STAGES: Stories from the BW Music Theatre Program #25

In this episode the Titanic sails! Also tune into see some fascinating and unique auditions for Spring Awakening and Lizzie Borden that rock the B-W campus.

Bridal Show Adventures with Jerry Bruno Productions

A behind the scenes look at Jerry Bruno Productions setting up for one of the biggest bridal shows of the year!

Simple Math: Filling the Dance Floor a Year Ahead of Time

The equation really is simple math:

Focus on Guests + Delivery of Great Guest Experience = Desired Behavior (Dancing)

But not everyone is good at math, so class begins now - a year before the test.

There are so many factors that can contribute to (or take away from) a full dance floor at a wedding reception or other special event. Many of these factors have nothing to do with the DJ. Time and location of the actual ceremony, venue of the reception, weather, parking, traffic all have an influence on the guest experience and therefore on the dance floor itself. Obviously, we can’t control all of these things, but as entertainment consultants we have to help clients become aware of these factors, control whatever can be controlled and adapt them to contribute to a full dance floor. This takes careful planning from the very beginning of the planning process. The actual event may be a year from now, but because there are so many things - let’s call them “dance floor factors” - that can be controlled and need to be planned far in advance, our team’s job is to start filling the dance floor...now.

Great parties don’t just happen. They have to be meticulously planned. Actually, great parties can “just happen”, but that’s usually coincidence. When planning the entertainment for an event on the scale of a wedding reception, nothing should be left to coincidence. One of the very first things I try to do when helping new clients plan entertainment at Jerry Bruno Productions here in Cleveland is to try and get them to see a much bigger picture than just what songs will be on their playlist (which is often the first thing they want to talk about followed closely with concerns over “cheesy DJs”). My first goal is to get them thinking about all the different elements that can contribute to or take away from a full dance floor, many of which they may not have considered before. Then I can incorporate their vision, personalities and creativity into a plan for their party that is focused on achieving a full dance floor.

I try to get them to think of themselves not so much as bride and groom, but as objective members of an entertainment committee. This committee often starts with just three members - me and them. I think it’s important that they be able to step outside of their roles as Bride and Groom and really take an objective look at their event. From where brides and grooms sit at the Centers of the Reception Universe, everything seems like a good idea, because they are the center of attention. But what about guest #40 and #41, for example? Not many brides and grooms consider the correlation between seemingly little things like the hassle of an inconvenient parking situation, for example and how that can specifically effect the dance floor. And why should they? As the B&G, they never have to worry about driving, parking or any of that. But their guests - the specific consumer group our committee should be focused on and that we desire certain behavior (dancing) from - do have to worry about how they’re getting from point A to point B. The last thing we want #40 & #41 thinking about is where their car is or leaving early to find it. Our committee has to be focused on what the total guest experience will be and how it effects the dance floor. Isn’t the idea of inviting “honored” guests, to actually honor them?

I love that moment in a client meeting when I can see the light bulbs light up over the heads of Brides and Grooms and their parents when this concept start to make sense to them. They immediately start taking notes and start applying these concepts to their own plans. They can see how the ripple effect of everything that happens that day effects the dance floor 8 hours from now. Suddenly discussions about specific songs and music genres fall away as the bigger picture of planning great entertainment takes center stage. Suddenly, the planning morphs from being about “my day” to actually planning a great dance party for everyone.

DJs and Bands sometimes can get credit for good things that happen at events that they actually had very little to do with. If the members of the entertainment committee that are responsible for setting up the structure of the day have done a great job of creating an exceptional guest experience, they probably have delivered a crowd of people to the DJ who are ready and willing to dance and probably will despite the fact that the actual DJ might not be the best DJ in the world. Because the guests had a great all-around experience, they might walk out of that reception saying the DJ was great because the dance floor was full all night!

This goes both ways. Sometimes we get blamed for things we had nothing to do with. A DJ could be the greatest MC and Event Host ever. She carefully planned and rehearsed a creative, personalized Grand Entrance. She contacted the other vendors in advance to share timelines. She made professional and eloquent announcements. She played a great mix of music all night. But if the other members of her committee dropped the ball and only focused on 2 people as opposed to 200, the dance floor may be empty at 10:00. What do the guests say then? “That DJ wasn’t very good. No one danced”.

The point is is that this is all show business, even for the Bride and Groom. We all have to work as a team to appeal to the largest possible audience/customers/guests. Otherwise, why were they invited?

There will be a test.

Google+?

Trying out a new DJ Page on Google+. Check it out!

DJ Geoffrey Short on Google+

Rebecca

This post was was going to be about something completely different. And then I performed with my band The Avenue at a wedding last night and I met Rebecca.

Rebecca was on the dance floor all night although I can’t say she actually danced much. She was enthralled by the band. She loved the music and seemed fascinated by all of us performing it. She literally stood right in front of me all night long.

Rebecca is just a kid. Probably 14 or 15 and she is autistic. She was there for the wedding of a relative but all she wanted to do that night was sing with the band. She loves music. She assured me time and time again that she knew all the words to “Baby” by Justin Bieber. And even though that song isn’t on the band’s playlist, I called her up to join the band a few times during the night to help us sing whatever party dance song we were playing at the time. She seemed so excited when I handed her the microphone. Her family loved seeing her have fun and the crowd loved it.

I just kept thinking that I hoped we offered her even the slightest bit of encouragement to follow her musical dreams despite whatever obstacles might be waiting for her. How little effort it took on my part to make her the center of attention for a few minutes every now and then.

And then I had another thought. I have been blessed with so many good things. I don’t do nearly enough to give back to my community or to the world in general. Like many entertainers I often suffer from an inflated ego and sense of self-importance. Ironically, this often stems from raging insecurities. It’s long past time for me to take the focus off myself and my challenges and focus more on others.

I would love to find ways to make music work to help other people & causes (beyond my normal for-profit ventures). I could donate my DJ services. I could help encourage others to explore their love of music and develop their talents. I could help plan a fundraiser. I could.... I will stop being so self-centered.

Hearts are big in the DJ community and I know many DJs are way ahead of me on this one. How are you using your DJ/MC talents and experience to make your community a better place?

I’m so glad my band got the chance to jam with Rebecca last night. It would be so cool to see her making her own music some day.

Rock on Rebecca.

Geoff's New DJ Facebook Page!

Check out my new DJ Facebook Page! Thanks for any "Likes"! I like you too!

https://www.facebook.com/pages/DJ-Geoffrey-Short/306408752734286

DJs: Dressed for Success or Fashion Train Wreck?

In a recent video DJ gig log, I brought up the question of wardrobe for DJs. How important toyou is your wardrobe and the way you look on a gig? If the answer is anything below “extremely important”, take another look in the mirror.

Everyone knows you never get a second chance to make a good first impression. We know that, in general, our appearance is our very first calling card. But as DJs concerned with being great entertainers, MCs and hosts for our clients, our wardrobe and appearance can also be a vital part of the overall entertainment experience. Like it or not, we are a physical part of the layout and look of the room. In addition to having expectations of a great entertainment experience, our clients expect us to look good as well. Of all the gig logs and photos of DJ rigs posted on line, almost all of them leave out the most important part of the set-up…the DJ. What did they look like? What were they wearing? Most DJs are technical wiz kids, capable of everything from mixing music to making an intelligent light rig from a toaster. But ask some to leave the house with matching shoes and your liable to get a stare as blank as an unwrapped CD. So here are a few things to add to your list of DJ stuff to think about as your packing up for your next gig:

What’s appropriate for this gig?
Not every gig is a formal occasion that automatically requires a tux or an evening gown. Even if the gig is a wedding reception, don’t assume it’s a formal one. Remember that it’s important to keep the focus on the guests and the bride and groom, not to draw the spotlight yourself. If everyone is in business casual attire or less and you’re in a formal tux, you’re going to stick out like a sore thumb. Remember the rule about assuming things and always ask the client what they would prefer you wear.

Color
Another good question to ask clients is what colors they have planned for other elements of the event. It may be possible to coordinate the colors you wear with those elements. I’m not talking about a powder blue tux from the 70’s to match the bride’s eyes or anything ridiculous like that. But if the gig is a wedding, it may be possible for you to compliment the bridal party colors with a splash of a similar color in your tie or shirt. Again the goal is not to draw focus to you, so things have to remain tasteful.

Fashion
Is your wardrobe up to date or are you still using the tux you used for your prom? If you can still fit in it, good for you (I seem to expand every year!). Size not withstanding, that old tux may appear dated and create a fashion faux pas best avoided. It seems contemporary DJs are constantly fighting cheesy stereotypes of old fashioned DJs. A big weapon in that battle is our wardrobe. Research modern wedding fashion and explore simple differences in wardrobe that can make you look more hip, sharp and up to date. Compare: Plain, white shirt with no jacket, but a bow tie and vest that make you look like a reject from a barbershop quartet versus a formal jacket, black dress shirt and a long tie. Of course, female DJs should explore similar comparisons. It doesn’t make much sense to constantly update your music library with the latest dance hits but like Grandpa DJ playing them. Like it or not wardrobe has to be a part of our bottom line DJ expense budget.

Grooming
The slickest suit in the world won’t help you at all if you look and smell like a neanderthal. We always want to seem approachable and attractive (which is important for referrals and future bookings) to guests. But will turn off guests more than dragon breath and wild hair coming out of orifices you didn’t even know you had. Get a haircut, shave, wear make-up, make sure your clothes are ironed, etc. It’s also a good idea to keep basic toiletries like deodorant and breath mints in your DJ kit.

Comfortable Footwear
I don’t sit down during any gig I’m on. Any DJ that also stands the whole time will agree that the importance of comfortable shoes can’t be overstated. Being on your feet for 5 hours or more, not even including set-up can wreak havoc on your feet, legs and back. But that doesn’t mean it’s OK to wear your most comfy pair of sneakers either. Remember, you shouldn’t stay hidden behind your draped DJ table all night, so you can’t hide your house slippers under a table skirt. You should be spending some time on the dance floor as well or mingling with guests, etc. This means guests will see you from head to toe so it’s important to find shoes that support you comfortably and also look appropriate.

Physical Fitness
You don’t have to look like an Olympic athlete to be a succesful DJ. But some gigs certainly feel like a marathon so you shouldn’t look and feel like a tired, pot-bellied couch potato either. I’m overweight myself and constantly trying to win the battle of the bulge. But I do try to watch what I eat and get to the gym regularly. Working out a few times a week can greatly improve your energy and your appearance. Also try to get as much rest as possible before a gig. Eat foods that will boost energy, not sap it and drink plenty of fluids. No one wants to see a DJ with bags under her eyes looking like she would rather be asleep rather than at this gig. Also keep in mind that when picking wardrobe for gigs, wear things that compliment your frame and body type and look flattering on you. Ill-fitting shirts and tops that accentuate a bit of a muffin top or beer belly won’t do you any favors in terms of booking more gigs.

None of this means that DJs should be supermodels. But you should work to make your look fashionable, current and attractive. My mother always used to stress the importance of looking good on the path to success and I have seen her proven right so many times – sometimes in myself, often in others. How we look personally is as important, if not more so, than how our light rig or facade looks. Pay as much attention to appearance as gear and when you look in the mirror you’ll not only see a good looking DJ, but also a good looking DJ with more gigs.

Geoff's Holiday Gig Log: 12-16-11! Merry Christmas!

My holiday DJ Gig Log from December 16th, 2011...a corporate holiday party at the beautiful Shoreby Club on the shores of Lake Erie in Cleveland. (I even get naked in this one!)

Merry Christmas and Happy New Year!

Endangered Species: DJs

Dinosaurs, Dodos and DJs. The first two of this alliterative trio are extinct. Based on the chilly reception I’ve seen many veteran DJs give newcomers to the profession, I’m afraid the third could end up the same way.

The optimist in me believes that most DJs truly want to help each other. And I’ve got to believe that common sense prevails when “experienced” (read “aging”) entertainers consider the prospect of a generation of DJs moving on to that big dance floor in the sky without anyone to take their place. And yet despite optimism AND common sense, I often read comments like:

“Why should some newbie get to make the same amount of money as someone who has worked for 20 years??”

“Give me some of the top guys on this board with a lappy and two speakers on sticks over a newbie running U2's touring setup, any day.”

“If you start a group for just 'new' dj's, what knowledge will you be looking to share? It would be "the blind leading the blind”

I have entertained at hundreds of weddings as a singer in a band setting for many years, but as a relative newcomer to the mobile DJ profession myself, there have been times when I’ve felt the cold shoulder from skeptical veterans firsthand. Of course, it is important to mention that I have also been helped by many DJs who are more than willing to help and advise. But I tend to agree with this recent forum post from a DJ who clearly senses a less-than-encouraging vibe from veterans:

“I see a lot of bashing of "newbies" on here.... Has anybody ever thought about being nice to them and giving a few pointers to help them out instead of slamming them on here or when you are around the other DJs that are in the know...I think that it only helps our industry, plus I am just happy to see a youngster doing something with their life instead of sitting around with their hand out like most of the next generation that is at the age to be in the work place.”

Indeed.

Most trades wisely develop and encourage newcomers into their professions. They have to if there is an interest in keeping the profession alive at all. Training programs and internships are part of the healthy growth of just about any profession. Many DJ organizations do work to train new artists as well. Innovative programs like American DJs “ADJ University” as well as a multitude of training resources are all meant to teach DJs new and old. However, the people actually doing the work – the “Master Craftsmen” on the streets, most of whom are independent contractors and not part of a large organization don’t seem interested in encouraging or helping newcomers into the profession. Why?

Common complaints about rookies tend to be that inexperienced DJs will tarnish the whole industry or about fears of too many DJs flooding a market with not enough gigs.

The multi-op company I work for, Jerry Bruno Productions in Cleveland takes the opposite approach. We’re always looking to add new talent to our roster of bands, DJs and specialty music ensembles. We always want to increase our market share. And it works. Our top 4 most experienced and popular DJs (out of a roster of 25 [with an average age of about 40 years old, by the way]) actually saw increases in the number of their combined bookings in 2011 – a year in which we added 4 new DJs to our list. Not only can more quality talent attract new clientele and give clients more options, but it also insures that as time goes on we will maintain a healthy roster of the very best entertainers. The laws of attrition dictate that, like it or not, all veteran DJs somewhere will quit, retire or crossfade into the afterlife (did you know that every time a drunk reception guest requests “Shout”, an angel DJ gets his wings?). Who will take their (our) place?

I realize in some markets it could be possible to flood the market with DJs (or people with speakers calling themselves DJs) outnumbering available events. Today’s technology allows just about anybody to make an investment in some equipment and call themselves a DJ. But isn’t that going to happen anyway? We’re not going to stop technology, nor would any sane entertainer want to. So we might as well harness it and help these would be bedroom DJs become professionals that are going to help the entire profession grow. The alternative seems to be to leave them to their own devices (literally), scaring away whatever potential clients there might have been from DJs altogether. Train them. Nurture them. HIRE them.

But I think there’s something else at play here. Something bigger and scarier. Insecurity.

Most of us are insecure to some extent about different things. For me, I think I have an innate insecurity that is a big part of what drives me to be an entertainer in the first place. Think about it. Constant need for approval/applause. “Please like me, audience. Please clap, laugh, dance. An empty dance floor must mean I’m not worthy, right? Why are you clapping for that DJ more than me? Haven’t you seen how many uplit scrim kings I use in my rig?” Okay, so I’m being over dramatic. But I would bet inner dialogues like that are more familiar than most of us would like to admit. I’m not saying the only reason people love to entertain is so self-centered. But I do think insecurity lurks large in many entertainers. It certainly would seem to in the DJ world. DJs need more lights than the next DJ. Bigger speakers. More computers. Do we really need all this stuff to give clients a great entertainment experience? Or does much of it amount to really expensive chest thumping to ward off would-be suitors to “our” clients? What could be more threatening to this fortress of gear than a younger, more attractive competitor with the latest greatest sound and lighting weaponry creeping around “our” turf? It seems easier for the old warrior to build himself up by tearing this new opponent down. At least easier than (God forbid) helping or (God, God forbid) learning from the young DJ. Our culture is constantly changing and evolving. We have to look to younger generations to help us navigate the nuances of changing music, wedding traditions and entertainment experiences.

Newbie-bashing (could this be a new hate crime?) in a blind flurry of self-ego boosting, can give the impression that veterans must not care about the future of Djing. Not caring about what happens to the profession after you’re done with it, makes about as much sense as not voting for a school levy because your kids have already graduated. It’s about the quality of life for all. The idea is to leave things better than we found them. If you don’t care about what happens to the profession after you’re gone, you probably don’t care about it much now and would probably be better off not being in it. Your clients (or the ones you’re losing to the hungry rookie who does care) probably would be.

I'm not saying we all have to hold hands and sing Kum Ba Ya. Healthy competition is good for all of us and for the profession. But an almost institutional professional culture against newcomers could be as deadly to DJs as the ice age or meteors or whatever were to the dinosaurs. Let's hope our species survives.

New STAGES Episode! #24

In this episode, the cast of the Fallmusical "Titanic" meets the amazing 25-piece orchestra for the first time. Led by Class of 2012 Senior Ryan Garrett, the Orchestra soars through its first run-thru of the group numbers. Then get a look at "First Takes", the Junior Class of 2013 showcase of new songs from the National Alliance for Music Theatre (N.A.M.T.).

Check out My Latest Episode of "STAGES"! Year 3!

Season 3 begins by letting viewers sit in on student auditions for the Fall musical "Titanic" with insight from a couple experienced students. Director Scott Plate uses some auditions as valuable teaching moments for young performers. Then Scott takes us on a tour of the brand new conservatory building, but not before he and Program Director Vicky Bussert look at some of the funny inconveniences the music theatre department endured in their temporary home waiting for construction to be complete.

Introducing...ICONIC!!

Introducing...ICONIC!

Check out the brand new party dance band I put together for Jerry Bruno Productions! Booking now!

Iconic is a dynamic, special event dance band that will give your event a hip and classy musical breath of fresh air. This five-piece band was formed by Jerry Bruno Productions from some of the most talented young musicians in Northeast Ohio.

"Oliver!" at Near West Theatre

The latest promo I produced for the Near West Theatre Production of "Oliver!"

The Terrible Tale of the Haunted House of DJ Geoff!

The terrifying tale of the Haunted House of DJ Geoff! See how Geoff used some tools of the trade to spook and scare...if you dare!

It's a Nice Day for a White Wedding: Increasing your DJ Cultural Competence

My latest article for MobileBeat.com:

My Father-in-Law is a Psychology Professor at the college here in town. At a recent family gathering, he was describing a study he is publishing about what he referred to as the cultural competence of psychologists around the country. This study looked at how competent these doctors were to effectively treat patients who come from different cultural backgrounds than their own. When I asked him how competent doctors were, he said “not very”. I thought about how this theory might apply to our profession. I’d be willing to bet the answer might be the same.

I know there has been a lot of initiative in raising awareness among DJs of international wedding cultures, like Indian wedding traditions. But I’ve been more interested in this phenomenon as it relates specifically to the relationship between black people and white people as opposed to marketing to international wedding clients. I think we all have sort of a “cultural comfort zone”. For DJs, this “comfort zone” can mean white DJs with white clients and black DJs with black clients. But if our marketing includes efforts to reach clients outside of that comfort zone, our business would grow wouldn’t it? How realistic is that? I mean, clients also have their own cultural comfort zones, don’t they?

Picture this: A wedding reception at an elegant venue. The ballroom is tastefully uplit and the DJ has painstakingly gone over every detail with the clients. The Bride and Groom’s alma mater fight song blares from the DJ speakers under the Grand Entrance. The first dance – a popular Michael Buble tune, Father/Daughter Dance – I Loved Her First by Heartland. Mother/Son? Forever Young by Rod Stewart.

Would you guess that these clients were white or black? Would you guess the DJ was white or black?

Nothing in the example reception above is universal or exclusive to weddings of either group. Nor is this reception meant to symbolize what any reception should include. But the song selections alone might suggest a white wedding. If that was your guess, you guessed right.

And the DJ? That would be me. A black DJ. And the reception I described above could also describe most of the hundreds of weddings the multi-op company I work for books each year. Our company is certainly one of the most forward thinking, inclusive companies I’ve ever worked for, but among the 25 DJs we represent, only 3 of us are black and one of us is Hispanic. We would certainly love that number to be higher but the fact is the overwhelming majority of clients calling us to book entertainment is white. Perhaps our line-up of DJs is a natural reflection of our clientele. Interestingly enough, a much larger number of our band musicians are black. Many are in all-black bands that are very popular with clients of all races. Are more black DJs missing an opportunity to increase their business by having larger visibility among white clients? Maybe. But I suspect that the disparity between the demographics of our bands and DJs has more to do with the fact that white entertainment clients may love the persona of a talented black musician performing live R&B, Soul, Disco, etc. in a band setting. But having a black DJ (or a white DJ for black clients) actually steer the entire event from the Grand Entrance to the last dance may be a different matter.

As a black DJ, and as an agent whose job it is to book other DJs, there’s a question I’ve thought about many times. Are white wedding clients hesitant to hire a DJ of color? Any more than black wedding clients would hesitate to hire a white DJ?

Now I realize that just by posing the question, I’m opening up a can of worms and invite the inevitably over-compensated response along the lines of “that doesn’t matter to us!” or “we never even thought of anything like that”.

Well I have. And I’m pretty sure I’m not the only one who has.

If you’re a white DJ reading this, I wonder if you’ve ever had the experience of being the only white face in an entire wedding reception. I certainly have been the only black face as a DJ and I can tell you everything has always been absolutely fine.

Interestingly enough, the client above didn’t specifically choose ME as their DJ. The client chose a specific package program our company offers that selects the DJ for them closer to the event date based on the current inventory of DJs. I wonder what their initial thoughts were when I first introduced myself to them. From my perspective, they couldn’t have been nicer and I never once got a weird feeling from them. But I’d be lying if I said I didn’t feel like I had to work a little harder – even unconsciously – to assure them their event was in professional hands. But that feeling certainly came from me, not them.

I know one thing for sure. If clients of both (any!) races are willing to hire me, my business will increase.

Of course, depending on where you live, weddings of a different race might be scarce and/or far less realistic. Indeed, there are far fewer African-American weddings nationwide than white weddings in general. In fact, according to the African-American Healthy Marriage Initiative, a government initiative whose goal is to encourage lasting marriages among African-Americans, 5% of Americans between age 24 and 34 have never been married, but that percentage increases to 54% for African Americans in the same age group. Additionally, married couples head 76% of American families, while African American married couples head only 47.9% of American families.

But many black couples ARE getting married and all one has to do is browse exceptional websites like www.blackwedding.com or www.forblackweddings.com to see that the wedding industry geared toward African Americans is big business.

(As a side note, I had to laugh at the large number of companies I stumbled across doing some research for this article with names like “White Wedding DJs” or “White Wedding Entertainment” etc. I wondered if the proprietors of these businesses ever considered other contexts for their monikers as they named their companies. While a website called “BlackWeddings.com” is clearly aimed at African-Americans, I really don’t think the owners of “White Wedding DJs” intended their service to be solely for Caucasian brides and grooms. Or did they? And even if they did, why does that feel far less acceptable?)

In fact, African-American spending is up in many different categories. In 2009, black households spent an estimated $507 billion in 27 product and services categories. That's an increase of 16.6% over the $435 billion spent in 2008. African-Americans' total earned income for 2009 is estimated at $836 billion.*

It has been my own personal experience that black wedding clients are more likely to hire DJs as opposed to other forms of entertainment. This may be due in some part to budget, but it’s more likely that it’s because the DJ culture has always been a prevalent part of the African-American community. Preferences for DJs could also be related to the actual musical styles preferred by many African-American clients, much of which is focused on contemporary Hip-Hop and R&B music which can often be more challenging (and expensive) to reproduce effectively with a live band. In any case, if this consumer group prefers DJs, shouldn’t you – a DJ - make yourself as marketable to them as possible, regardless of color?

So how to market to clients of a different color?

• First of all, it’s important to understand that wedding clients all want the same thing, regardless of color: a great party led by a professional MC/Host that guides the event smoothly through its timeline while keeping the dance floor full. Demonstrate you can do that and you’re a lot more likely to get hired no matter what.
• Many obstacles come from fear of the unknown. So know as much as possible. Learn about the traditions of different weddings and make sure you are knowledgeable about favorite music of different cultural groups. You already study the music charts and pay for music subscription services. Don’t overlook other genres of music you may not be familiar with.
• Make sure you have a presence in publications and other media that may be geared toward cultural groups outside of your own. Also look into free exposure in places that are important like churches and schools. Some clients might overlook a DJ of a different color unless they know your DJ skills and knowledge are also focused on them.
• Be yourself - a knowledgeable, skilled professional who can host a great party no matter what it looks like. Don’t pander or patronize clients based on what you assume they are looking for.

Sound familiar? Pretty much you should be doing for ANY client anyway. You might be surprised at how alike we all are – especially when it comes to getting married. Of course there can be cultural and musical differences between black and white weddings, but really no more so than differences between different weddings in general.

A little awareness and celebration of our differences can go a long way, even far beyond any reception hall. So open your mind and your marketing plan and watch your cultural competence and your business grow.

- Geoff Short

Resources: www.blackwedding.com www.forblackweddings.com

*Source: Target Market News, "The Buying Power of Black American - 2010"

Cool Pix of The Avenue!

http://on.fb.me/syvxZj
Some cool shots of The Avenue from a wedding reception gig last weekend at the Marriott at Key Center, Cleveland.

JBP's Geoff Contributing to Mobile Beat Online Magazine

Geoff Short of Jerry Bruno Productions is proud to be a new contributing blogger for Mobile Beat Magazine online. Mobile Beat is a leading DJ industry publication and Geoff will be writing various articles about relating to the DJ business periodically. Here is a Geoff's latest Mobile Beat Blog entry:

All the (DJ's) World is a Stage: Why DJs could learn Lighting Lessons from the Theatre

Like many DJs, I have a varied entertainment background. Being a well-rounded performer can only help a DJ be a more effective entertainer. In addition to being a DJ, I'm a singer and currently the Band Leader of a 10-piece wedding band, but I have also spent a lifetime performing in live musical theatre productions and have directed them as well. So it's not surprising that I often look at the profession - and, indeed, the art - of DJing through the lens of other performing art forms, especially theatre which naturally has a lot in common with DJing - rehearsal, public speaking, interaction with a live audience and technical elements including live sound reinforcement and of course, creative lighting.

Typical DJ gigs don't involve curtain calls, but a look at some of the basic ways lighting is used in live theatre productions might get us closer to a standing ovation at the end of the night.

I was just reading a thread on one of the seemingly infinite online DJ forums. This particular discussion caught my attention because it posed a question I've thought a lot about lately. Whether or not modern DJs actually need tons of state-of-the-art gear many of us seem obsessed with to be truly great entertainers. I am still fairly new to the mobile DJ scene so it feels like I still have an objective point of view about the DJ profession. I've been amazed at how much focus there has been in the mobile DJ community on gear that doesn't actually make any music - specifically lighting.

I have a theory. We dig toys.

Just kidding. I mean, we do, but I think there really is something a bit more noble at play here than just keeping up with the Joneses or the simple (but costly) over-accumulation of shiny things that blink and strobe.

Modern mobile DJs are recognizing that "extra-audio" equipment like lighting is an important - dare I suggest, vital ingredient in the recipe for engineering events that thrill special event guests and have new clients clamoring for similar bells and whistles. Great examples of this can be found in the art of live theatre.

I've trod the boards of community and professional theatre since I was a kid so the importance of lighting to any production is practically part of my DNA. The most effective DJs are, in fact, artists and performers very similar to actors. The wedding receptions, Bar Mitzvahs, School Dances and other special events that DJs host are actually all mini musical productions. DJs are recognizing what theatre artists have always known. The impact of artfully executed lighting designs can make or break a production.

Examine a few of the ways* lighting helps tell the stories of theatrical stage plays and musicals:

• Mood - Lights are the most effective way to set the mood or tone for a play or for any given scene. For instance, natural light can give a sense of normalcy, while the use of gels in dark greens or purples can give a scene an unsettling, otherwordly feel.


• Special Effects - Lighting can be used to execute a variety of stage directions and special effects. These can range from weather (lightning, snow, rain, clouds) to fire to the illusion of explosions or gunfire.


• Focus - The absence of light can also be a useful tool. By darkening certain portions of the stage, the remaining illuminated areas become focal points, thus directing the attention of the audience.

It's not a leap of faith to envision mobile DJs enjoying the same benefits in their own "theatres" like reception halls and ballrooms. A DJ's "scenes" are the songs he or she plays, balancing the romantic feel of a ballad with the thrill of the latest uptempo chart topper. The formal elements of the events we are charged with producing are also like scenes in a play. Shouldn't there be a different mood created for the bridal first dance than the garter toss? A pin spot or artfully placed par can can certainly put focus on the wedding cake or the head table. As far asspecial effects go, throw a couple Chauvet Intimidators onto a dance floor and a DJ's "production" is heading for a standing ovation and rave reviews.

The fact of the matter is that we are being called upon to create events that go beyond audio-centric experiences. Today's special event clients want more for their money so we must have the tools to give it to them. And it doesn't have to take multi-million dollar Broadway budgets. With a little creativity and an even smaller budget, I've managed to create some really cool effects using my Chauvet 4-Bar/4-Play combination system controlled with an Obey 10 controller along with a Mini 4-Bar light rig.

Speaking of Chauvet, that company's mission is built around the theory of "V.I.P" - Value, Innovation and Performance. I think successful contemporary DJs (and theatre artists) should focus on the same things. Creating value for clients and audiences, and being innovative in producing events culminating in well-rehearsed and flawlessly executed performances.

Of course more toys can't replace inherent talent and the ability to guide an event smoothly through it's timeline and entertain guests. Without raw talent, audiences could very well be watching a killer light show with a bomb of a performance. Nothing can replace talent and experience.

But kick-ass lighting can sure make it look better.
So take your bows.

*from Why Lighting Is Important to the Theatre by Tucker Cummings, E-How Contributor

Jerry Bruno Productions' Agent, Band Leader and DJ Geoff Short Now on DJ Video Network!

Jerry Bruno Productions' Agent, Band Leader and DJ Geoff Short is proud to be a new part of the DJ Video Network, a DJ-focused website dedicated to webcasting videos about the DJ profession. Geoff produces DJ gig log videos and other performing arts documentary videos the DJVN recently included his video channel "Call-Back with Geoffrey Short" on its programming line-up! Check out Geoff's show at: http://djvideonetwork.com/youtube/call-back-with-geoffrey-short

DJ Geoff Short Gig Log 9-15-11

Dancing? We don't need no stinking Dancing! Gig log from a slightly different corporate gig!

Geoff's Gig Log from 8-27-11: Locked Out of the Venue!