What Goes Around…
Truth be told, I depend on a lot of people to help me bring a production to fruition. While I may have creative ideas, I need help in turning my vision into reality. I have been on tour with one band for the last month. But during the days off, I am working on a production design for another act. I can draw the 3D CAD drawings and, when time permits, make pretty renderings myself. But I’m slammed, and the client wants revisions. So thank goodness I gave a guy a break years ago. ‘Cause now I rely on him quite often, and he always seems to make time for me. Ten years ago, I met this young man, who needed a little education and a break. I taught him the basics in how to draw in various programs. Eventually, he began drawing for a bunch of my associates. Now he’s well past me in the knowledge of these programs and makes a living as an artist/ LD/TD himself. He says he’ll never be able to pay me back, but he does all the time.
I made a conscientious attempt to stay away from controlling video elements in my shows. Of course, I need them; I just don’t have the time to keep up with knowledge and gear in this aspect of the biz. But I’m lucky enough to work with a team of people to help me make decisions. I probably call up someone at Lightswitch every month to answer a question that is video-related. Then, whenever possible, I will always recommend them for any video design needs. Likewise with Bob Brigham. The guy runs PRG Nocturne. He’s the head honcho. But whenever I leave a message, he finds time to get back to me. I rely on his advice, and the advice from the guys who work for him. I cannot say enough about what those guys have given to me in knowledge.
Staying Flexible
Being friends with lots of lighting companies is a blessing. It’s no secret that I appreciate Upstaging Inc. John Bahnick has cut so many deals with me that the comfort factor I have there is really special. But every production manager has a preferred vendor, and I don’t always have my choice in whose gear I use for a gig. So it’s wise to keep a good relationship with everyone I end up working with. I try to be an easy LD to work with. I may spec 30 of one kind of fixture on a gig. The vendor may not have them available and will ask if I could make do with a substitute fixture. I want everyone to work well and the vendor to make money, so I will usually adjust my design to available gear if possible. But then I know I am owed a favor. So I don’t think twice about asking for some extra items on the shelf that I forgot to put on the plot. I look for a “gimme” as a payback.
I’ve met an awful lot of lighting programmers over the years. Quite often, I am looking after a musical act that is appearing at a large corporate function. These functions have their own LDs for the event, and those LDs often have their programmers on site. I can usually tell within 10 minutes of arriving if a programmer is any good, or if I have to kindly elbow him aside so I can do my gig quickly. Usually, I can just tell them how to write the punt page I need. Last month, I found myself co-headlining a stadium show with one of my acts. Unfortunately, I had a gig in another town the evening before. So the only focus/programming time I would have would be during the afternoon, under the full sun. Well, thank God I knew Matt Mills. Matt is a gifted LD who had designed the light rig at this festival. He was on site to program the consoles for whatever acts were playing. I called and explained my predicament, then sent him a simple email with a sheet of how I set up a punt page. I arrived on site to find that Matt had actually done all the programming for me. I think I wrote three cues in 20 minutes, and the show was great. Now I owe Matt some payback.
NYC to the Bay Area
I was fortunate enough to be in NYC when I got out of college. Like many a young lad trying to get a foothold in this biz, I took a job at See Factor as an audio tech. At the time they had a lot more lighting gear than audio. So Mike Mule’ and I spent a lot of time wiring pin cables and spray painting PAR cans in the shop. One day, Bob See came up to me and told me, point blank, “You’re wasting your time in audio. I know you went to school and all that, but lighting is really where it’s at.” He took me out of the shop and assigned me to tech guru Jim Holladay, who in turn taught me how to build dimmer racks, power distribution and program consoles. This got me out of pulling cable and loading trucks. So when I think back now, I got a better education at See Factor than at the university. Bob and Jim gave me my first break.
I relocated to the Bay Area and cold called on a new lighting company named Morpheus. They had invented their own moving lights and had several tours using their technology. Operations manager Dan English hired me on the spot to help out in the shop. He was always doing shows with the Dead and wanted an experienced road dog to help the kids in the shop learn. Of course, I ended up going on the road again and began fixing moving lights. Through working at Morpheus I ended up on tours with guys like Mike Keller and Peter Morse. Michael schooled me on console programming, and I ended up taking over for him on my first operating gig (on a Peter Morse show). Boy, did I suck. But I kept at it while Michael was patient. I spent the next year programming shows for Peter, and I learned the trade. Eventually, he gave me my first LD gig, back in the 1980s. He was my mentor and gave me my first break. When I went up to the podium to receive my Parnelli this year, it was only fitting that he handed me the award. Thanks, buddy.
Paying it Back
I have been fortunate to help out a few younger LDs over the years. I recognize a good work ethic immediately. And I think I’ve acquired a way to recognize possible talent that just needs a break. Every year, as I get older, I like to think that I made a difference to someone else’s career. Every time, I can pay it back by giving a gig to a person who just needs a break, it makes my day.
