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.

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"

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!

DJ GIG LOG: 8-20-11

Kinda got my ass kicked at a DJ gig last weekend! This is the gig log from that night. Funny that I talk about back up plans. NONE of my back upplans work...WITHOUT POWER!!!

BOOK AND WIN AN IPOD NANO!

Book and win an iPod Nano!

Need holiday entertainment? Planning to book your 2010 wedding or event entertainment soon? Don’t wait! Request a contract, sign and return with your deposit by Dec. 31st and you’ll be entered to win a brand new iPod Nano!

The iPod Nano 8 GB holds 2,000 songs and takes 8 hours of video! Find out more about the iPod from Apple.

Pass the word! Anyone who books with a signed contract between today and Dec. 31st is entered to win! Visit JerryBruno.com for entertainment options from bands and DJs, jazz and ceremony musicians, to specialty acts like tribute bands, magicians and dancers.

A View from the Stage: Night of the Living Speech

The beast was among them...dressed as one of them..and it was hungry.

The newlyweds were flushed with excitement. They had painstakingly planned every detail of the reception....the perfect flowers...the perfect band...gourmet dinner...special dances...the......toasts...

It wouldn't be long now. It had been too long since the thing had fed. The unsuspecting victims were just now enjoying the salad course. Soon the thing would eat too. Only one thing would satisfy its insatiable appetite...time. And lots of it. It was just waiting for its cue...

..."and now ladies and gentlemen...a special toast from the Best Man..."

SUPPER TIME!!

The timeline was dead.

Fiction? Unfortunately in too many cases, no. I always remember a "toast" being something along the lines of "over the teeth and through the gums, look out tummy, here it comes!"..but too often a well-wishing Best Man or Maid of Honor sees this custom as their 15 minutes of fame - literally...15 minutes.

One question I always like to ask clients is "what is your goal for this reception"? Most people say that they want their guests to have a great time, to stay and dance and make the event one people have great memories of. In short, they want to throw a great party.

So why do so many people seem to forget what makes a great party?

True, a wedding reception is not an ordinary party...but there are some ingredients for successful parties that are universal, no matter what the occasion. One of those ingredients is the ability for the hosts to take the focus off themselves and put it onto their guests. This may seem contradictory to the very reason this event is happening in the first place- to celebrate the new union of the two most important people in the room. But the happy couple is THE reason everyone is there in the first place and the big white, fluffy dress is a big clue as to who the center of attention is. Making 200 guests - who have already dedicated an entire day to celebrating the rookie-weds - continue to sit through long speeches and toasts to further drive the point home can be the very definition of overkill.

And it can kill your timeline.

The bride and groom are most likely not going to be aware of what time it is - or rather, how much time they're losing - at any given point of the reception. Nor should they. But the band the bar and the bus boys definitely know what time it is. That's our job as planners and bandleaders and DJ's - to keep things moving and on schedule. And ready or not at the end of the night, the party is going to come to a close. Hopefully by this point it's your guest's feet that are tired from dancing and not their rear ends from sitting all night. You've probably paid good money for the band or DJ. You should get the most out of your investment and let them do what they do best..fill the dance floor. I've seen more than a few brides with that surprised look as though the dancing just started, and it seems we're "already" thanking the audience and going into our last dance.

Besides, wedding toasts are kind of like inside jokes - filled with memories that approximately 2% (according to statistics I just made up for this blog post) of the entire crowd were involved in and thus, care about. Making guests endure long winded speeches about things they weren't involved in is kind of like inviting friends over to sit through a slide show of your last trip to the Grand Canyon.

Don't forget the show business aspect of throwing a party. Appeal to the larger audience. More elements that everyone can enjoy - like dancing, eating and drinking - can help ensure a fun reception.

None of this is to suggest toasts should be done away with. But if brides and grooms make it clear to their respective Best Men and Maids of Honor from the very beginning of the planning process that their timeline is limited, things can move more swiftly to the true business of partying. A brief toast can still be funny, congratulatory and heartfelt.

And the time-eating beast will have to eat elsewhere.

Geoff Short

Geoff is the Sales and Promotions Manager at Jerry Bruno Productions and is the bandleader of JBP’s band The Avenue. Contact him at geoff@jerrybruno.com.

THE AVENUE – from Jerry Bruno Productions

Seated: (l. to r.) Tiffany Marchak (Vocals), Geoffrey Short (Vocals), Leigh Peterson (Vocals
Back Row: (l.to r.) Ray Porello (Drums), L.R. Smith (Keyboards), Ian Indorf (Trumpet), Joe Blues (Guitar), Bob Kessler (Bass), Chris Vollstadt (Saxophone), B.J. Bishop (Trombone).