MOBILE BEAT – DECEMBER 2010 – #132 – Showtime

MOBILE BEAT – DECEMBER 2010 – #132

NOW AVAILABLE ONLINE – PRINT EDITION SHIPS SOON

Showtime!

It’s December, and as we approach year’s end, we’re getting closer to MB’s big event of the coming year: the Mobile Beat Vegas show, February 1st through 3rd, 2011, at the Riviera Hotel & Casino on the Vegas Strip, with SIX BONUS pre-show seminars on January 31.

Our show is about your show. The ultimate goal of the Mobile Beat Vegas show (and magazine, and summer tour, and websites…) is to assist you in your efforts to create a complete “performance”—from first sales contact to last dance. As we’ve done for the last few years, the latest issue features reading material from several of our seminar speakers, as well as interviews with our scheduled evening entertainers at MBLVXX: where the “XX” stands for the 20th anniversary of Mobile Beat Magazine. To put it a different way: Even if you only come for the party, this is a Mobile Beat Vegas event NOT to be missed.

So, if you’ve never been to a Mobile Beat Vegas event, we invite you to come and have what could very well be a career-changing experience. And if you’re a regular attendee, we look forward to welcoming you back!

MBLVXX Speakers Featured in this issue:

Keynotes: Ted DiBiase, “Champion in Any Field” & Mark Ferrell, “You Only Get One Song”

Rob Johnson: Networking to Find Midweek Money

Dean Carlson: Practice: Prepare to Be Great!

Matt Ryan: Boosting School Bookings

Rob Peters: Kids’ Entertainment: Beyond Dances & Mitzvahs

Randy Bartlett: Behind the Scenes Secrets

Ron Ruth: Applying Disney’s 3 Keys to Success

Larry Williams: B-Sides – Secrets to Your Next Success

Cindy Hauser: Setting Yourself Up for Success (DJ Start-Ups and More)

Jorge Lopez: How to Reach Peak Performance

Mitch Taylor: Creative Consultations

Beth Standlee: Booking the Big Gig = Big Sales

Dave Winsor: Mic Technique and Voice-Over Training

Steve Clayton: The Club Scene and A/V Expansion

BOOGIE HILL FADERS…Also featured, a complete interview with these workshop presenters, who will demonstrate cutting-edge mixing and mashup techniques, including their unique “reup” (remix+mashup) approach.

We go NSIDE THE INDUSTRY with American DJ’s SCOTT DAVIES, who talks about an MB show tradition, the ADJ Customer Appreciation Party; and BEN STOWE of NLFX Professional, and the tech expert behind the MB show’s most successful hands-on seminar series, The Pro Academy.

After chatting with featured entertainers The Village People back in September, we’ve also caught up with WARRANT’S JERRY DIXON–bassist for MB’s kickin’est party band yet–and the creator of one of the most popular recent dance hits, CUPID, who will be part of ADJ’s big bash (along with just-announced NAUGHTY BY NATURE).

REVIEWED IN DECEMBER:

Line 6 XD-V Digital Wireless Mic System…American Audio VMS4: Digital Workstation…MBT LED GigPro lighting setup…Self-DJ Rental System

…And we still had a little room for some of our great regular contributors. Don’t miss the info-packed December 2010 issue of Mobile Beat!

Mic Technique and Voice-Over Training BY DAVE WINSOR

Mic Technique and Voice-Over Training BY DAVE WINSOR

If you really pay attention to the TV commercials that run in your local market, you’ll be surprised at the range of voice talent employed to sell items. If it’s a commercial for the latest Harry Potter movie, that voice-over (VO) talent is top notch and really SELLS the drama. It’s a well-written commercial with few words, that are all highly targeted. The VOICE is the star. Now listen for a local TV commercial. There is an amazing difference. Why is that?

For one thing, the high-end VO talent trains all the time at his or her craft, working on things most of us would never worry about, like “leaking” or spraying an S or a “plosive” P or D. They obsess about being able to make this phrase: “Irish sheet set” sound believable. Try saying it without making “set” into “shet.”

So, the question for you, if you are pursuing VO work, is how much do you practice?

The national VO talent has a coach and an agent. The coach instructs the talent on what needs to be worked on mechanically, as well as theatrical interpretation. That’s just the beginning. When you become a widely recognized VO talent, the jobs become more lucrative but also harder to get. Someone once told me I’d make an excellent “guy next door” in commercials. That’s not what I WANTED to be, oh no. I wanted to be the guy who says:

“In a world where…[insert whatever phrase describes something REALLY dramatic].”

Don LaFontaine (who died in 2008) was the famous VO artist who created that sensational style, and I wanted to have HIS delivery. I would have been happy to just talk with him and pick his brain. Here’s what he said about how to improve your voice:

“Singing lessons always help. You may never perform in Carnegie Hall, but you will improve your breath control, and expand the range of your vocal delivery. Also, simply using (not abusing) your voice by reading out loud will, over time, improve the quality and strength of your instrument. Do not think that smoking and drinking is going to help you develop a deep, rich tone. Smoking and drinking will help you develop cancer and cirrhosis of the liver.”

I sing to help me understand the range of my voice. I whistle too. I try to hit as many high notes as possible and I really try to hit the lowest note I can and still sound good. What have I learned from doing this? I know where my voice originates from and where I can take it when needed. How about you?

Are you blessed (or cursed) with a really low, deep booming voice? Does your voice start at the back of your throat, or in your head? I have some thoughts on these voices and I’ll share them with you in Vegas. Think about opera singers for a moment. What do they do that’s different from other singers? They move amazing amounts of air, have

perfect pitch, form notes with their mouths. They are powerful and yet when they have to be, they are tender. What can we learn from them?

Read this out loud:

“At the end of a long hard day, you can always count on us to help you relax”.

Keep practicing that. How do you think it sounded in my head when I wrote it? Can you glean anything about my choice of words? What is the delivery that you choose for this? Where is the emphasis? Try to read it with a different emphasis point.

There’s a lot to learn about using your voice properly, for voice-over work and for your regular MC duties. I look forward to speaking with you about the unique wonder that is your one true instrument: your voice. If you’re happy with it, we can find ways to tweak it. If you’re not happy with it, we can create a plan that will help you develop a stronger position. Are you up for it.

Dave Winsor is mobile entertainer and wedding specialist who has also been a radio broadcaster for the past 25 years. He was co-recipient of the Portland Press Herald’s “Maine Radio Personality of The Year” for 2004, 2005, 2006, 2007 and 2008. He can be heard every morning, Monday through Saturday, on Maine’s top country music station, 99.9 FM The Wolf (www.999thewolf.com). Dave has also been the in-house announcer for the Hartford Whalers of the NHL and the Portland Pirates of the AHL.

Practice: PREPARE to Be Great BY DEAN CARLSON

Practice: PREPARE to Be Great BY DEAN CARLSON

Picking up new performance ideas at a conference can be a great thing if done correctly. The problem is that most DJs take those ideas home and insert them into their shows without ever considering what it takes to really make them work for them. In fact, they often “practice” a new bit or piece of interaction on the fly—meaning at a live show.

Over the last month I have been calling various DJs around the country and asking, “Do you practice?” And most DJs immediately tell me they do. But when questioned deeper I have found that they might not understand what practice looks like for a DJ. In fact, most DJs almost never practice. I would argue that too many DJs out there think that just their “natural” talent is enough.

Most DJs who practice at all engage in what I would call “reactive practice” rather than “proactive practice.” Here is an example of reactive practice: You have a show coming up that requires you to do extended intros for the grand march. You write out each intro in a manner that flows and is worded in a way to bring out emotion and reaction. The day before your event you read your copy out loud a few times just to be sure you have it all down. This type of practice is designed to affect just one part of your show, and only one time. This is more “show prep” than real practice.

Proactive practice is very different than reactive practice. DJs who want to take that next step toward becoming the top entertainers in their market should set up daily, weekly and monthly schedules of proactive practice. Proactive practice can also be specifically targeted, or range targeted.

An example of specifically targeted proactive practice would be music mixing. Within that practice area you can break it down into learning music, music sets and actual beat mixing. This kind of practice effort will obviously affect a large portion of your show, so it is well worth planning and carrying out.

Range-targeted proactive practice is a little more abstract. In this area of practice, we work on things that can affect several different areas of our shows. Probably the easiest example of this to see is vocal practice. We use our voices for so many different things, and yet my bet is that very few DJs ever learn how to use theirs properly. A lot of DJs no doubt get into DJing because someone tells them they have a great voice. And there it sits.

Just in the vocal practice area you have so many different aspects to work on; things like range, breathing, how not to strain, how to use your voice in different scenarios, etc. Announcements require a different approach than introductions. Of all the DJs I spoke with, very few practice this.

Becoming a top DJ requires the investment of practice. In attending my seminar this year, you will discover crucial performance areas for practice that you probably never thought of before. I will show you how to make the most out of your practice time and set up a schedule that works. This seminar will challenge everyone from new DJs up to the most experienced DJs. Do yourself and your performances a favor and spend an hour on proactive practices that will exercise your DJ muscles!

Dean Carlson has been DJing for 23 years and is the owner of Night Magic Productions out of St Paul, Minnesota. Check out his wedding blog at www.NightMagicProductions.com/djdeanblog.

Behind The Scenes BY RANDY BARTLETT

Behind The Scenes BY RANDY BARTLETT

While it may seem that most of what we do as wedding entertainers is quite visible to the guests, if done correctly, most of what we do is, in fact, invisible—behind the scenes.

The results of what we do are very visible, but it’s long been my goal to make everything seem as spontaneous and natural as possible. For example, I rarely ask or tell guests to applaud. Instead, I use inflection and wording, or sometime a simple body language gesture to create applause, because if guests applaud on their own, it seems much more genuine than when the MC says, “How about a nice round of applause for Steve?”

With that goal in mind, there are many parts of the wedding that can be managed behind the scenes so that the proper results are achieved without becoming that cheesy DJ who talks too much. In fact, doing things visibly will often cause you to lose the very effect you were striving to create.

A few years ago, I rode along with a wedding DJ to offer him a critique. At the end of the father-daughter dance, the DJ said, on the microphone, “Awww, now Dad, give your daughter a hug.” And as the father did as instructed, the DJ again said, “Everybody, say ‘awww.’” Well, they did, but I thought it came off as very contrived and cheesy.

Afterwards, the DJ defended his actions, saying that “awww” moment was really cute. I suggested to him that he could create a better moment by setting that up with the dad in advance, behind the scenes. By telling the father of the bride to take his time at the end of the dance, to hug his daughter and tell her how much she means to him, he would create that same moment, but it would be infinitely better, because it would look spontaneous and unscripted. I would also alert the photographer and videographer for this possible moment and then know that it would be different at each event, because the relationship between the bride and her dad would be different each time.

Some dads might hold that hug with tears running down both of their faces while others might do a high five, wiping their brows that they “got through it.” But the moment would be genuine and the guest reactions would be genuine. By setting that up behind the scenes, you’ll get a better reaction, which makes for a better moment and since a wedding is a series of moments, each of which can be impacted by our actions, you end up with a better event, more referrals and, ultimately, a more profitable business.

From the first meeting to the last moments of the reception, I’m constantly working behind the scenes to create incredible moments. Sometimes it’s for something sentimental, sometimes funny, sometimes useful. Sometimes it’s for the couple, sometimes for the guests, sometimes for another vendor.

I call the parents of the bride and groom before each wedding and do some behind the scenes things with them. I talk to vendors, to guests, to the bride and groom, to my staff and sometimes to complete strangers behind the scenes to create spontaneous moments that people will never forget. Whatever the reason, the goal is to have a seamless event that appears to flow effortlessly, without anything being forced.

I recently worked with a videographer who I hadn’t seen in a while, but we’ve worked together many times over the years and he said, “I always thought it was interesting how you somehow manage to always get the best crowds, but I’m beginning to think that’s not just random luck.” Indeed.

At my Behind the Scenes seminar at Mobile Beat Las Vegas in 2011, we’ll look at several ways to work Behind The Scenes to create incredible results that will enable you to make your very next event the best work you’ve ever done!

Randy Bartlett is the founder and President of Premier Entertainment, Inc. One of the most sought after DJ coaches in the country, he is well-known for his 1% Solution Series of DJ training videos and workshops, in which he shares the simple, key concept that very small, easy-to-implement changes will result in vastly improved performance.

Did You Know Jeffrey Gitomer – Sales Guru – Used To Be A DJ?

Plug In, Power Up – Issue #131 Ships Soon!

The UN-Comfort Zone by Stu Chisholm

The UN-Comfort Zone

SITTING STILL AND RESTING ON YOUR LAURELS IS A SURE WAY TO LET THE WORLD PASS YOU BY

BY STU CHISHOLM

Your equipment is set up, you’ve changed into your tux and you’re looking over the evening’s itinerary as you await the arrival of your audience. The forms you use make the job a snap; you just run down the list, plugging in your standard routines as the night progresses. Sure you hit ‘em with the newest, hottest music when the time is right, but you’re also relaxed enough to check in on Facebook, toss out a tweet to your followers or quickly advance your caper in Mafia Wars. Your pulse never goes above 90 beats-per-minute.

With proficiency comes confidence, and our mindset reflects this. But having done hundreds or maybe even thousands of weddings and other events, your actions can become nearly automatic, like driving a car. But is this a good thing? Or might it be a silent alarm, alerting you to a problem?

COOL…OR COLD?

We’ve all seen people who are inflexible. While they might have a world of experience, they also may have gotten stuck in their ways, unable to adjust to new conditions or situations. A sudden change or problem can throw them, taking them by surprise to the point where they fumble, while up to that point, they probably felt quite comfortable. Does this sound familiar?

This isn’t a hard-and-fast rule, but I always feel like I’m doing my best work when I’m walking that edge of my comfort zone; a space where I have control and a clear direction, yet have added enough innovation, novelty or even just a new piece of gear that I’m just ever so slightly uneasy. It not only helps me to improve over time, keeping my show fresh, but helps me to stay alert, attentive and focused. If I am able to give some of my attention to an instant message or even a call on my cellphone, it tells me that I’m NOT FOCUSED ENOUGH on the party at hand.

EMBRACE CHANGE

This also applies to before and after the gigs. At the Mobile Beat show in Las Vegas last February, Andy Ebon gave an excellent presentation on the changing face of marketing in the twenty-first century. Young couples communicate in young ways. If you’re not on Facebook and/or using Twitter, you may not even be on your prospect’s radar. Jorge Lopez took this concept a bit further in another seminar, breaking down our potential clientele by generation, and giving insights as to how best to approach them. I don’t think that Andy and Jorge had teamed-up on this topic! My guess is that they both perceive the reality that is the wedding market: Those who become too “comfortable” and don’t change with the times will not connect with their intended customers.

Being in the music-playing business, we should be more than comfortable with a constant background of change. From week to week, new music is released, and tried-and-true favorites fall by the wayside. It is a continuum, and what you play this weekend may not occur to you or anyone else a year or two from now. There will always be those tunes that are impossible to ignore today but gone tomorrow, and those tunes that will hang on seemingly forever. I’d be surprised if the year 2100 rolled around and people aren’t still partying to “Old Time Rock & Roll” or “Y.M.C.A.” somewhere.

By the same token, we may find things that work each and every time, yet a year down the road might make party guests groan! Yet the Hokey Pokey and Chicken Dance roll on and on. As Kenny Rogers sang in “The Gambler,” “You have to know when to hold ‘em, know when to fold ‘em.” Don’t become so attached to any part of your show that you can never give it up if the changing times demand it. Yet be aware of your audience enough to know when that old chestnut will be the perfect song or activity for the moment! This can ONLY be accomplished by FOCUS—by paying attention to what matters and shutting out distractions. Don’t dread a curve ball, but let it energize you. Be the solution to a couple’s problem by thinking on your feet, having some emergency items in your bag of tricks. (I once saved a cake-cutting ceremony by having a serving set on-hand.) Use that problem, circumstance or setback to shine!

Well-known mobile DJ Randy Bartlett has also given much thought to this idea. In fact, it’s the basis for his 1% Solution DVDs, which give you an excellent tactic to deal with continuous change. His advice is simple: Don’t try for huge, sweeping changes to any facet of your show. Simply pay attention, maybe take notes, and then try to make small, incremental increases—each time a one percent improvement over the last show! Over time, those one percents will add up to a great deal of improvement. It is also a way to respond to the continuum of constant change. As with the above, this is also an idea to apply beyond the gig; the office, vehicle, marketing and all other facets of your business.

DON’T MAKE ALL THE MISTAKES BY YOURSELF

Conferences like the Mobile Beat shows, DVDs like Randy’s and the many books available at the Mobile Beat bookstore and elsewhere give you the benefit of many decades of DJ experience. As professional as the authors and presenters are, they’ve made ALL of the mistakes as they built their businesses and gained stature in the mobile DJ industry. Benefit from them! Making a few errors here and there is unavoidable. Making ALL of them yourself IS.

So remember: the next time you’re feeling right at home at an event, maybe yawning as your guests are enjoying themselves, listen to that inner alarm and ask yourself, “What am I missing?” If you’re honest, I can guarantee you’ll be able to answer that question yourself!

Until next time, safe spinnin’!

When the Lights Come On

When the Lights Come On

WHEN THE LIGHTS GO ON, ARE YOU ON?

Mobile entertainers are show business performers. Like comedians, actors, singers, musicians, hypnotists, public speakers, improvisation players, and more, mobile entertainers are on stage—albeit a fluid, ever-evolving, not always ideal performance platform. It may not usually be a stage with curtain and footlights, but it’s show business nonetheless.

LIVING IN THE LIMELIGHT

So how do you prepare for the moment when the “curtain” rises and the lights illuminate? How do you prepare during “the half”—the sacrosanct 30 minutes just before a performance when the actor is in the dressing room, preparing to go on stage?

As Oscar-winning actor Kevin Spacey explains, “It can be 30 minutes of quiet contemplation or utter fear, depending on how the performance has been going.” How has your “half” been lately?

A TALE OF TWO ACTORS

Last the spring, I appeared in a local production of Couple Dating, an engaging comedy about a New York couple with a young child seeking to connect with other couples in similar circumstances—with unexpected results, insights gained and generous hilarity for the audience

Eight actors comprised the cast—the primary story couple (Bobby and Tess) and the three couples they “date.” I played the husband in the couple in the second to last scene of the play. Thus, we did not appear on stage until about 90 minutes into the production for what turned out to be a memorable 12-minute scenes.

I was paired with a very talented actress, Jenny MacKenzie, with whom I connected well during auditions. Our call time was generally 30 minutes before the proverbial lights went on, so Jenny and I had about two hours to wait before our scene.

The backstage machinations of many theatrical productions organically develop their own preparation rhythm. Jenny and I developed ours with each other and the other actors during our 16-show run.

We rarely said two words to each other for the two hours backstage before we did our scene. Jenny often read, texted, did her makeup, dressed for the scene and, occasionally, quietly chatted with the other actors. I usually completed work on a laptop, reviewed my lines, blocking and cues, read, changed clothes and helped do the dishes at intermission (it’s community theater—actors are often the crew, too!) Just before we entered the stage together, we each made our final preparations.

Jenny would check her purse for the items needed in the scene, review her clothes and ensure that she had a finger ready to ring the doorbell on cue. Typically, I engage in some physical movement to get into character. So, just before Jenny rang the doorbell, I would round out my shoulders, cock my head slightly back and stand as erect as possible to become the confident persona of Scott.

And, after we completed our scene? We were often as chatty as two long-lost friends on a chance meeting.

Far from the result of deliberate planning, the rhythm evolved during rehearsals and the show’s run, becoming a comfort zone of preparation for Jenny, myself and the rest of the cast.

SHOWTIME!

How do you prepare for your entrance on the mobile “stage,” the moment when you are in the “spotlight” of the party guests’ attention at your event? What is your rhythm in preparing for a gig? What do you do during your version of the half?

A significant part of your preparation may be tied to the primary role you are playing that evening. Are you an emcee? A music programmer? A director? Gamemaster? Dancer?

YES AND…

For the last six years, I’ve been a member of Triage, a local improvisational troupe. When we are in the half, we do a variety of exercises and short games to get the blood flowing, elevate the energy and sharpen our minds for the performance. Our final activity before heading out on stage? We form a circle, put our hands together in the center and look each other in the eye as we declare, “Got your back!”

Our preparation is a combination of best practices in the art and organically developed activities that work for our group. What works for you?

CATCH THE RHYTHM

Some entertainers may meditate, seek quiet time, exercise, or eat a small meal before a performance. In my twenty-plus years as a mobile entertainer, I’ve developed a pre-event rhythm of setting up 30 to 60 minutes before the scheduled start of the event or, at least, well in advance of guest arrival. Then, I walk the entire entertainment space checking not only sound, but perspective and feel.

After making any necessary tweaks in the sound, I review my notes, agenda and any other information about the event to refresh the energy I need to portray. Then, I visit the facilities to freshen up and just before I depart, look in the mirror, make sure my smile is keen, flash a Hawaiian shake hand sign to the mirror, and give a chuckle. Now, I am ready to entertain.

FIND YOUR SPACE

There is no single correct method to prepare for an event, to work the half. But, like Jenny and me, if you do not have yours yet, look for the right formula to put yourself in the best frame of mind to offer your clients a memorable event!

It’s Beginning to Sound a Lot Like Christmas by Jay Maxwell

It’s Beginning to Sound a Lot Like Christmas

A MUSICAL REALITY CHECK ABOUT THE VENERABLE “HOLIDAY” PARTY

BY JAY MAXWELL

Several years ago I was scheduled to play a party in December for a state-supported college. It wasn’t the first time that I had played for this particular school, but on this occasion I was told to be sure and not say “Christmas party” any time during the event, but to refer to the celebration as a “holiday party.” There was no doubt that this request was due to the organizers trying to be politically correct. I complied with the request since I didn’t want to hurt anyone’s feelings. When it came time for the president of the school to give her welcome though, in her opening statement she warmly greeted everyone to the annual “Christmas party” and never once claimed that it was a holiday party.

This was not an isolated incident. Many companies will call up to schedule us for their “holiday party.” “What holiday?” I want to ask them. “Is it Thanksgiving, Ground Hog Day, President’s Day?” If there’s an evergreen tree in the room with lights and decorations on it, a holly wreath, or decorations consisting primarily of red and green on the table, I’m betting that they are set for a Christmas party.

Even if a company calls a party held in December by a name other than “Christmas,” the majority of the time they will also want some traditional Christmas tunes played to set the mood and get into the (dare I say it) Christmas spirit. Usually the sponsor of the event will want Christmas songs played during the social hour and/or the dinner hour. One thing that should be determined beforehand is whether they want only Christmas tunes during this time (one to two hours at the most) or to mix in Christmas songs with other songs as well. If given a choice, I recommend beginning the event with mostly Christmas songs and begin to mix in other lively, toe-tapping songs as the dinner hour progresses.

KEYS TO CHOOSING CHRISTMAS TUNES

Regardless of the event, I’ve had people tell me that they want a specific genre played. That is, they may come up and simply request “some rock & roll.” That is too broad of a category to know what they want. Do they want The Beatles or do they want Dave Matthews? Sometimes, when they say rock & roll, they actually want an artist that I wouldn’t consider in that category, such as Prince or Michael Jackson. Their definition of rock & roll may be from the early days of the 1950s or what they are hearing on today’s Top 40.

The same is true for Christmas tunes. All Christmas songs are not created equal. The songs listed in this issue’s Top 40 list are all uplifting, well-known, and songs that adults actually want to listen to.

Too much of a good thing is like too many slices of a birthday cake. One piece is delicious, but two pieces will give you a stomach ache. Each year we seem to get bombarded with Christmas songs on the radio and in the malls many weeks before December 25th. Some songs are so beautiful that we don’t mind hearing them several times in the weeks before Christmas and hearing them at the office party would also get people in the festive spirit. Other musical selections, though, are overplayed after only one spin. These are the ones that we would not want to play at the event because they’ve worn out their welcome after only one time per season. For starters, Elmo and Patsy’s “Grandma Got Run Over By a Reindeer,” “The Chipmunk Song,” (let’s all scream “Alvin”) and “Dominick the Donkey” should be banned from the playlist of any mobile DJ. After typing these song titles, I realized that all three have animals in their title and two of the three are animals that are not even traditionally associated with Christmas.

AVOIDING THE HOLIDAY BLUES

Christmas is about celebrating the good times of family and friends gathered together to share in life’s greatest joys. While many office parties have speeches by the CEO or president and perhaps door prizes to be given away, the real reason for the event should be to celebrate the camaraderie of the work force team. Keeping this in mind, we should steer clear of playing sad and often downright depressing songs as we play our Christmas songs. In Tom Reynolds book, I Hate Myself and Want to Die he lists the top 52 all-time most depressing songs and ranks the number one song as “The Christmas Song” by the group Newsong. This is the one about a boy buying a pair of shoes for his dying mother because he wants her to look good as she enters heaven. Sad, very sad—a sure party killer. Other downers are “Blue Christmas” by Elvis and Wham’s “Last Christmas. Let’s also include The Eagles’ “Please Come Home for Christmas” with the line “my baby’s gone, I have no friends.” Playing that one would have people doubling their dose of Prozac for the night.

People also want to be treated as an adult during the night. Certainly you wouldn’t torture them with “The Chicken Dance” or “The Hokey Pokey,” so don’t tickle their ears with children’s favorites like “Rudolph, The Red-Nosed Reindeer,” “Frosty the Snowman,” or “You’re a Mean One, Mr. Grinch.” You especially would not want to dedicate that last song to anyone there even if requested—the “Grinch” is likely to be the boss. The party should be lively, yet classy at all times.

Each year, we sort through our huge collection of Christmas songs only to find that many of them are not suited for office parties. Some of my favorite songs are sacred favorites like “Away in a Manger,” “Silent Night,” and “The First Noel.” But these tunes should probably be reserved for worship time in a church service and not played at an office event.

CHRISTMAS PARTIES SURVIVE

Many companies have tightened their budgets over the past few years and have slimmed down their elaborate Christmas parties…including the entertainment. Fortunately, though, leaders at many companies, even during hard times, recognize the importance of showing their appreciation for their employees and still throw a grand event towards the year’s end. Some may even still boldly call it a “Christmas party,” while others have caved in to using the term “holiday party.”

But regardless of the label, the mobile DJ still has the opportunity to show his or her craft by playing the right type of positive, uplifting, and age-appropriate music to set the mood. Of course, know when enough is enough of the Christmas melodies and it’s time to transition into traditional party music. The key is to make this transition BEFORE someone comes up while you are playing “White Christmas” and yells, “Play Something We Can Dance To!”

Splendid Sounds of the Season
ALL I WANT FOR CHRISTMAS IS YOU	MARIAH CAREY	FAST
BABY, IT’S COLD OUTSIDE	LADY ANTEBELLUM OR MERCER/WHITING	SLOW
CAROL OF THE BELLS	LOS LONELY BOYS	INSTRUMENTAL
CHRISTMAS IN DIXIE	ALABAMA	SLOW
CHRISTMAS SONG	NAT KING COLE	SLOW
CHRISTMAS WRAPPING	WAITRESSES	FAST
DECK THE HALLS	OTTMAR LIEBERT	INSTRUMENTAL
DO YOU HEAR WHAT I HEAR	WHITNEY HOUSTON	SLOW
FELIZ NAVIDAD	JOSE FELICIANO	FAST
GOD REST YE MERRY GENTLEMEN	BELINDA CARLISLE	FAST
HAPPY HOLIDAY	PEGGY LEE	FAST
HARK! THE HERALD ANGELS SING	AMERICA	FAST
HAVE A HOLLY JOLLY CHRISTMAS	HARRY CONNICK, JR.	INSTRUMENTAL
HERE COMES SANTA CLAUS	ELVIS PRESLEY	FAST
HOME FOR THE HOLIDAYS	PERRY COMO	FAST

The rest of this Christmas Top 40 list can be found in the print and online editions of Mobile Beat’s November 2010 issue (#131).

Facebook Business Basics by Jim Weisz

Facebook Business Basics

LIKE ANY TOOL, FACEBOOK REQUIRES CARE TO BE USED SAFELY

BY JIM WEISZ

The world is changing before our eyes. Social media is everywhere, and as small business owners, many DJs are embracing the still somewhat new technology. As a result, there’s a lot to be learned about social media and how to use it.

For this column, I will focus on Facebook, since it is by far the most-used social media platform. Facebook has over 500 million active users (as of July 2010), while Twitter has over 100 million users. Both obviously have impressive statistics, but the additional 400 million users on Facebook, coupled with the additional capabilities of Facebook make for a good resource for DJ companies.

FACEBOOK OVERVIEW

According to the statistics page on Facebook.com, Facebook launched in February of 2004 and by December 2004 they had nearly 1 million active users. That means more than 500 million people have jumped on the Facebook bandwagon in the last six years—and it’s just going to keep getting bigger. Facebook users are loyal—50% of Facebook’s active users log on to Facebook in a given day. There are also more than 150 million users who access Facebook through their mobile deviceS.

Every Facebook user has a “wall,” which is almost like a personal homepage on the website. It’s a place where friends can see your status updates, pictures, links, and anything else you choose to post. It also shows anything that anyone else has posted to your wall too. In regards to all of that, there are privacy options that allow you to choose what content your friends and Facebook users who are not friends can see.

REGARDING PRIVACY

Facebook has a plethora of privacy options in regards to the various ways you use the website. There are options for applications, friends, pictures, ads and more. One feature that pertains to privacy is the option to separate the various members of your Facebook friends via lists. The lists tool is useful because you can make a list for any category you’d like. For example, you could make a list for friends and family, another for DJs you network with, and one for clients .

The benefit of this feature is that it allows you to designate what each group can see from your profile. This is particularly important if you have other wedding professionals or clients as friends. Why is that important? Let’s say for example you’re particularly biased on a certain political issue. You get fired up on a topic and post about it. If you don’t use lists, all of your Facebook friends see what you posted in their newsfeed. A local photographer who enjoys working with you and refers you often is offended. Now what happens? Maybe nothing. Or maybe they stop referring you because they were offended. Why risk the chance of tarnishing your businesses reputation for something you post online?

SEPARATING BUSINESS AND PERSONAL

More than likely you already have a personal Facebook page, but do you have a separate page for your business? If not, add that to your to-do list. Your personal page should be primarily for that—your personal life, while your business page is where you can post DJ-related content. Now does that mean you should never post DJ content on your personal page? Of course not. But if you’re using your personal account to peddle your DJ business, eventually your real friends might get annoyed and hide you (meaning they won’t see your posts in their newsfeed).

I’m friends with a lot of DJs on Facebook. I don’t know their privacy settings and how they have their lists set up, but by the looks of it, many don’t use that feature. As a result, I see tons of DJs who make multiple posts everyday that are only about their DJ business. Of course work is part of our personal life, so the fact that you’re talking about work (DJing) isn’t the problem—it’s the fact that most people won’t have the slightest clue what you’re talking about. For example: “Status update: Just realized I forgot to bring extra XLR cables for the wedding tonight” or “Status update: Meeting with John Smith and Jane Doe about their wedding reception.”

Concerning a lot of what people post on Facebook, someone might say “who cares,” since there is so much mundane content. But there’s a difference between mundane posts and posts that have little to no relevance to most of your friends. Do you see your friends who work in an office post about the TPS report they forgot to put a cover sheet on? Or your friend who is a realtor post updates about showing houses to clients? If so, and it’s on a regular basis, I would bet that gets old to you too.

So, what’s the solution? Use your business page for your business updates. Go ahead and post that you’re meeting a bride and groom for a consultation, or that you’re excited about a new piece of gear you’re showcasing at an event this weekend. It’s even OK to occasionally make those types of posts on your personal page, but remember that unless you’re using lists so only your DJ friends will see it, most of your friends won’t care.

FRIENDING CLIENTS?

I see a lot of DJs posting updates from their personal account where they’ve linked to a clients name (using the @ sign before their name to link to their page). You can only link to someone you are friends with so that means these DJs are friends with these clients. I personally am only friends on Facebook with a couple clients, as I wait for them to send me a friend request. Why? Well, I don’t want them to feel obligated to accept my friend request just because I am their DJ.

I recently asked some other DJs about how they handle friending clients. Some said they take it on a case-by-case basis. For clients they feel that they have a good connection with, they send a friend request. Others wait for the client to initiate the contact. My personal opinion is that since I wouldn’t want my doctor, lawyer, dentist, insurance guy, pool guy, etc. to ask to be my friend on Facebook, what makes me think a client wants to be my friend on Facebook? So, I let my clients know I have a business page that they can join to get updates about my business. If they also chose to friend me on Facebook, I would accept the request. But I am not going to initiate the friend request, so I don’t put them in a weird place about how to handle it.

POLISHING YOUR BIZ PAGE

A page for your business on Facebook can be a great resource for new leads. One way a lot of DJs are using their business page is to post pictures from recent events. Then they will send an e-mail to the client to let them know the pictures have been posted and send them a link to their page. The best-case scenario is that the client will go through and tag the pictures of their guests. So now all those people who have been tagged are heading to your Facebook business page to see the pictures from the wedding.

In addition to pictures, under Notes you can also post articles that visitors to your page may find useful. Or, if you have a blog, you can post a link to a new blog article. Either option depends on you creating interesting content that will engage the reader. You can also post links to relevant wedding-related websites or pages of interest to your clients or prospective clients.

As far as getting people to “like” your Facebook page (using FB’s virtual thumbs-up feature), be sure to link to it from your website. You can also send out invites to any of your Facebook friends as well as send an e-mail to all past clients asking them to join your page. You may be surprised at how many will like your page and post a nice comment, which is good for prospective clients to see.

In addition to posting news, pictures and various business updates, you can also use it as a resource to fill dates. You can offer special discounts on particular dates or let everyone know that you offer a gift card for referrals. If you do post offers, be sure that the people who like your business page are relevant to your offers. For example, I’ve visited numerous DJ business pages that I can see I am one of about 200 DJs who like the page. The page has a total of 250 people who like it. If the business owner posts a promotional offer, it’s really only relevant to the 50 people who aren’t DJs. It’s for that reason I personally recommend not inviting other DJs to become a fan of your page.

The world of online social media is ever-evolving. While it provides a great new tool for DJs to build relationships and build business, it requires awareness of how website features work, and some common-sense thinking about how to approach making those connections with clients

Jim Weisz is a DJ who has primarily served the wedding and school dance markets since 1999. In 2003. Jim relocated to Dallas from Chicago to take a position at TM Studios (formerly TM Century and JonesTM). Over the last ten years, Jim has spoken at DJ conventions about websites and has been a regular writer for Mobile Beat magazine about websites, marketing and a variety of other topics. Jim can be reached at jim@discoverydjs.com.

Facebook Business Page Tip

Once your page has 25 “likes” you can create a custom URL for it. Meaning, you can name your business Facebook page something like www.facebook.com/xyzdjservice, giving you a better option for linking from your website and in any emails you might send.

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