR & AED Awareness Week - June 1-7, 2011

2011-06-01T04:41:00.030-05:00

In 2008, Congress designated the first week of June for observation of National CPR / AED Awareness Week, with the goal of encouraging all states, cities and towns to establish organized programs which provide CPR (Cardio Pulmonary Resuscitation) and AED (Automated External Defibrillators) training to the public.

People are being offered opportunities to learn how to save a life threatened by Sudden Cardiac Arrest (SCA). The American Heart Association recommends that laypersons should learn “Hands Only” or continuous chest compression CPR. Learn to save a life. You would want someone to do the same for you.

People are also urged to learn how to use Automated External Defibrillators (AEDs), which are safety devices that are becoming more available in public locations so that they can be used immediately if someone collapses in SCA. AEDs can restore a normal heartbeat, as long as they are used quickly and effectively.

More info at: http://www.sca-aware.org/

American Heart Association - http://www.americanheart.org/

International Federation of Red Cross & Red Crescent Societies - http://www.ifrc.org/

Red Cross - http://www.redcross.org/

Hands Only CPR - http://www.handsonlycpr.org/

National Safety Council - http://www.nsc.org

Many facilities have also recognized the need for Automated External Defibulators, or AED's. These can save live of both staff and patrons in your performing arts facility. You should have one in the lobby and backstage between the shop(s) and the stage. Units should be in plain sight and readily accessible. Employ clear signage to assist locating the units. Photoluminescent signage is recommended.

Backstage, stress, falls, and/or electrical shock can be common causes of SCA, while in the front of house, it may be due to the sudden excitement in the show, patrons over-exerting themselves climbing stairs, or rushing to get to the show on-time. Whatever the cause, having personnel and equipment available immediately is key to a good outcome.

Call for Help. Don't forget that hardline (wired) phones are always best to call for emergency services, as cellular phones don't automatically track-back to the facility address. Also remember to clearly post the facility address adjacent to the telephone.

How are you going to pay for an AED? Local, state, and federal governments sometimes makes funding available for AEDs in the form of grants. Though finding these grants for your AED program can require an investment of both time of energy, the effort may be worthwhile.

Government funding: For federal funding options look at the Catalog of Federal Domestic Assistance at http://www.cfda.gov/

Private Funding: For funding from private organizations look at the Foundation Center at http://www.foundationcenter.org/

Other helpful information can be found at the
Proposal Development: A written proposal is almost always required to apply for a grant. For assistance in writing an effective proposal, you can find excellent instructions and examples at http://www.minerandassociates.com/

A grant project can take weeks or months to complete. If your needs are more immediate, look toward civic groups such as your local PTA, Lions Clubs, Moose Lodges, Elks Clubs, Kiwanis, Rotary Clubs, and Masonic Temples. If your project is aimed at the well-being of children, a local Optimist Club could be a source.

Of course, it can't hurt to look to your own theatres' patrons and supporters for financial help. Having an AED on-site can save their lives, too!

Other Grant Resources:
Sudden Cardiac Arrest Foundation - www.sca-aware.org/finding-funding
Zoll Medical Devices - www.zoll.com/medical-products/automated-external-defibrillators/aed-grant-information
AED Grant.Com - http://www.aedgrant.com/

Blow me. No, OSHA says don't blow me.

2011-05-20T08:30:00.021-05:00

LOTO, or Lock-Out-Tag-Out, is a system where you secure equipment so that it cannot release enegy that might harm someone. Many people think that it's just for electrical devices, but that is only one application for LOTO. Pneumatic, steam, spring, hydraulic and even gravitational movement are equally important. Second to electricity, phenmatic, or air pressure, is probably one of the most common forms of energy to be managed by an LOTO program. Compressed air systems are frequently used for dusting-off items in the shop, operating staplers, nailers, rotary tools like grinders and impact drivers (wrenches), pressuizing air painting equipment, and operating platform lifts and air casters.

When you need to service the equipment or delivery lines it is important that all of the pressure is bled from the system so that tools can't mis-fire, clamps or brakes can't change state, and hoses don't accidentally spray a blast of air into your face / eyes or discharge in close proximity to your skin.

To achive this, there is a special safety valve called a Pneumatic Isolation Valve, or PIV. It isolates the supply air stream from the delivery system, and it allows all back-pressure in the delivery system to be relieved safely - and it has a means to lock the valve so it can't be tampered with.

Bimba Manufacturing (www.bimba.com) has a great video that explains how one of these work:

Be well hung

2011-05-19T11:09:00.000-05:00

The PLASA International Rigging Conference, first held in 2010, has announced it's schedule for the Fall 2011 event in London, England. Last year's event was the first of its kind, and provided a unique specialist forum that will brought together rigging companies, riggers, venue operators, tour and event production managers from around the globe. They focused specifically on rigging and working at height for temporary installations.
As the entertainment technology industry is going through a process of standardisation, there is a need for the international community to come together and discuss key issues, share knowledge and dispel myths. The expertise on offer at this conference will allow you to do that, with presentations from top industry individuals from the global rigging community.

With a balanced programme of presentations, panel discussions, Q&A sessions, and live demonstrations, the 2-day conference is designed to give you clarity on a wide range of current issues and will allow you the opportunity to air your questions and concerns with industry experts and your peers from around the globe.

A new event this year will be a one-day Rigger's Forum on September 11, just before the main conference. This has been arranged to allow many that cannot attent the main conference to benefit from the great gathering of experts.
Registration and Conferencde Information can be found at:
http://www.plasariggingconference.com/

The PLASA Show will cun concurrently with the Rigging Conference from September 12 through 14, 2011

OSHA Initiates Summer Safety Program for Heat Related Illnesses

2011-05-13T12:44:00.000-05:00

Secretary of Labor Hilda L. Solis announced that OSHA is launching this national outreach initiative to educate workers and their employers about the hazards of working outdoors in the heat, as well as steps they can take to prevent heat-related illnesses.

“If you’re working outdoors, you’re at risk for heat-related illnesses that can cause serious medical problems and even death,” said Solis. “But heat illness can be prevented. This Labor Department campaign will reach across the country with a very simple message – water, rest and shade."

Information about identifying the warning signs of Heat Stroke, Dehydration, and Heat Stress can be found at http://www.osha.gov/SLTC/heatillness/index.html

With the summer concert and festival season upon us, don't forget to take precautions against Snakes, Bugs, Plants, Heat, and Weather.

Arbor Day is Time to Check Your Arbors

2011-04-27T21:20:00.000-05:00

Your Counterweight Arbors are stressed-out. Make them feel better by giving them a thorough check-up. Doctor's Orders.

Things to check:

Top Plate Connections:

Make sure that all the screws, nuts, and bolts, are tight.
Check the Hauling Line rope to see that is secure and not worn.
Check the Lift Line Terminations to see that they are all secure.


Not Good Example . . .

Check to see that Spreader Plates are accessible and Weight Locking Rings are in-use.

Not buried like this . . .

Check to see that the rods nuts are tight:

Tight nuts are good to keep your rod in place.

And check to see of the lower rope connection is properly tied-off:

Note the thimble to keep the rope from abrading on the lower arbor eye.

Keep a good eye on your arbors and watch for loose parts! If something gives-way it could be deadly!

Every Day is Arbor Day in the Theatre

UK Training Opportunities for Health & Safety in the Theatre

2011-04-18T17:44:00.001-05:00

RB Health & Safety Solutions, a UK based service company is now offering two courses focused especially on the unique needs of the theatre worker.

The first course is an all day session that addresses First Aid in the theatre environment. It will cover topics from the regulatory and medical aspects so you will know what you can do, what you must do, and what you shouldn't do. From burns and ban-aids, to resuscitation, shock, and transport of the injured, they will get you certified for 3 years.

More info at: www.rbhealthandsafety.co.uk/firstaidfortheatres.html

Their other training is only 3 hours, and it covers AEDs (Automatic Defibrillator Devices) so you can zap heart attack victims the right way and get their ticker beating again.
More info at: www.rbhealthandsafety.co.uk/aedfortheatres.html

Both of these courses can be invaluable for those working Front of House or Back of House. Injuries and Heart Attacks can happen to Staff, Performers, and Guests at any time, so be prepared to come to their aid. As a part of the theatre you need to be able to help those that have been injured. Everything form a twisted-ankle to an electric shock can happen, not to mention serious falls, and injuries of all sort from tools.

For those of you that aren't in the UK, look-up your local Red Cross or Health and Safety training providers to get similar courses.

www.RedCross.org www.AmericanHeart.org

Grip Like a Gorilla

2011-04-07T17:51:00.000-05:00

I recently blogged about the ergonomics of loading counterweights at TheatreFace (http://www.theatreface.com/profiles/blogs/dont-get-bent-out-of-shape), and in that blog I talked about the need to both protect your hands from outside abuse and to keep a good grip on those steel bricks lest you let one slip away and kill someone below.

Showa-Best Glove Company has a good solution to that problem. Their S-Tex 300 and S-Tex 350 work gloves have rubber or nitrile palms for good grip, and they come in a safety neon yellow your buddy on the Loading Gallery doesn't forget where your hands are and plop a 20 pound brick down on one or both of them.

Showa-Best Glove S-Tex 300

Besides being bright and grippy, these gloves have a very high puncture resistance rating, tear resistance rating, and blade cut rating, so they can be very handy (forgive the pun) around the shop when handling glass, sheet metal, and replacing saw blades (never wear gloves when actually using a power saw or power drill - one snag and it'll pull your hand right into the blade or bit). The open mesh back keeps your hands cool, too.

More info at:http://www.showabestglove.com/site/products/detail.aspx?style=S-TEX300 and http://www.showabestglove.com/site/products/detail.aspx?style=S-TEX350

Get a Grip

Indiana OSHA Cites Notre Dame $77,500 following Death of Student Employee

2011-03-29T12:12:00.001-05:00

Mar 21, 2011 4:03 PM, By Laura Walter, EHS Today Magazine

On March 15, the Indiana Department of Labor cited the University of Notre Dame with the most serious safety violation allowable under Indiana law for the fatal injury of 20-year-old student employee Declan Sullivan.

Sullivan was killed while he was videotaping a Notre Dame football practice from a scissor lift that was toppled in high winds on Oct. 27, 2010. (See: http://theatresafetyblog.blogspot.com/2010/11/aspiring-film-student-dies-when-lift.html)

“We’ve issued a knowing citation, which indicates the most serious safety violation,” said Department of Labor Commissioner Lori Torres. “The evidence overwhelmingly demonstrated that the university made a decision to utilize its scissor lifts in known adverse weather conditions.”

The agency also cited Notre Dame with five other serious safety violations, including failure to properly train the student employees in how to operate a scissor lift. In all, fines amounting to $77,500 were levied against the university.

Torres said the agency will launch a statewide education and outreach initiative directed toward universities, colleges and high schools.

“Scissor and other lifts are used by many athletic and band programs nationwide to videotape practices and broadcast events. We want to ensure that they are only being used by trained operators in safe conditions,” she said.

The Indiana Department of Labor issued a letter to a number of associations around the state to urge high schools, colleges and universities to review their use of scissor lifts in athletic and band events.
The university has 15 business days, by Indiana law, to pay the fines and correct the violations cited in the investigation report or to contest them to the Indiana Board of Safety Review.

Notre Dame Responds

In a statement, Notre Dame President Rev. John I. Jenkins, C.S.C., acknowledged Indiana OSHA’s “thorough and professional manner” in conducting the investigation.

“We have worked collaboratively with them over the past 4 months and have had a chance today to take a preliminary look at their findings,” Jenkins said March 15. “We will study the details very carefully and take the actions necessary to protect the ongoing safety of our students and staff. We also are very interested in the IOSHA educational effort and have every intention of being a part of that to share what we learn.

“None of these findings can do anything to replace the loss of a young man with boundless energy and creativity,” Jenkins added. “As I said last fall, we failed to keep him safe, and for that we remain profoundly sorry.”

John Affleck-Graves, executive vice president and leader of the Notre Dame investigation of the accident, said Indiana OSHA’s findings would be helpful as the university conducts its own investigation. He stressed that the university will make its own report of the investigation public once it is completed in the coming weeks.

Hear! Hear!

2011-02-24T13:10:00.002-06:00

Ever have that funny ringing in your ears that just won't go away? Maybe feel like you can hardly hear anyone around you and you have to speak-up to be be heard? Maybe everyone thinks your audio mix sucks, but they won't tell you? It could be that you have suffered hearing damage. This can be very serious, as most damage is collectively irreversible - it just gets worse, and never gets better.

"Say what?" "Huh?" "Could you please repeat that?" "Speak-up a little, I didn't quite get that." Sound familiar? It could be that you have suffered hearing damage and aren't aware of how extensive it is.

There is Temporary Threshold Shift (TTS) which is where your ability to hear quieter sounds is diminished but recovers over the next day or so. This is common if you are working around loud machinery or at a loud concert.

Then there is the more serious part: The permanent damage. Each time you are exposed to loud sounds you can loose a little bit of your hearing forever. Hearing Loss is cumulative and is not reversible.

Another common symptom is the ringing in your ears that just won't go away. This is Tinnitus. The intensity may vary over time, but it, too, is generally permanent.

What can you do to prevent further damage to your ears? Learn about hearing loss prevention and educate those around you. It is important to involve others as it is often noises that occur due to the actions of others that affect you the most.

A good first step is to get a base-line assessment of your current hearing capabilities. Go to a hearing specialist (audiologist) and have your hearing tested. Keep a record of the test. Go back for regular check-ups to see of you hearing damage is getting progressively worse.

What you can do:

Wear hearing protection whenever possible. This can be in-the-ear-canal 'plugs' or it can be over-the-ear 'muffs' or headsets.
Warn others, and have others warn you, if they are about to make loud noises like hammering, dropping metal objects, or running saws.
Post Hearing Protection information and signage around the workplace.
If other workers or management don't want to recognize the problem, then see about getting a wearable noise exposure meter (Personal Noise Dosimeter) so you can document the sound levels in your workplace. Yes, these work in rock-n-roll nightclubs, too, where both the patrons and the staff can be exposed to excessive sound levels night after night.
If you use ear-buds, headphones, or loudspeakers to listen to music, make sure that you are not 'cranking it up to 11'. Discipline yourself to be reasonable (hey, you neighbors will appreciate it, too).

Resources:
H.E.A.R. - www.hearnet.com/
Earbud - www.earbud.org/
db Logic - www.dblogic.com/
House Ear Institute - www.hei.org/
iHearSafe - www.ihearsafe.com/
NIOSH - www.cdc.gov/niosh/topics/noise/
Hearing Protection Guide - www.elcosh.org/
Hearing Loss Prevention Organization - http://www.hearinglossprevention.org/
Dangeous Decibels - http://www.dangerousdecibels.org/
Web MD - www.webmd.com/a-to-z-guides/hearing-loss-prevention

Bangin' heads in the workplace

2011-02-04T08:54:00.008-06:00

(OzMuseum.com)

At this time of year, football seems to dominate the the national attention as the Superbowl approaches. Many types of sports present the performers (players) with opportunities for severe head injuries. It seems like concussions have shown up in every corner of the football world over the past year: on the field, on locker room posters, in Congressional hearings, in labor negotiations. There's even a blog devoted to them. Whenever you talk about concussions, you inevitably end up talking about helmets.

Working in theatres is no different. We encounter low-lying beams, pipes, conduit, all-thread, the sharp edges and corners of stage lighting instruments, and the occassional metal flange or rebar sticking out where we least expect it. Of course, we also spend an inordinate amount of time around other people (Remember them? They are the most dangerous thing in the theatre!) that may not be watching where they are going with that oversized chunk of wood, scenery, ladder, or scaffolding.

Wearing a hard hat doesn't make you a geek. Get over the concern about making a fasion statement. In fact, many theatres REQUIRE that they be worn.

The nature of our work in the theatre causes many of us to spend alot of time bent over working on stuff, so keeping a hard hat on your head can be a bit of a problem. There is an easy fix for this: Get a chin strap to keep your hard hat in-place.m they cost very little and they can keep you from calling HEADS! from the catwalk as your hard hat plumets to the floor below.

One thing to keep in mind when purchasing a chin strap is to look at the clips that attach to the hard hat. Some products only have a bent metal 'U', while others have a clip type attachment like show here. These are much easier to keep in place and are highly recommended.

ANSI standard OSHA approved hard hats are fairly inexpensive (usually under $10) and the chin straps are even less. These shoudl be fairly easy to justify for your budget, as a football helmet cost between $50 and $400.