"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!

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!!!

STAGES #22: Passing Strange at Baldwin-Wallace

As we approach the 3rd season of "STAGES" with the new school year - here's a look back at the regional premiere of this amazing show! Stew drops in on rehearsal!

This episode takes a look behind the scenes of the regional premiere of "Passing Strange" produced by Baldwin-Wallace College and Playhouse Square.

Produced by Geoff Short (www.geoffreyshort.com)

The Psychology of Auditioning

Fantastic Article!

The Psychology of Auditioning

A View from the Stage: The Aggressive Requester or “PLAY ‘SHOUT’ OR DIE!!!!”

A-ggres-sive Re-quest-er: (lat. Requestus Obnoxious); aka Party Neanderthal - 1) Wedding reception Guest (usually male) with an inability to handle social drinking in any civilized way - usually presenting itself with the alcohol-induced hallucination that unless the creature hears a particular inane song of choice IMMEDIATELY, it will die - usually leading to verbal assault on the band or DJ on duty.

What is it with some people? Throw back a few drinks at a reception and they start treating the band or DJ like their own personal ipod. Don't get me wrong - we always want guests to have a great time and keep the dance floor full and polite requests are expected and even welcomed at many events. But you know the type - the drunken goon whose beer-goggles (or, in this case, earphones) lead him to believe that unless the band plays the particular song of his choosing, the Earth will crack open like a walnut. Ironically this pickled heckler's "requests" are never really requests at all, but insistent demands bellowed after every song that isn't his tune of choice.

And why is it that it's never like a really unique or interesting song? I'm really starting to believe these buffoons' musical vocabulary consists of "Hang On Sloopy" and "Let's Get Drunk and Screw". I've even started mentally giving a prize to the first over-served party boy to loudly demand we play "Shout" (usually somewhere near the top of the 2nd set)!

I realize this makes me sound like a party snob or something, and I really don't mean to be. I like a good drankin' song as much as the next guy. But the fact is, these types of guests can be really disruptive to a band or DJ as well as the other guests. Even worse, they sometimes get threatening (I'd love to be a fly on the jail cell wall when this guy tries to explain to the cops that he assaulted the DJ because he wouldn't play "Sweet Caroline"!). It's a good bet that this obnoxious guest hasn't been in on any of the planning for this reception and probably doesn't know that the DJ has strict guidelines from the clients who are paying not to play certain songs or types of music, not matter how politely the DJ might try to explain that. Not to mention the fact that we actually do like those tunes too and would have played them in due time anyway. They're great party songs. But for most artists, the more a guest screams at us, the less likely that guest is to ever hear that song at this event. We are there to do a job and like, everyone else, demand the respect that affords.

I guess I'm a little biased. I'm not a song requester type. In all my years of experiencing live music, I've never felt the need to infuse any of my personal song preferences into a band or DJ's set list. I'm sure it's because I'm usually the one performing the music week to week and I know how constant requests can take your eye off the ball of trying to keep the dance floor full. But when I'm not performing, I'm usually cool with whatever the band plays. I just like watching live bands and DJs perform their craft - good or band, to me it's always interesting. The actual songs being played have little to do with it for me. It's either a good dance song or it's not. And if the setting I'm hearing said music in happens to include some social drinking, that has a much different effect on me than it seems to on the song request bully. After a couple drinks I'm digging every song and become the friendliest dancer on the floor! This band is AWESOME!!!

So if you're an Aggressive Requester - and you know who you are - take it easy. Just let the band or DJ do their thing and enjoy the night. If you don't like a song....go get a drink. Scratch that - go get a cup of coffee. But if you think you can't handle that, load up Hang On Sloopy, Brown-Eyed Girl and Shout on your ipod and jam the night away...from the comfort of your car.....out in the parking lot!

Just kidding - we'll get those tunes on in the next set!

Geoff Short

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

Video Promo for "Big, The Musical" at FPAC!

My latest video promo! This one for Fairmount Performing Arts Conservatory's production of "Big, The Musical"!

Video Promo by Geoff Short (www.geoffreyshort.com)

Fairmount Center for the Arts presents
"Big the Musical"
at Fairmount Performing Arts Conservatory
August 11-21, 2011

Book by John Weidman
Music by David Shire
Lyrics by Richard Maltby,Jr.

Based on the motion picture 'Big,' written by Gary Ross and Anne Spielberg
Produced by Twentieth Century Fox

Director - Carol Pribble (CP)
Music Director - John Krol
Choreographer - Bebe Weinberg Katz
Set Design - Ron Newell
Light Design - Ben Gantose
Sound Design - Carlton Guc
Costume Design - Craig Tucker
Stage Manager - Sarah Lynne Nicholas
Technical Director - Keith Newman

to be presented August 11 - 21, 2011
at Mayfield Village Civic Center, 6622 Wilson Mills Road, Mayfield Village

TICKETS
can be purchased online at www.fairmountcenter.com
or by calling 440-338-3171.

Miss Saigon at Near West Theatre!

A promo for the Near West Theatre production of "Miss Saigon"!

Les Miserables: School Edition at FPAC!!

My video preview of the recent Fairmount Performing Arts Conservatory production of "Les Miserables: School Edition"!

Things That Never Happen at Jerry Bruno Productions!

The Near West Circle! June Edition

Check out the June 2011 issue of the Near West Circle! This month's E-Newsletter from Near West Theatre!

http://myemail.constantcontact.com/The-Near-West-Circle--June-2011.html?soid=1103080512300&aid=VJGyLRZoy8o

My Latest STAGES Episode! The Showcase Episode!

When one door closes, another one opens...In this episode, STAGES looks at the end of college life for another class of B-W Music Theatre students as they prepare for the all-important showcase n New York City and take further steps on the way to Broadway.

Gentlemen's Club Sponsors "Fight for Pink" Breast Cancer Walk

No - not THAT kind of Gentlemen's Club!

So proud of the kids in the Berea Gentlemen's Club, a group started by my wife Lisa Dwyer-Short and her colleague at Roehm Middle School, Teacher Johnny Bollin. The group sponsored a Charity Walk for Breast Cancer called "Fight for Pink". All the kids along with some extended family and friends showed up on a perfect weather day and hit their goal of walking a combined 60 miles to raise funds for the Susan G. Komen foundation! Great work guys!
The Berea Gentlemen’s Club is a school group of students formed Lisa and Johnny two years ago to help mentor and provide academic support for minority boys -
the most at-risk demographic group according to Berea City School District research. Here's a quick look at the day!

My Latest Video Project: "COMPANY" at FPAC!

My latest video project:
A look at the FPAC (www.fairmountcenter.org) Production of
"COMPANY"

Video Produced by Geoff Short (www.geoffshort.com)