DJ Intelligence: by DJs, for DJs… The story behind the service

Over the past 8 years, DJ Intelligence has traveled to over two dozen national tradeshows and met literally thousands of DJs in person. One of the most popular questions we are asked is “How did DJ Intelligence get started?” In case your future travel plans do not include a trip to a national trade show, here’s the story behind the service that has forever transformed the DJ industry.

The first version of the DJ Intelligence software was actually developed in 1998 by one of Chicago’s largest and most respected DJ entertainment companies. Many are surprised to learn that the code itself was written by DJs, not programmers or engineers. Who better to understand the true needs of a mobile DJ than a group of seasoned DJs with decades of experience entertaining at weddings and parties?

The original version of the software was an immediate success. Clients loved the ability to book and plan their event online, especially the ability to make a request list. At the time, most DJs were still mailing out hard copies of their music list. The ability to search a music library online and make requests in real time was cutting edge. Clients were amazed and prospective clients were impressed. Business prospered!

Over the years, the Chicago DJ company was inundated with emails and phone calls from other DJ companies, sometimes three or four a week, asking if they would be willing to sell the software. Of course the answer was always “not at this time” because the DJ company was enjoying an unmatched competitive advantage. But finally in late 2001, after the volume of requests became overwhelming, the decision was made to offer the software to the general public.

In the months that followed, the software was re-developed from the ground up to offer greater flexibility for the unique needs of different types of DJ companies. In early 2002, the new version was complete and ready for launch. Few recall that the original name of the software was Music Intelligence because most of the early features were designed around the music tools. But within a few short months Music Intelligence expanded to become DJ Intelligence, a name that today is one of the most recognizable brands in the industry.

By early 2003 the co-founders and co-developers of DJ Intelligence decided it was time to sell the DJ business so they could focus their efforts on DJ Intelligence. Owning one of Chicago’s largest DJ companies, they did not feel it was appropriate and was a conflict of interest to be offering a service to DJs who in many cases were their local competitors. The business was quickly sold and these entertainers permanently changed their resume from “DJ” to “former DJ.” The Chicago DJ company continues to operate to date under its new ownership.

Over the years DJ Intelligence has grown beyond expectations. Today DJ Intelligence services thousands of DJs in two dozen countries worldwide. But one thing has never changed: DJ Intelligence is by DJs, for DJs. Only today, the community of contributing DJs is far larger than it was in 2002. DJ Intelligence’s full time staff consists of former DJs, entertainers, and professional service providers with decades of experience in the weddings & special events industries. Improvements and enhancements to the software come directly from the ideas that are submitted from professional DJs who use DJ Intelligence.

DJ Intelligence is your software and we are committed to developing new features and tools that better fit the needs of your company. We’re one of the few services in this industry to offer live 24×7 support from a team of professionals who not only understand the software, but also understand your business. And while the past has certainly been exciting, the future holds even greater promise. Some major upgrades and improvements are currently in development, based purely on your ideas and suggestions. We’re glad to have you along for the ride!

Beach Boys vs. “California Gurls”

Singer Katy Perry, of “I kissed a girl, and I liked it” fame, has been threatened with a lawsuit over her use of the Beach Boys’ timeless line, “I wish they all could be California Girls,” in her hit song “California Gurls.” Rapper Snoop Dogg recites the Beach Boys’ classic lyric at the end of Perry’s summer anthem, which has sold more than 3 million copies to date.

Rondor Music, who owns the rights to the Beach Boys’ “California Girls,” has sent a letter to Capitol Records, Perry’s record label, demanding that Mike Love and Brian Wilson – the two Beach Boys who actually scribed the 1965 Billboard hit – be given a writing credit and a portion of the royalties for Perry’s chart topper.

In a recent E! News interview, a spokesperson for Rondor Music chastised Katy Perry, as well as the writers and publishers of “California Gurls,” saying, “Using the words or melody in a new song taken from an original work is not appropriate under any circumstances, particularly one as well-known and iconic as ‘California Girls.’” The spokesperson elaborated, stating that “Rondor Music…is committed to protecting the rights of its artists and songwriters, and with the support of the writers, that is exactly what we are doing.”

The Beach Boys, however, are singing a decidedly different tune. When asked for his thoughts on “California Gurls,” Mike Love insisted that “[t]he Beach Boys are definitely not suing Katy Perry, in fact we are flattered that her fantastically successful song is bringing to mind to millions of people our 1965 recording of the Beach Boys’ ‘California Girls.’” In harmony with his co-writer and band mate, Brian Wilson similarly stated, “We think her song is great and wish her all the success in the world.”

As with any copyright infringement case, the legal issues that would need to be addressed if this case were to proceed include whether the lyrics “I wish they all could be California Girls” are sufficiently original to be entitled to copyright protection.

Jeopardy Facts about the Beach Boys’
“California Girls”

“California Girls” is part of the The Rock and Roll Hall of Fame’s list of the “500 Songs that Shaped Rock and Roll.”

In 2004, “California Girls” was ranked #71 on Rolling Stone’s list of “The 500 Greatest Songs of All Time.”

* * * * *

$600 GIVEAWAY from DJ Intelligence, enter by August 13th

$600 GIVEAWAY! In 420 characters or less, tell us how DJ Intelligence has helped your business or why you can’t live without it. Write your story directly on the DJ Intelligence wall at http://www.facebook.com/djintelligence as a new post. The story with the most “Likes” as of August 13th at Noon (CST) will win the $600 valued prize pack from DJ Intelligence, Party Blast, and TM Studios. Encourage your friends and colleagues to read your post and “Like” it!

$600 GIVEAWAY PRIZES INCLUDE: 6 Month Private Label Subscription to DJ Intelligence ($100 VALUE), 6 Month Platinum Listing at Party Blast ($200 VALUE), and 6 Month PrimeCuts Weekly MP3 Music Subscription from TM Studios ($300 VALUE). If you already have any of these services, they will be extended by 6 months.

Mobile Beat Magazine July issue features DJ Intelligence Top 200

The July issue of Mobile Beat Magazine (#129) hit the newsstands and is again overflowing with great content including the yearly Top 200 song lists. This highly anticipated issue of Mobile Beat features a number of lists with song data provided by DJ Intelligence. As a DJ Intelligence subscriber, when your clients make requests online they are automatically included in this vote, helping to shape future events all over the world! The most requested lists by DJ intelligence are systematically calculated by analyzing the nearly 2 million actual client requests made through the DJ intelligence music request system each year. Every request is compiled in real time to create these tallied lists. Because of the massive quantity of requests, the lists are precisely accurate.

In this issue of Mobile Beat, industry expert Jim Weisz provides some commentary on the Top 200, looking back at 20 years of lists as the publication approaches its 20 year anniversary in 2011. You might be surprised at the number one song of the year! Looking back at the classic part of the list, Mobile Beat talks with Tommy James, the man behind Mony, Mony and many other hits, and marks the inception of a new feature called Party Music People which focuses on the artists who have given us the hits that fill dance floors week after week.

Be sure to check out all this and much more in the July issue of Mobile Beat Magazine. Not a Mobile Beat subscriber? Subscribe today at http://www.mobilebeat.com. Already a Mobile Beat subscriber? Log in at http://members.mobilebeat.com to view the new issue electronically!

Wowing Them On The Web: ADJ And Revo Rave Star On The Crossfader Show

Wowing Them

On The Web!

ADJ And Revo Rave Star On The Crossfader Show

Episode #15 of the popular web series, The Crossfader Show, featured a “Grand Tour of American DJ”, with American DJ’s Brian Dowdle and Chuck Green as featured guests, a Revo Rave live demo and even a trip to a tricked-out car wash that featured an impressive light and sound show using American DJ products. This week’s episode gave its audience an exclusive insider-only look at the company that host Jose Heredia describes as being “synonymous with lighting all over the world, and the biggest company to mobile DJ’s”.

Hosted by Jose Heredia, aka DJ Satisfaction and DJ Johnny Aftershock, The Crossfader Show is a weekly video stream that broadcasts live every Monday at 12 pm PST on ustream.tv, and features news, interviews, personalities, in-depth reviews, tools, tips and help on all things related to the DJ Industry. Similar to American DJ, the show is made to be from a DJ’s point of view as an informative look at what’s new and hot in the DJ world.

Brian Dowdle, who is the Marketing Director for American DJ, gave a brief description of the history behind the brand’s philosophy and beginnings. Brian says, “American DJ has always been a grass roots company that was created by DJ’s for DJ’s. We are so grateful to have the chance to reach out to the DJ community so we can develop products that make sense for them and what they do.” Brian and Chuck took time on the show to answer questions about popular American DJ products and their uses.

Chuck Green’s regular YouTube show, Under The Hood, explores the latest and greatest technology from American DJ with a hands-on approach. Chuck explains that he has been a sales representative for the company, as well as an audio engineer and lighting designer who enjoys picking apart electronic equipment (both literally and figuratively) and seeing what makes it tick. In this episode of The Crossfader Show, Chuck gives the audience an insider look at the Revo Rave. The group observes as DJ Aftershock opens up a brand-new Revo Rave and gives the audience a play-by-play on how simple it is to set up the lightweight power-packed Revo Rave. Like other members of the Revo family, the Rave produces brilliant, saturated LED moonflower beams in red, green, blue and white that are so rich in color, they look great with or without fog effects. Because it’s so compact and easy to use, the Revo Rave is ideal for DJs, clubs, small venues and mobile entertainers. At the very end of the show, the now-famous Revo Rave was given away as a special prize to a very lucky viewer, Mark the DJ.

Integrity Marketing: Dance Floor floor math for bridal show exhibitors

In my new role, as Associate Representative, on the board of BSPI (Bridal Show Producers International), I have a resurgent interest in the relationship between show producers, exhibitors/advertisers, and the bride. One of the prime directives for BSPI is to be an organization for ethical and competent bridal show producers… to promote high standards in the wedding wndustry.

Having exhibited at close to 100 bridal shows, during my life as a DJ, I’ve seen the good, the bad, and the ugly.

In the end, here’s what I believe one should expect from a bridal show producer.

“They should do what they say they are going to do, to promote the show. Their promotion to the bride and to the exhibitor should be ethical, accurate, and not deceptive. The show environment should be easy to navigate, have aisles that are consistent with its expected traffic, have a floor plan (including handouts), clear signage, and have reasonable limits on noise from competitive booths”

Is this an all-inclusive list? No, not really. There are other, lesser issues, but I think these are the big ones.

Ultimately, exhibitors are simply looking for the producer to deliver an audience of brides and their entourage to an event space, filled with booths, for a face-to-face experience.

My perspective on show turnout is that exhibitors focus too much on measuring exactly how many brides attend. One can have too many brides for a time frame or a space, and have a tougher selling situation. This exhibitor angst can psychologically trap bridal show producers into a game of attendance projections.

Bridal Show attendance predictions are an exercise in crystal ball gazing. As is they say in the investment business, ‘Past performance is not necessarily an indication of future performance.’

In my opinion, the accountability is in the marketing and promotion of the show. Did a producer do what they said they would do? Nothing more.

The One Bad Apple Problem: What taints ethical bridal show producers, and creates reasonable skepticism and paranoia among exhibitors is blatant unethical behavior.

During a show earlier this year, a bridal show producer (NOT a BSPI member) tried to mask a lower-than-expected (aka predicted) turnout by playing a shell game with bride badges.

Essentially, the producer had the staff put bride badges on all women in the wedding party… brides, wedding party, friends. Vendors can be fooled for a little time, but it didn’t take them long to figure out they were being bamboozled by the producer.

At a more recent show, the same producer was selling 10′ x 10′ booths. That’s a common configuration. Problem was, when exhibitors arrived for the show, their spaces were only 8′ x 8′.

Dance Floor Math: You don’t have to be a math major to know you’re getting cheated in a big way. As a former DJ, I simply do the small math of multiplying 10 x 10 and 8 x 8. The promised booth layout was 100 square feet. The actual booth space was 64 square feet. That’s a deficiency of 36%.

In the words of Chef Emeril LaGasse, “This is not rocket science, folks!”

Here’s My Logic: As an exhibitor, one can expect a larger turnout or a smaller one. And one can be pleased or disappointed at the actual traffic flow. But that is purely from individual perspective. I can elect not to participate in the next show, if I choose, because I think a promoter has been ineffective in delivering a result, but being ineffective is not being unethical or deceptive.

However, when it comes to delivering a booth space that 36% smaller than offered and agreed to, that’s another story. I would be demanding 36% of booth fee be refunded. And then, I wouldn’t do business with that show producer, again.

In my view, the first scenario about badges is primarily an ethical issue (deception). The second one (booth space) is both a business and ethical issue. Exhibitors who have their act together, arrive with a plan for their 10′ x 10′ space. To suddenly have to function in an 8′ x 8′ is unacceptable at many levels.

The BIG Question: What Would You Do???

• Are these scenarios as clear cut for you as they are for me?
• Are there more issues and other perspectives?
• Under what conditions would you continue to business with this bridal show producer?

Please get involved in the conversation by contributing your comments and perspective.

Andy Ebon
The Wedding Marketing Authority

Deal…or No Deal? – By Ryan Burger

Deal…or No Deal?

By Ryan Burger

HOW TO HANDLE DISCOUNTS FOR FAMILY AND FRIENDS

You run a fantastic company that everyone wants to hire for their events…including, of course, your friends and relatives. So how do you handle them when they ask you for a “deal.” This is a touchy spot that can leave you feeling taken advantage of if you don’t view it the right way. I would suggest two categories to help you deal with the question: “Deal, or no deal?” You should be able to look at these kind of “close” potential clients from one of these two perspectives:

1. Immediate “Family:” This includes truly immediate family like brothers and sisters, but also their significant others (brothers/sisters-in-law). And, at this level I also include employees who are like my business “family.” What I have done on these occasions is donate the services but I also ask that they pay my DJ employee. The company portion is about a $400-$450 gift, much more than anyone else is probably giving the couple, except for maybe the parents, but it works well. I ask that they look at the calendar and, if at all possible, avoid scheduling their event during my busier times with their higher income potential.

2. Everyone Else: I would others a deal of maybe $50 off, which is within my negotiability on almost any contract. I’d steer them to away from a prime date such as a Friday or Sunday and work from there.

Another way to “give” more to the potential friend/relative client is to use “the more bang for your buck” approach. If they are in category #2 above, I would offer them an extra hour of service, more personal attention on the event (“How about if I take care of you myself instead of my employees doing the event?”), free party props, etc.—anything that isn’t money directly out of my pocket. Another angle is to offer a heavier discount on add-on services such as a photo booth or something similar that doesn’t require heavy set-up or other labor/expense on your part.

EXPLAINING WHY

It should be relatively easy for you to come up with “deals” that you are comfortable offering to friends or family. The greater challenge may be explaining your offer to the person who thinks they should get a super deal because they know a DJ.

Remember, this is what you do for a living. If the person works in retail, for instance, they might be able to get you their employee discount of 10%, but they can’t just give away their company’s income. And in other cases, discounts are simply not an option. Just because your buddy works for UPS does he give you a discount?

THE HOBBY PROBLEM

The real problem lies in the unfortunate fact that most people, unless they really know someone in the DJ business, consider what we do to be a hobby. This is because a large segment of your competition is treating it that way. This is the reason why my company never got into karaoke and the bar karaoke market. In the Des Moines, Iowa area where we are based, there are simply too many people who will do a KJ gig at the local bar for $100 and their drink tab. This DJ thing is a real profession for us, and we express it in everything we do.

Maybe your friends from college remember when you used to think of DJing with a “paid to party” attitude, and they don’t know that you now take it seriously, read trade magazines, file taxes for the business instead of pocketing the cash, go to trade shows, and more. (And besides, If they haven’t talked to you since college, “way back when,” what right do they have to ask for a “friends and family” discount anyway?.)

Fixing this “hobby problem” has been an ongoing challenge for the national DJ associations, but we have a long way to go before people automatically treat DJs as true professionals.

Once you have educated your friend or family member about the reality of your profession, you should be able to strike a deal that is acceptable to all parties. Then, once you have performed a great gig and made their event a success, you’re likely to get at least few referrals that result in full-price clients!

Deal, or No Deal? The Online Buzz

We asked some of our chat board members at Start.MobileBeat.Com to weigh in on the subject of special treatment for family and friends. Here are some responses:

I tend to handle it by offering a small discount—nothing too drastic—and then explain that, because entertaining is my ONLY job, I can’t offer up one of my scarce weekend dates for free, nor can I miss my target income for that week if I expect to stay afloat. More often than not, they understand. If not, I say, “What would you do if your boss said that he’s not having a good month, and would you come in and work a week for free? Or half-pay?” That usually makes the light bulb come on.” – Stu, Stu and His Crew, SE Michigan

I base things like this on my actual relationship with the person. If it’s somebody I do a lot of things with and am involved otherwise on a regular basis with…then I would cut them a wider latitude than someone who I never hear from til they need a favor.” – Ken Heath, Start.MobileBeat.Com Moderator, Los Angeles, CA

“I totally agree with Ken to a point. I have quite a large family and a lot of them got me off to the start I got, so I like to pay back to my family and give them a discount. Friends on the other hand could be a best friend when they need something and never talk to you until they need something again so it’s a case by case situation. I would say relationship is key to the discount.” – DJ Krim, Northern NM

“Charge them double. No discounts. Friends and family usually want you to work harder, and want more out of you for nothing than the average customer. It is best to refer your friends/family to another reputable DJ which they have no manipulation over.” – Robert Starkey, Havasu Entertainment, Lake Havasu City, AZ.

“No Discounts… in fact, like a lawyer or doctor, I shy away from doing events for friends and family.” – DJ Jeffrey Evan Mufson, Jemstar Entertainment, Tampa, FL

For me it all depends on the relationship. Are they really friends or “acquaintances?” Close friends and family, I tell them just pay my guy directly, I’m not taking a dime and the DJ gets cash, so he’s happy. Previous clients get our “friends and family rate” We have numerous instances where we’ve done 3,4 or 5 weddings for a family and we’ll adjust accordingly as needed, not to 2000 prices, but we consider the relationship valuable and will make sure they know we appreciate the business. Outside of that, this is my business: I can’t give everyone a discount and still make a profit and a living wage. As I’ve pointed out on sales calls to clients, MY BEST PRICE and “Your best price” are often hundreds of dollars apart. MY BEST PRICE makes me the most money. Your best price means I’m not making what I want to be making. I’m always after MY BEST PRICE. – Brian Smith

I agree with Ken on the subject. Level of discount depends on the individual relationship with the family/friend. Usually, I can use the, “I don’t want to work, I wanna be a guest!” excuse, then offer to assist them with finding another DJ. This absolves me from being put in the uncomfortable position. – Lou Silva

Thankfully I don’t have a lot of family asking me to do events…

Friends are another situation! If they know this is solely what I do to feed my family and pay my bills, I wonder why they would even ask for a discount in the first place. I can’t ask my friend, the mortgage broker, to get me a discounted loan. I can’t ask my friend, the car salesman, to give me a car at cost. Well…I could ask, but I realize that is how they feed their families and are often NOT the business owner who can make that decision.

Now, I can ask my friend who does remodeling if we can do a trade-out. Perhaps he can put a new floor in my kitchen and only make me pay for the hard costs (i.e. the wood flooring) and get his services for less if I can do his daughter’s wedding for less than my normal fee. Give and take.

I think too many look at a DJ profession as far from a “real job”, and therefore they don’t think we should be able to live off our DJ income. How many full-time DJs have ever had someone ask them when they were going to give up this “DJ thing” and get a real job? – Brian, DJ Busyb

I’m not entirely successful at it myself, but one thing I have been trying is to somehow insist on some sort of ROI or “horse-trading” if you will, i.e. your cousin is getting married and expects a discount, so you give ‘em one. Is it unfair that you ask them to do something in return? Review your marketing, compare your services to others, Use pictures and video from their wedding, try out new things, etc., etc. – Hippydog

I’ve had to tell my friends and family that Saturdays are off-limits for discounts. Not even my mother gets a discount on a Saturday.

I explain that Saturday is THE day. I further explain that there are only 52 a year, with a few of those being hardly-ever-booked Saturdays. For example, the Saturday just before or just after Christmas hardly ever gets booked. I explain that I need those income opportunities to survive.

Now if it’s on any other day of the week, I’m more than willing to negotiate. But I make it a rule to never cut my base rate by more that 50%. This is to prevent being taken advantage of. But I will throw in add-ons at no additional charge. – DJ Wes

I borrowed the “model” that the leader of the band I hired for my wedding offered me in 2000. This was one of THE best bands in the area at the time, that I referred to many country club members. When it came time for my own wedding, I never asked but the band leader insisted upon showing his appreciation by offering me his deepest discount. He had a 3-tier discount package: Friends, Relatives and Family, with “Family” offering the deepest discount.

I was really impressed by how organized this guy was and how all 6 members of this very popular band were all on board with the discount plan for people in these 3 categories. I resisted, but gratefully accepted his “Family” discount price of $800 for a normally priced $3500 to $4000 band fee. The 3-tier plan is easy to explain and seems to make a lot of sense. A band of course must charge more because of the additional members in the group who need to be paid, who have no client relationship. – Uncle Mike, Class Act Events

The Art of the Quinceañera – By Cheryl Q.

The Art of the Quinceañera

By Cheryl Q.

TRADITIONS, PAGEANTRY AND MUSIC: THE QUINCEAÑERA IS AN IMPORTANT CELEBRATION IN THE HISPANIC COMMUNITY

Quinceañera (pronounced keen-see-ahn-yair-ah) traditions have a long history dating back to the Aztec Indians and are very symbolic. The custom celebrates the 15th birthday of a Hispanic girl who is leaving childhood behind and now is assuming the responsibilities of womanhood. It is very religious in nature beginning with a Catholic mass where the Quinceañera reaffirms her faith in God. Family is important in this rite of passage.

VIPS

Some key people who may be acknowledged during the reception or may be introduced as a part of the entrance are:

• Abuelos (ah-boo-ay-lows) – Grandparents
• Padrinos (pah-dree-knows) – Godparents, whose spiritual responsibility to the Quinceañera ends.
• Patrones (pah-trown-ace) – Sponsors, who are people who contribute to the success of the celebration.

The Quinceaños (“fifteen years” – one of the three terms used to identify the celebration—see if you can find the other two in this article) is a very elaborate event (even more than some weddings), is very expensive to put on (thus the importance of the Patrones), is usually a formal affair, and may revolve around a theme. Since this is such a major event, and involves extensive, wedding-style preparation on the DJ’s end, I typically charge the same as I do for a wedding.

The Quinceañera (also referring to the guest of honor) is dressed in a princess-like ball gown complete with petticoats and hoops. She has an Honor Court consisting of Damas (dah-mas) and Chambelanes (cham-bay-lahn-ace) similar to bridesmaids and groomsmen. Her escort is a Chambelan. While past tradition dictated 14 couples in the Honor Court (one couple for each year of the Quinceañera’s life), current trends are toward seven couples (one person for each year).

TRADITIONS

A number of traditions are usually part of the event, including the following.

Crowning – This is usually done by the mother and can be done at the church or reception. The crown signifies that the Quinceañera is a princess in the eyes of God. It also signifies the responsibilities she is now assuming. If your client says the crowning will be done at the church, you don’t have to do anything else. If it is going to be done at the reception, then ask who is going to do it, when it will be done and if any special music is required.

Changing of the Shoes – It is thought that up until this time, the Quinceañera hasn’t been able to walk in high-heeled shoes. It isn’t unusual for her to wear flats during the religious ceremony. At some point during the reception, her shoes will be changed from flats to high heels. This is done by her father, brother, padrino or other important male figure in the Quinceañera’s life. This signifies leaving behind childhood and entering adulthood. Special music is usually played during this tradition. Your client will let you know if they are going to do the Changing of the Shoes, who will do it, and when.

Presentation of the Last Doll – This is the last doll the Quinceañera will ever receive as a child. There are a number of ways the presentation can be made. There is a dance with the doll that may or may not be done. If the Quinceañera is not going to dance with the doll, I suggest that her grandmother present the doll to her.

The Dance (El Vals) – The highlight of the entire celebration is a well-rehearsed and choreographed dance involving the entire Honor Court. This is one of the first things the Quinceañera does as an adult. To be prepared, I strongly suggest that find out who the dance instructor is and go to some of the rehearsals. This is also a great way to cultivate new clients and meet an important vendor who can send business your way. The dance instructor may provide the music for the dance (or dances, if there will be a second special dance). They may also help with the entrance.

In each of these traditions, it’s important to let the guests know what’s going on and why.

MUSIC

Latin music and how it is used in the event is a regional matter. For example, in Arizona salsa is only something that is eaten, while in Miami it is something that is danced to. Rancheras, Bandas, Boleros, Cumbias, Nortena, and Corridos are some of the styles popular in the western states, while Salsa, Merengue, Reggaeton, Bachata, and Reggae are styles most requested on the east coast. Promo Only has “Tropical” (East Coast) and “Regional” (West Coast) music collections available, and TM Studios has incorporated both on one disc. Latin Grammy CDs are also a good source for a wide variety of popular music. The DJ Intelligence Top 200 has lists of wedding music that can also be used for entrances and dances with parents. Keep it age-appropriate when helping your client select their music. Interestingly, most of the requests I receive are first by type of music (such as Salsa, Bachata), then by artist, rather than song title.

RECEPTION

A typical order of events at the reception is as follows:

1. Entrance – announcing the Honor Court and Quinceañera (special songs)
2. Dance/Crowning//Changing of Shoes (order can be changed) (special songs)
3. Specialty Dance (optional) (special songs)
4. Father-Daughter Dance (special songs)
5. Last Doll Presentation (possibly special song)
6. Toasts
7. Thank You’s (usually done by Parents and Quinceañera)
8. Cake Cutting (may need “Las Mañanitas,” a traditional birthday song)
9. Candle Lighting or similar (may need special song)

IMPRESS YOUR CLIENT AND HELP YOURSELF

When you impress your client, you have the opportunity to earn big bucks. Do whatever you can to help them make the event a success. Sit with them face to face and help them plan the reception. Use the correct terminology—call the Quinceañera’s escort a Chambelan and the grandparents Abuelos. Some of the traditions have gotten lost over time, so suggest them and let your client know what they mean. Work with them on the dancing and music suggestions. Go to the dance rehearsals. And lastly, give your client “stuff’ such as music selection lists or a handy checklist of items they might need for the day.

FINDING CLIENTS

As most of the Quinceañeras are Catholic celebrations, call your local Catholic churches and ask about advertising in their bulletins. Go to Mexican restaurants and leave some business cards or fliers. You might ask if they know any Quinceañera dance instructors. If so, call them, as well as your local dance studios. Partner with local photographers who do “Quinces.” And there are supermarket bulletin boards that are usually free.

Have fun with Quinceañeras, and remember, when you participate in one, you are a significant part of a family milestone that will be remembered for a lifetime.

Shakeout, Rattle, and Roll – By John Stiernberg

BUSINESS CHOPS™

Shakeout, Rattle, and Roll

By John Stiernberg

THE TIMES THEY ARE A CHANGIN’: HOW TO SEIZE THE OPPORTUNITY

Change is in the air for mobile entertainers. Clients are demanding more and wanting to pay less. Vendors (like gear manufacturers) are changing distribution policies and dealer affiliations. The DIY threat (aka the “iPod wedding”) looms large. Some of your competitors have gone out of business; others are stronger than ever. Where is it all headed? What impact will it have on your business? Are there opportunities amidst the challenges? This article takes a look at industry shakeout trends and suggests three action tips for success.

INDUSTRY LIFE CYCLE: IS IT TIME FOR A SHAKEOUT?

Most industries—including mobile entertainment—have long-term growth cycles followed by softening or decline. For example, real estate enjoyed big growth from 2002 to 2007 but has been in a down cycle since 2008. Of course there are regional variations. We’re talking big picture to make a point.

The business swings in mobile entertainment are not as dramatic as those in the automotive or fashion industry. That’s because of what I call the “Entertainment Factor.” When times are good, people use entertainment to celebrate. When times are bad, people use entertainment to escape and deal with their troubles. There are still plenty of weddings, proms, anniversaries, birthdays, corporate events, and community gatherings that need entertainment and related services.

So why talk about a mobile entertainment industry shakeout? Let’s define it. According to Barron’s Dictionary of Business Terms, a shakeout is a “change in market conditions that results in the elimination of the weaker or marginally financed participants in an industry.” Hmmm…did any of your competitors go out of business in the past year? Did they come to you and offer to sell you their gear, go on your payroll, or sell their company outright? Yes, a shakeout is happening, and that’s a good thing.

WHY MOBILE ENTERTAINMENT COMPANIES FADE AWAY

Many DJs report that their business is better than ever. They tend to be the stronger, better-managed companies, whether single operators or multi-ops with a lot of rigs. What’s happening with the others? Here are three common scenarios.

1. Can’t afford to continue. Some don’t have enough gigs and can’t make a living and pay their bills. They may need to consider merging with or selling to another DJ or entertainment firm, or just go out of business.
2. Lost interest. Gigs or not, some mobile entertainers get distracted by day jobs, family, and other interests. They may be full-time or part-time. In any case, someone else is going to pick up the slack with clients.
3. Ready to move on. Many successful DJs are nearing retirement age and looking ahead to the next phase of their lives. Their businesses may be strong, and worth selling to an employee or competitor.

HOW TO “RATTLE AND ROLL”

Amidst all the change in the industry, you can plan to do more than just survive. There is plenty of work out there and it looks like the consumer economy has (at least) stopped getting worse. That spells opportunity—time to rattle the competition and roll with the coming “up cycle.” Here are three suggestions.

• Action Tip 1. Analyze your own situation. Are you a survivor, or is it time to do something different? How do you feel about the risks involved? Are you properly financed? Get feedback from close advisors and family to help you view the situation objectively.

• Action Tip 2. Analyze your competitors and their situations. Who’s getting the work and why? Are there competitors who meet one of the shakeout scenarios described above? Are they approachable about a possible merger or acquisition?

• Action Tip 3: Update your business plan. Look back on your mission, vision, values, and brand positioning statement. How do they square with what is happening in your market today? How do your bookings for the rest of the year line up with your financial objectives? Remember, whether you are buying, selling, merging, or just keeping the status quo, you need to have a plan and work it.

HERE’S THE POINT…

Industry shakeouts are the natural and healthy results of changes in the marketplace. The mobile entertainment industry is changing now and will continue to change. Will you be one of the winners? The critical difference is how you run your business, not the size of your music library or sound system. Remember that the sequence of the Action Tips is important: 1) analyze your own situation, 2) analyze the competition, and 3) update your business plan.

John Stiernberg is founder and principal consultant with Stiernberg Consulting, the Sherman Oaks (Los Angeles) CA-based business development firm (www.stiernberg.com). John has over 25 years experience in the music and entertainment technology field. He currently works with audio and music companies and others on strategic planning and market development. His book Succeeding In Music: Business Chops for Performers and Songwriters is published by Hal Leonard Books. Contact John via e-mail at john@stiernberg.com. Find John on LinkedIn, Plaxo, and Facebook. Follow John at http://twitter.com/JohnStiernberg.

KJ Hosting tip!

KJ Hosting tip from Eric Godfrey

Eric Godfrey manages:
USKaraokeAlliance.com
Karaoke2Night.com network
StarzKaraoke.com
ArizonaKaraokeContest.com

Hey guys, I was writing an email to a couple of new host trainees and thought it would make a decent short article to share with all of you.  In my opinion, this topic is the number one thing in running a quality karaoke show!  Master this first and get comfortable; then you can work on your personality as a host.

Lesson 1 on sound – You need to listen at the beginning of EVERY SONG!  They are all recorded at different levels and every vocalist has different traits and vocal ranges.  When the song starts, you need to listen intently and match up the levels.  Then, you need to listen to the vocalist for at least 10 or 15 seconds and adjust their volume and equalizer levels to get them mixed nicely… If it was a sound recording for a record or demo then you would want a nice blend of the two.  In Karaoke you boost the singer a bit over the sound, unless they are really bad, then you add some re-verb and try to bring them down slightly so it is not as noticeable.   No, this is not being snobby or offensive.  You want your singer to sound the best they can. Sometimes, the best way to do this is to raise the music to a higher level.

If you are a patron at a show, always let the host have the beginning of the song to make these adjustments.   If you see that a host is not doing this, observe how much better each singer would come across if they were doing it properly!  Pointing this out to a host is purely up to you.  Most hosts not following this procedure, will probably be defensive or even hostile and not thank you for your good intentions.

Get out there and sing!

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