Fleetwood Mac Unleashed and Uncomplicated 37 Fleetwood Mac Crew List 40 Advertiser's Index

Home , Big Apple Circus, Brett Tuggle, JaQuel Knight, Larry Rudolph, Unleashed (concert tour)

volume 2 issue 5 2009

EVENT & ARENA MARKETING CONFERENCE COLORADO SPRINGS • JUNE 10-13, 2009

The only industry conference devoted to the exchange of ideas among marketing, group sales, public relations, event planning and live show promoters and professionals.

KEYNOTE SPEAKER: DARRYL SEIBEL, CCO, US OLYMPIC COMMITTEE Hosted By Register online at EventArenaMarketing.com

Conference Registration Includes: Register online at eventarenamarketing.com • Admission to all sessions including keynote $575 - Registration after Friday, May 1st speaker, concurrent and panel sessions, roundtable discussions and team-building $400 - Additional people from the same venue (up to 10) experiences. • Conference notebook and SWAG bag $250 - Single Day and Student Registrations • Meals hosted by industry leaders • Networking opportunities • Evening entertainment activities TO REGISTER FOR THE CONFERENCE AND • Transportation to evening events VIEW THE CURRENT AGENDA, • Opportunity to participate in the Silent Auction PLEASE VISIT EVENTARENAMARKETING.COM and Rafﬂ e

A Special Thank You to Our Sponsors: Access Pass and Design • Billboard Magazine • Carbonhouse • Centerplate Catering Cirque du Soleil • Harlem Globetrotters • IP Advertising • New Belgium Beer • Pollstar • Smucker’s Stars on Ice • Ticketmaster • Tickets West Tour Guide Magazine • VEE Corp • Venues Today • The Wiggles • World Arena

mobile production monthly 2 mobileproduction monthly con volume 2 issue 5 2009tents

cover photo courtesy of Jeremy Cowart

features 8 Hotels The Andaz West Hollywood Sophistication Made Simple 10 Sound Lectrosonics Buckcherry Rocks Out with Lectronsonics 16 Britney Spears The Pop Spectacle known as CIRCUS 24 Britney Spears crew list 26 Solotech Turns the Key on Britney Spears 28 Apollo Jets Keeps Them Coming Back for More 16 30 WANetics A Life Long Passion Janet Rogers & How WANetics Came to Be 34 Fleetwood Mac Unleashed and Uncomplicated 37 Fleetwood Mac crew list 40 Advertiser's Index

breakouts 34 Fleetwood Mac Unleashed Tour 8 10 26

Mobile ProductionPro.com You can search and access records from the world's most comprehensive database of mobile production industry contacts. As you navigate this site. Create a FREE Account Today 28 30 34

mobile production monthly 3 FROM THE Publisher This is one of the most difficult times we have experienced since I starting doing this work in 1980. We have all seen good times and bad times, but this is a time of extreme uncertainty for many individuals and companies, ours included. However, I always remember a phrase when things get tough; Times of trouble means chaos and fear for some and opportunity for others. I believe HOME OFFICE STAFF it is worth noting that we have the capability of working our way through this period. a 7 s 3 p 2 ph: 615.256.7006 • f: 615.256.7004 The big shows are going well, and the companies supporting the big mobileproductionpro.com shows are in good shape. The problem is in the middle market, where we thought 750 Cowan St • Nashville, TN • USA 37207 things would be strong this year. The message to our readers for this summer is to be smart, find alternate clients and have faith, because things will most likely get Publisher: Larry Smith > back to normal next season. For this year, however, it is time to seek opportunities [email protected] and clients in non-traditional markets and to be creative. The companies that try Managing Director: Chris Cogswell a to survive without some real smart marketing will in trouble. [email protected] Chief Writer / Photographer: Michael A. Beck 7 Rather than giving you a jump start on the contents of the magazine this month, [email protected] I want to use this space to encourage everyone to think in terms of collaboration, experimentation and thinking “outside the box.” This may be a good time to Contributing Writer / Tour Link Coord.: Jessi Wallace s start talking to the person or company who may be a competitor or someone with [email protected] whom you have a good relationship in your field and seek out ways to collaborate. Art Director / Graphic Designer: Kristin Searcy 3 We may be able to find strength in partnerships and shared projects. It is also a [email protected] time to think about the effects of putting your heads in the sand or drawing down [email protected] too hard and too fast. Marketing must not go away with these tough times. If Office Manager: Jennifer Russell p anything, a recession is the time to be more aggressive in marketing your business. [email protected] Unfortunately, the “Bean Counters” seem to think only of ways to pull back on Webmaster: Michael Stalcup 2 these types of expenses. [email protected]

Contributing Writer: Bill Abner This may be a time to seize opportunities and forge new and stronger relationships in the market. No one ever promised us an easy way to go in this industry, but this [email protected] industry, for better or worse, is what binds us all together. Contributing Writer: Michael Waddell [email protected] Contributing Writer: Mike Wharton Larry Smith [email protected] Data Specialist: Macy Norman [email protected] Correction: In our last issue, we mistakenly printed an incorrect email address for Frank The Plumber. Please accept our apologies. Contact them at ADVERTISING SALES OFFICE Jessi Wallace • Nashville [email protected]

franktheplumber.com ph: 615.256.7006 • f: 615.256.7004 [email protected] Jeff Donnenwerth • Atlanta 323-654-4546 [email protected] ph: 678-427-1535 • f: 615.256.7004

TOUR LINK BOARD OF ADVISORS Benny Collins, Nick Gold, Jim Digby, Jon Nevins, Stuart Ross, Bobby Schneider, Jay Sendyk, Seth Sheck, Nick Gold Nicki Goldstein, Chuck Randall, Michael Waddell tourlinkconference.com PUBLISHED BY Anvil Productions, LLC ph: 615.256.7006 • f: 615.256.7004

©2009 Anvil Productions, LLC. Nothing may be reproduced without written permission of the publisher. The publisher reserves the right to edit any and all editorial content included in this publication. The publisher has made every attempt to insure accuracy and consistency of this publication. However, some listings & information may be incomplete due to a lack of information provided by various companies listed. Please send any inquiries to the attention of the publisher. All advertising appears at the paid solicitation of the advertiser. Anvil Productions, LLC, can not be held liable for any errors, omissions or inaccuracies appearing in this journal in the form of editorials, listings or advertising. Member of:

4 mobile production monthly 608 General Chennault St SE Conatcts: Albuquerque, NM 87123 [email protected] 505-275-5441 www.stgfx.com [email protected]

CAT® Entertainment Services provides generator power and power distribution for all your production needs. Our products cover a full range of power solutions for both your interior and exterior lighting applications.

• Movie Silent Generators to 10,000 amps • Air Conditioning • Power Distribution • Heating • Transformers • UPS Technology 6 mobile production monthly

Hotels Sophistication Made Simple The Andaz West Hollywood

n January 2009, The Hyatt West Hollywood reopened with a new name and a new face. The previous “Riot Hyatt” I became the very sophisticated Andaz West Hollywood with abundant added value and a home-sweet-home vibe. With a new ambiance in place and a strong understanding of how the entertainment industry works, the Andaz is geared up and ready for old and new clients to come check out the new facilities.

By Jessi Wallace

“We have the ability to be flexible. We truly Time to Relax understand what it takes to make it happen and make the hotel needs of a crew, as she has first-hand it work. We’re not the Hyatt West Hollywood of the Michelle Freedman, Senior Sales Manager, experience on the road and living out of a tour past… instead, we’re a new hotel that’s keeping in line shares with mobile Production monthly, “It’s a new bus and suitcase. After the tour ended, she with the times. So come in and relax…grab a private experience. When you walk through the front doors, moved on to working with Hilton corporate daybed poolside, sip a signature cocktail and just enjoy it’s like you’re going to a friend’s house. Instead of in the communications department. It was the view.” traditional philosophies of other hotels, we threw while working for Kerry Hotels, a sales and out the book and created a new one with Andaz. marketing representation firm for boutique From every angle, the style of service and attention  hotels around the world, that she learned how to detail is different. For example, there is no Michelle to start and manage an Entertainment Division nickel and diming here. At Andaz, our rates hold Freedman: From Metallica in a hotel. She took her own experience on the a lot of value. Guests receive several complimentary Roadie to Hotel Rock Star road and applied it towards the division. She amenities including wireless internet, local calls, non- worked with 60 hotels worldwide and trained alcoholic in-room mini bars complete with snacks Freedman takes care of the entertainment them on how to handle and care for tours and refreshments (spirits and beers are extra), and market for the hotel and has 10 years coming through. After six and a half years with complimentary beverages and snacks are available experience in the field. Freedman started her Kerry Hotels, she became Sales Manager of throughout the day in the lounge.” Freedman shared career as a graduate from the University of The Island at Newport Beach, then later of Le that the rates of the hotel are equivalent to San Diego in 1998. From there, she worked Montrose Suites in West Hollywood. Finally, its upscale competitors, but the added value on the Metallica Reload tour as a Production she landed at the Hyatt West Hollywood and is what conquers. There are fewer incidentals Coordinator Assistant and First Hand User. continued on with the redesign of the hotel as with the all-inclusive approach. She explains, There’s no doubt that Freedman understands it became the new Andaz West Hollywood.

8 mobile production monthly Giving Control Back to the Guests The Andaz Brand One may notice that the Andaz hotels The Andaz has done something very unique, are not cookie-cutter. They are designed starting with the hotel check-in process. according to the market environment. They There is no longer a front desk. Some may offer all the benefits of a Hyatt, but it’s a new wonder how this is feasible, but the Andaz brand of sophistication and class. The Andaz has figured out a way to make the check-in West Hollywood has a very timeless décor process smoother than ever before. Freedman and strives to offer guests a refreshed feeling explains, “The front desk is a thing of the past; it when walking off the very busy Hollywood went away with the Hyatt West Hollywood. Now, strip. The Andaz hotel brand is operationally we have Hosts that greet you on the front drive green, using eco-friendly cleaning products as you’re stepping out of your car. From that and recycling. They feature a “market fresh” moment, your check-in experience has begun. The concept, where all the produce and proteins Hosts escort you into our Lounge (traditionally are delivered to the hotel daily from the local farmer’s market. All wines are local as a lobby) and offer you a complimentary beverage well. This allows hotel guests to feel more of your choice. From there, the check-in is connected to the community they are visiting. essentially up to the guest. Because the Hosts have The Andaz West Hollywood is one hotel that handheld tablets, which serve as a mobile front desk, definitely understands the entertainment you can be checked in while sitting in the lounge, market and what it takes to please the road as you’re in the elevator going to the room, or even warriors. S sitting in the restaurant having a snack. It’s all up to you! Because of this new technology, the possibilities and capabilities are endless.”

Booking Michelle Freedman Entertainment Senior Sales Manager 323-785-6056 [email protected] 8401 W. Sunset Boulevard West Hollywood, CA 90069 v i s i t westhollywood.andaz.com

The Room Breakdown The Andaz provides the heaviest amount of rooms with two beds. Plus, the beds are queen-size instead of doubles. There are 88 queen-with-queen rooms total, which is very convenient for a large crew. There is also a huge amount of connecting rooms, which is convenient for those needing two rooms for creating a production office.

The breakdown is as follows: 257 rooms 1 Penthouse 19 Corner Kings 117 Hillside View rooms 120 Sunset View rooms (features a sunroom with ceiling to floor glass)

mobile production monthly 9 Sound BUCKCHERRY ROCKS OUT With Lectrosonics

IS400 Musical Instrument System provides Stevie D. wireless freedom

uckcherry, the Los Angeles, California-based hard rock band that achieved critical acclaim with the 2006 RIAA platinum, Grammy-nominated album 15, is back with B a vengeance and touring once again in support of its latest album Black Butterfly. Consisting of Josh Todd (vocals), Xavier Muriel (drums), Jimmy Ashhurst (bass), Keith Nelson (guitar), and Stevie D. (guitar), Buckcherry is in the midst of an extensive tour that has them travel- ling both domestically as well in Europe. No matter where the tour takes them, guitarist Stevie D. and his guitar technician Dean Mitchell rely on a wireless setup to deliver Stevie’s signature guitar sound while providing the mobility to roam freely about the stage.

Dean Mitchell, who over the years has served as guitar tech for a wide range of artists, including Cheap Trick, FireHouse, Night Ranger, The Doobie Brothers and Ted Nugent to name just a few, is currently tasked with ensuring that Buckcherry guitarist Stevie D’s sound never drops a note. This involves everything from maintaining all of his guitars to wiring his guitar rack and making certain that his Lectrosonics wireless systems are spot on the money. So for mission critical performances, Stevie D. goes onstage with not one, but two Lectrosonics IS400 Wireless Beltpack Instrument Systems featuring Lectrosonics’ Digital Hybrid Wireless® technology.

Stevie D’s wireless setup consists of the two newcomer to Lectrosonics wireless gear. Buckcherry guitarist Stevie D. (left) and Lectrosonics IS400 receivers mounted “Stevie’s been using Lectrosonics for guitar technician Dean Mitchell (right). into a single 19-inch rackspace, two over two years and the system really Lectrosonics LMa beltpack transmitters, complements his style of playing. He’s and multiple Lectrosonics MI39ARA got it—he’s a pure rock and blues player When asked about those characteristics cables specially equipped with Neutrik and he’ll be around for a long time,” of the system that he finds most useful right angle NP2RX-AU-Silent plugs. notes Mitchell. “When I joined the tour, in his particular line of work, Mitchell “Stevie switches guitars numerous times I was really impressed with Lectrosonics’ was quick to point to the IS400’s sound throughout the course of a performance,” sound quality, the rock solid coverage quality and its ability to easily and quickly notes Mitchell, “so by having him and reliability, as well as the rugged build identify open frequencies. “The IS400’s setup with two systems, I can alternate quality of the products and because of sound quality is really musical,” says between them seamlessly. It makes for this; I wanted to get a second system so Mitchell. “The frequency response is an absolutely trouble-free approach to I could run them both at the same time. great and the gear doesn’t color Stevie’s wireless guitar.” In the world of wireless equipment, a sound the way other wireless systems tech like myself lives and dies by the with compandors do. I’ve also been very Mitchell reports that Stevie D. is no performance of the wireless setup.” impressed with the ease of identifying

10 mobile production monthly and locking down open frequencies. The system gives you a warning when you’re in range of other interfering radio frequencies, so at the touch of Designed to Help You Go Green. a single button, the system scans for available frequencies and when it finds it, another press locks it in and you’re Reduced Emissions and Fuel Consumption done.” Higher density truck packs mean fewer trucks on the road

For any touring act, reliability is yet another key consideration when Eliminates Fixture Cases selecting products, and in that regard, Tyler GT™ protects your fixtures without the need for cases Mitchell finds Lectrosonics on top of its game. “To be honest,” says Mitchell, “I really haven’t had any Saves Time issues with our equipment, so I rarely have reason to call the company. Dramatically reduces load-in and load-out time I called recently when we were in nearby Santa Fe because I wanted to tell them how much we like the IS400 and invite them to come to the show. Available in 5', 8', Karl Winkler got back to me right and 10' sections away and visited with us.”

As the band prepares to depart for Europe, where it will spend the month On truss storage eliminates of June performing in Nurnberg, need for cases Germany, Copenhagen, Denmark, Rotterdam, Netherlands, London, Legs can be removed England, and Clisson, France as well or relocated on the truss as other cities, both Stevie D. and during your show. Dean Mitchell know they can depend on their Lectrosonics gear to get the Adjustable legs allow job done. Stevie D. said it best, “I love this wireless setup and my tech. Just truss to be stacked for try to pry them from my hands! They transportation and storage both make my life on the road great.” x Center loading design allows a high density, uniform load of large format automated Lectrosonics and conventional fixtures 581 Laser Rd Rio Rancho, NM 87124 800-821-1121 v i s i t lectrosonics.com

The Stage is Set....Let’s Roll! Sho-moves Transportation is a full service Entertainment transportation company. We provide trucking solutions for all types of freight for the live entertainment industry. Our Goal... Is to allow our clients to produce the show rather than deal with transporting the show. Shomoves has years of experience in trucking time sensitive shows throughout North America and Mexico. With trucks and trailers through our multiple terminal locations we can get it there On Time and when needed!

Theatrical Tours Film & Television Expedited Freight Live Sporting Events Concert Tour Transport Circus Productions & Tours Dedicated Drivers

Terminals located in Las Vegas, NV Toronto, Ontario, Phoenix, AZ

866-407-8881 [email protected]

mobile production monthly 11 12 mobile production monthly mobile production monthly 13 The best mobiles stages the world has to oﬀer. Hydraulic or electric deployment.

Sizes from 24’x20‘x15’ to this huge 140’x52’x45’ ! Install times from 35 minutes to one day! Up to 92 000 lb rigging capacity! BETTER. FASTER. STRONGER. Tel. : 1 888 359-4001 ❖ Fax : 450 359-4242 ❖ [email protected] ❖ www.mega-stage.com

Britney Spears the Pop Spectacle known as CIRCUS!

By Michael A Beck PHOTOS COURTESY OF JEREMY COWART

16 mobile production monthly ne of the more common references to something that is thought of as being chaotic or disorganized is to call it a circus. To Othe uninitiated, rational thinking mind one would look at the prospect of sending a show out on the road and in 29 trucks as something that shouldn’t be attempted by anyone other than the military, lest it be classified as a “circus.”

Britney Spears the Pop Spectacle known as CIRCUS!

By Michael A Beck PHOTOS COURTESY OF JEREMY COWART

mobile production monthly 17 But on this year’s Britney Spears Circus tour and I go out to each of their buses and lighting rig, which flew above the center you have to remember who you’re talking actually go over the data just to make sure ring, that part of the stage had to be built about and that, like professional sports, the that everyone knows what is going to be off to one side. Because of limited space military and a very few other select areas happening. Before you see anything on the in any arena, it created a bit of a traffic of professional endeavor, there are only a stage at night, the Big Apple Circus has situation because both B stages had to be few thousand people on earth capable of already performed in the Virgin Mobile built out there as well. moving a project like this down the road VIP Experience.” with any degree of efficiency. The center ring was a fairly complicated The VIP Experience that Walton is talking system. The center of the stage was an It’s not that likely a tour of this size and about encompassed parties, autographs and automated riser that worked on two scissor magnitude is going to be anything but a walking tour of the production. This all lifts that were simultaneously controlled highly organized. As was said before, the had to be managed on the road. But there by one controller. The bottom of the riser show traveled in 29 trucks. One of those trucks is all about pre-rig. The show hung roughly 130,000 pounds on 125 points. Just We’ve got quite the pop extravaganza reading those numbers, one would think that it’s a little excessive to be going in a out here. It’s a bit of a hybrid of high day early. Advance rigging team leader art and pop spectacle… -Mo Morrison Bobby Allen explained, “This show is really involved. With something this expansive, you have to go in early just in case you run into any snags. We’re not just hanging stuff. We’re looking at power and all kinds of other logistical concerns as well.”

That being the case, the show went in the day before show day whenever possible in order to be able to do an easy five-hour day at straight time. However, when necessary the pre-rig would happen at 2 a.m. the day of show day.

The notion of having a smooth show-day load-in in this particular case was highly critical, when you consider the enormous traffic flow of gear and personnel involved. Twenty-eight trucks were tipped at 8 a.m. and the room was show-ready by 3 or 4 p.m.

Head Carpenter Neil Porter said, “This is a big show, and there is a lot to do in getting it in. We have a big crew of really good people on this one and we get it done. The biggest challenge out here is finding places to put dead cases. We’ve got cases and set carts in every square foot of available space PHOTOS COURTESY OF JEREMY COWART and finding that space is something that we is another aspect of the VIP bit that figured have to wrestle with every gig.” It must be into the load-in. The people partaking in said that the issue of storage was the only this experience were allowed to sit ringside was faced out with Stealth video. This had challenge that the confident Porter was able (as it were) in special seating that was a great look, but it came at a price. When to identify. brought in by the tour. Each one of these the stage dropped to its home position, the seats fit two people and was reminiscent of hydraulic lines for the scissor lifts created This tour had a traveling contingent of the high back booth seating one might have interference for the video elements. Stage 200 people, close to 50 of whom are found in the lounges of the old Flamingo Manager/Show Caller, Bob “Hydro” performers of one stripe or another. On- Casino. Indeed, they are referred to on the Mullin explained, “During rehearsals we site coordination of talent is a massive job tour as the Love Seats. These seats and the found that Stealth is really fragile. We also in and of itself. Tour manager DJ Walton risers for this system took up two trucks, and found that it’s really expensive.” explained, “There are a lot of different the build required a large amount of effort entities that come together to make the and attention during the day. The result - the Stealth had to be removed whole thing happen. We have weekly from the riser every time it landed and meetings with dance captains, aerialist When the show was built, the stage and VIP replaced when it flew back out again. captains, circus chiefs and music directors seating system took up the entire floor of Because of the hanging system designed by to map out what our movements and the arena. This made for a fairly interesting the engineering wizards at Tait Towers, this scheduling is going to be like. All of the day. Like a circus, this show had a center move could be made in about two minutes performers get a day sheet for the next day. ring, which was the center of attention. each way. Again, Hydro explained, “Once Before the day is over, the information in There were two smaller stages on either side we got to what we thought was the fastest the day sheet is emailed to them in a PDF as running lengthwise on the floor. All three time we could reasonably achieve, we cued format, and it’s texted to them. As one final of the stages were connected by catwalks. the show around the move.” measure, my assistant Lydia [Bourgeau] Due to the density of the main part of the

18 mobile production monthly Britney Spears

mobile production monthly 19 In addition to the center riser, the stage also once its construction commenced, anything had four Flaggevators. In case you didn’t that had to be done inside its footprint was see our feature on Spice Girls last year, the trapped there until the screen was built. Flaggevator is a one person lift that allows 10 Conversely, anything outside the circle had to feet of lift out of a 6-foot envelope by using a wait for it to get out of the way. gimbal design. The platform is attached via a gimbal arm to a carriage that is propelled by The system also housed two Austrian drapes. a single motor and travels horizontally along The outer drape masked the entire center a track at its base as the arm lifts the platform portion of the show including the video into position. As this happens the carriage structure. The red colored drape wasn’t travels toward the platform to a position under quite opaque, therefore, it didn’t completely the lift. The result of this movement is the block out the video wall. It presented a fairly arm becomes part of the vertical lift and gives impressive opening segment with both the the platform four more feet of elevation. This drape and the screen flown into stage level. approach not only gives the lift incredible There was also a drape that hung over the

During rehearsals we found that Stealth is really fragile. We also found that it’s really expensive. -Bob “Hydro” Mullin

power, it ensures a silky smooth ride. area of the riser of the center stage. This drape was black and completely opaque Due to the highly cramped quarters under and was used to mask the initial reveal when the center stage on this show, the Flaggevators Britney first entered the show. were the perfect choice. While all four of them were controlled from one station, each lift was The reveal was achieved by way of a very manned in order to ensure that there were no impressive fly gag. Ms. Spears flew directly mechanical or human mishaps. In all, there down from the rig inside a fly device made were nine crew people working under the up of two cross-connected glitter festooned three stages assisting performers and running hoops. While it may not sound like much the various lifts, including a centrally located in this description, the combination of the elevator in each of the B stages. shimmering fly gag and Spears’ blond hair made for a dazzling intro when hit with every Back to the main flown structure - there was follow spot in the house. a lot going on in this thing. It was a circular configuration that served a wide variety of Five riggers worked above the stage during the functions. One of the most prominent features show to assist with the opening as well as four was the Stealth video screen that completely aerialists that made rather dramatic entrances enclosed the stage when it was deployed all and exits by means of the fly system. the way to the stage. This was one of the most time consuming parts of the load-in, because The lighting of the show was nothing short

20 mobile production monthly VENDORS/ SUPPLIERS Lighting, Audio, Video - Solotech Video Servers/Live FX - VYV Corporation Pyro - Pyrotek Special Effect, Inc. Power Services - CAT Entertainment Power Trucking - Stage Call Bussing - Roberts Bros Coach Leasing, Co. Freight - Advanced Logistical Support Merchandise - Brothers Ent. Merchandising Radios - AAA Communications Catering - All Access Hospitality Rigging - Branam Enterprises Tour Phones & Info Tech - WANetics Itineraries - Access Pass & Design Travel Agencies - Tzell Travel / Upward Bound Travel / Road Rebel Travel Air Charter - Apollo Jets/Upward Bound

mobile production monthly 21 of sensational. The design was penned provided by tour photographer by Nick Whitehouse and Bryan Leitch Jeremy Cowart. of British based Visual Light, Ltd. Whitehouse also operated the console. As one could imagine with a Every visual aspect of the show was sternly show called The Circus this controlled. Indeed the production even show had gags for days. The brought in its own house lights. Once the stage played with nothing on room was show-ready, the venue lighting it in the way of permanent was turned off and never came back on set. That meant that set pieces until the evening was finished. needed for the show had to be rolled into position from off The soft spoken Whitehouse explained, stage via a ramp at the outside “We didn’t want to have to depend on the edge of one of the B stages. idiosyncrasies of each individual venue for The list of set pieces included: the initial look that the audience saw upon elephant stools, bicycles, a tiger entering the room for the first time. There cage in which Spears did a short is also the matter of being able to fade the bit and even a piece needed for house out for the beginning of the show.” a fairly impressive magic act The effect was a nice warm glow when the that Spears took part in. house was up and a great looking dramatic visual segue into the first look of the show. With all of the set, fly gags, elevator moves, pyro shots and The design team didn’t come into this endless wardrobe changes that project new to the task of lighting a big took place during this show, show in the round. Its “in the round” it had to be cued out to the experience was Justin Timerlake’s last tour. second. “There are 92 show “We had to deal with a very steep learning cues, and each one of them has curve indeed on that one,” said Leitch. about four or five moves in it. “I’d never done it before, and there was There’s quite a bit of activity in much that I hadn’t considered. However, the show.” Hydro told us, “This it was a great learning experience, and we is a busy show.” were able to bring the full weight of those lessons to this project.” While it is tempting to discuss this show like a concert tour in Where the Timberlake project might have terms of how much it weighs fallen short, this design hit spot on. The or how many trucks it travels show was lit primarily with PRG Bad Boys with, how big the various for hard edged lighting, and it was washed technological aspects of the with Vari*Lite 3500 Washes. There was a show are, one has to remember truss that ran the distance of the arena on that there is a lot more to it than either side of the stage that held several one might see in a standard big Bad Boys. In addition to these trusses, rock act. Production Executive, there were four pods positioned evenly Mo Morrison explained, “We’ve along the length of the arena on either side got quite the pop extravaganza of the stage as well. Each one of these pods out here. It’s a bit of a hybrid of contained both Bad Boys and VL-3500s as high art and pop spectacle with well as a follow spot, and they were draped all of the aerialist, the magic in black to hide the spot operator. The top and the circus performers. It’s and bottom of the pods were ringed with much more of a big theatrical the instruments used for house lighting. production than a straight up rock show.” all times that there’s no time to get bored The design was as efficient as it was before she comes back around to them.” elegant. One of the lessons the designers As such, the show had to have elements learned on the Timberlake tour was to built into it that might not exist in a This was one of the smoothest running be ever mindful of sight lines regarding more conventional concert production. productions this writer has ever seen. house spots. That education in hand, they Blocking and choreography were critical During the day there were printed opted to bring out their own house spots to the success of the show. There was no schedules available (as is the case with and position them lower in the venue question that Spears was the highlight. any show), but the odd thing about these rather than the highest possible level where However, because of the sheer size of the schedules was the amount of allotted time arenas normally place their spots. This stage and the amount of space it took up between the Pussycat Dolls (first opening allowed Leitch and Whitehouse to shoot on the arena floor, there was no way that act), the Big Apple Circus performers and under the main rig above the stage and it she could have the physical command Spears. also afforded a much more dramatic beam of the stage as she most assuredly would angle. in an end-on configuration. Morrison It called for a 12 minute changeover from addressed that issue, “The show director Pussycat Dolls to Big Apple and a five While pyro wasn’t the biggest part of this [Jamie King] and choreographers were minute lapse between the Big Apple Circus show, there was a fantastic looking rain very sensitive to that. Audience members to the opening video roll of the main event. shower effect arrayed in a full circle above are never really aware that Spears might This seemed a bit optimistic to someone the center stage. This is highlighted in one have her back to them no matter where she who knows how these things typically work, of the incredible photographs that were or they are. There is so much going on at but this was just one more example of

22 mobile production monthly TOUR MGMT Tour Director - Steve Dixon Production Executive - Mo Morrison Tour Manager - DJ Walton Production Manager - Jason Danter Road Manager - Craig Bolling Personal Assistants to Ms. Spears: Felicia Culotta, Brett Miller Production Coordinator - Florence Tse Tour Management Assistant - Lydia Bourgeau Production Assistants: Matthew McHale, Eric Andrulaitis Executive Assistant to Steve Dixon - Jennifer Callahan

how this was not a typical production. They together who are involved in the production schedule that included nine overnighters nailed to the tick. and goes over notes from the last show, and during the American leg including the third while the mood is up and lively during this and forth shows. On the other hand, they Tour Manager DJ Walton spoke about the session, nothing is allowed to fall between were deeply proud of the fact that they were timing, “That speaks to the professionalism the cracks. out there pulling it off. that we have backstage as well as what the production team does to make this thing Because of the incredible size of this When mPm asked Walton what the biggest roll smoothly. I could say a million great production and its crew, we were not able challenge was with this show, he gave the things about this crew out here, but one to talk to all of the people we would have same answer Morrison did, “The daily task compliment that is at the top of the list liked to. However, from Morrison and of making something this big happen every is this crew is absolutely on it at all times. Walton to the department heads, there was day.” Once the performers take the stage, this one common statement among them. The “A” team of professionals has everything so secret to making something this big happen When asked what they were most proud of, well covered that the technical aspects of is proper staffing. And none of them could again they both agreed… the show are just not anything we have to say enough about the team that had been concern ourselves about.” assembled for this show. “We do it every day.” 7

However, this is not something that is taken Among the crew members there was for granted. Every night before the show, another sentiment - they were not shy Morrison pulls the members of his crew about telling of the hard work and grueling

mobile production monthly 23 NORTH AMERICAN TOUR – SPRING 2009 britney spears circus tour crew

SHOW CONCEIVED Stylist - Frank Strachan Video Director - Louis Lefebvre & PRODUCED BY Music Director - Simon Ellis Video Crew Chief - Francis Corbiel Britney Spears - Artist/Ringleader Lighting Designers: Nick Whitehouse, Video Engineer - Sebastien Lamoureux Manager Larry Rudolph Bryan Leitch Video Stealth Engineer - Pascal Rhainds Tour Producer Steve Dixon Video/FX Programming: Emric Epstein, Martin Video Server Operator - Alex Barrette Show Director - Jamie King Granger-Piche Video Techs: Philippe Chiasson, Sebastien Video Content Designer - Dirk Decloedt Cousineau, Redo Jackson, Philippe Valade BAND Video Content Production - Video Content Team: Stéphane Lhoest (Head), MD / Keyboards - Simon Ellis Dragone/Dragons Films Alexia Benevento, Aïmad Doughan, Colas Digital Audio/Keys - Marc Delcore Video Elements - Veneno Fiszman, Jean-Luc Gason, Anthony Lépine, Bass - Steven “Styles” Rodriguez Pyro Designer - Lorenzo Cornacchia Gilles Leempoels, Michael Maslowski, Patrick Guitar - Juan “Natural” Najera Staging Coordinator - Michael Morobitto Neys, Guillaume Noel, Nicolas Pfeiffer, Julie Drums - Chris Bailey Supervising Choreographer - Carla Kama Seni Backing Vocalist - Sofia Toufa Aerial Choreographer - Dreya Weber Pyro Crew Chief - Robert Liscio Backing Vocalist - Shelly Sharman Contributing Choreographers: Tiana Brown, Pyro Techs: Hans Lundberg, Raymond Seymour Oththan Burnside, Jaquel Knight, Matt Mullins, Head Rigger - Gerald McDougald Dancers: Clayton “Chase” Benz (Captain), Phlex, Jamal Sims, Rujuta Vaidya, Salvatore Riggers: William Stonecypher, Sven Ringwald, Tiana C. Brown(Captain), Marc “Marvelous” Vassallo Michaelle Brummett, Eddie Rodriguez Inniss, Luke Broadlick, Justin M. De Vera, SET/PRODUCTION DESIGN Fly Techs: Jeff Adkisson, Brandon Beckman, Laura M. Edwards, Wilfredo “Willie” Gomez, Steve Dixon, William Baker, Nick Whitehouse Steve Davidson, Vicente “Greenbay” Donastorg, Jose O. Hernandez, Jia W. Huang, George Bryan Leitch, Illustrations by VYV Corporation Randy Haynie, Bjorn Melchert Jones, Jr., Jonathan Rabon, Valerie “Raistalla” SET FABRICATION Tait Towers Automation - Lance Dennis Moise, Tamecha “Tye” Myers (Swing), John- Props/VIP Lounge ShowFX Cyberhoist Tech - Chris Sabelleck Paul “JP” San Pedro (Swing), Ava Bernstine TOUR PROMOTER AEG Live Massage Therapist - Ann Myers (Swing), Devin Jamieson (Swing), Jamie Overla Catering Managing Partner - Robert (Rehearsal Stand In) CREW Schneeberger Production Stage Manager - Bobby Allen Catering, Executive Chef - Jeff Schmel BIG APPLE CIRCUS Stage Managers: Robert “Hydro” Mullin (Show Catering, Sous Chef - Kevin Hoffman AERIALISTS Caller), Christopher “Todd” Carter, Bob Hood Catering: Carmen Arellano, Jennifer Hunter, Shannon Beach (Captain), Nathan “Nate” Wardrobe Manager/ Additional Wardrobe David Hornby, Dedra Leinbach, Jeremy Hendrix, Crawford, Victor Gathing, Michael Lanphear, Prop Design - Dana Carr Denise Wickham Salvatore Vassallo (Swing) Wardrobe - Latisha Yates, Mary Jane Hetrick, Merchandise Manager - Morgen Bensten PERFORMERS Hadassah Boyd, Pamala Lewis, Melissa Agee Brothers Entertainment Merchandising: Magician - Ed Alonzo Stylist Coordinator - John Sweeney Joseph Bongiovi, Steve Miles, Martin Häusler Karate Klowns: Donald Mills, Seth Austin, Media Liaison/VIP Experience - (photographer) Brendon Huor Karoline Sellards A Party Bus Drivers: Jeff McCardle, Art Ross Acrobat - Terry Kvasnik Backstage Coordinator - Molly Brickson B Party Bus Drivers: Larry Cyrus, Rich Sandou Trio: Sergei Sandou, Cassie Sandou, Head Carpenter - Neil Porter Moore, David van Meter, Larry Garten, Kenny Konstantin Sandou Carpenters: Richie Bray, Gary Doerr, Brad Humphries Big Apple Circus / Toxic VIP: Brad Aldous, Judd, William “Sox” Shewmake, James “Rod” C Party Bus Driver: Tracy Morgan, Mike Michael Garner, Harry Moeller, Michal Murga, VanEgmond, Kenneth “Scotty” Waller, Dwayne Wilson, Bryan Stevenson, Charlie McPherson, Stephanie Sine, Matt Wilson, Alexandra “Monkey” Diaz, Mark Knoedler, Todd Harrison, Matt Selah, Dana Heideman, Ray Fidosseyeva, Viktoria Shvartsman Prop Master - Christine Mullin Rascon, Eddie Winfree Second Prop Master - Jeffrey Moran Lead Truck Driver - Mike Stamps GLAM Third Prop Master - Wayne Piña Co-Lead Truck Driver - Chris Tyler Hair Stylist - George Papanikolas Electrician - Lauren Ackert Truck Drivers: Danny Leach Gaylord Wethered, Performer Hair and Makeup - Nereida Soto, Backline Techs: John Chidley, Timothy Ward Linda Locklear, Jimmy Locklear, Tom Decker, Ashley Taylor Ryan FOH Audio Engineer - Blake Suib Tom Deinema, Bill Sellers, Chuck Patty, Mike crew Hair and Makeup Assistant - Jennifer Barnet Moitor Engineer - Lawrence “Filet” Mignogna Clever, Robert Goodwin, Bob Herder, Rick Laney, Audio Crew Chief - Marc Depratto Ronnie Parker, Bruce Kenyon, Ira Pelletier, Paul Audio Systems Engineer - Sylvain Lemay Cloutier, Elliot Cuvin, Scott Rawson, Chuck SECURITY Audio - Wireless & Communications - Perrin crew Head of Security - Edan Yemini Charles Deziel Artist Management ReignDeer Entertainment Personal Security: James “Sugar” Kane, Audio Techs: Guillaume Cossette, Mylene Buiness Management Lonny Biegel Jomphe, Jesse Leveillee, Marc Olivier Magnan, Tri Star Sports and Entertainment Group Advance Security - Tomer Benito Lighting Director - Nick Whitehouse Legal Services Venue Security: Michael Faello (Director), Lighting Crew Chief - Mathieu Lavallee Goldring, Hertz & Lichtenstein / Hansen, Michael “Tiny” Henry, Donald Volkerding Lighting Techs: Denis Ayotte, Yanick Blais, Alex Jacobson, Teller, Hoberman, Newman, Warren Bolduc, Vincent Cadieux, Alexandre Charland, & Richman CREATIVE TEAM Eric Gauthier, Alex Lefrancois, Marc Aurele Booking Agency William Morris Agency Assistant Show Director- Tiffany Perez Menard, Brian Monahan, Benoit Paille, Remy Record Label Production Executive - Mo Morrison Parent, Michel Pomerleau, Pierre St.Mars, Jive Records, Publicist, BWR ostume Designer/Style Director - Advance Lighting Techs: Jean Francois William Baker Mallette, Simon St-Louis

24 mobile production monthly Writer’s note: The mpm staff takes great pride in our ability to accurately present an informa- tive account of the productions we cover. However, there is one aspect of these events that trumps all others and that is the crew. From the highest ranking person on the show to the lowest, we are aware that the individuals of any tour are critical to the success of the show. It is for that reason that mpm places a high premium on recogniz- ing these hard working people. While we can’t get to everyone for a quote in a story, we can at least take photos of them and include those images in the spread of the story.

Only twice in the history of Tour Guide and mpm have we been unable to present crew photos in a feature. So, it is with heavy hearts that mpm offers our profound apologies that despite our best efforts, we were unable to run crew photos with our feature story on the very impressive Britney Spears Circus tour.

Added to the overall frustration of this is the personal disappointment that Richie Bray, my old steel pounding mate from long ago in a galaxy far, far away, was on both shows that have now run without crew shots. mpm will see you down the road and make this right.

Video Servers/Live FX: VYV Corporation

VYV is a Montreal-based stage-dressing company. The company uses software (Photon) and unique equipment that it has developed to deliver unique scenic environments to both fixed and touring shows. Its list of credits include not only the Britney Spears Circus tour, but also OSM/Canadians, the Cirque du Soleil Delirium tour, an Evening with Il Divo, Light of the Angels, Fashion Rocks 2008, Shakira’s Rock in Rio 2008 tour and many, many more.

The emphasis of this company is delivery of video projection environments that will augment any tour desiring to create a stimulating and unique visual experience to augment the performance or event. Whether it is architectural or live, the software developed by VYV is an ever-evolving technology that lends itself to the imagination of any scenic designed with a flair for the unusual.

Led by Emric Epstein, this team of professionals are making a significant impact in our industry and seem destined for continued growth and interesting developments. One trip to their website, vyv.ca, is worth a thousand words and well worth investigating.

mobile production monthly 25

solotech feature house alltheway down todirect deposited management. Everything ishandled in- iscomprehensiveThis gearandcrew that complicated system. all theassociated gearneeded tofly rigging some250hoistsand as well, tothetuneof theballonthat upandgrabbed stepped the tour. Notmissingabeat, Solotech vendororiginal rigging pulledaway from enough duringtheAmericanleg; supplying lights, soundandvideo weren’t capability for theoutdoorshows. Asif full camerapackageandgreater I-MAG Europe thevideowillgrow toincludea packs. asthetourmoves Then over to pulled backtoeverything but thecamera video andcamerapack.However, that got Solotech toprovide lighting, sound,LED In thebeginning, thetourcalledfor together asoneunit.” production teamthat wasgoingtowork run. They alsowanted tohave aunified changes tohow thefinancingwasgoingto to beflexible inmany ways from design they neededacompany that wasgoing tour for Britney for many reasons, and Lachance, isavery important “This development International Richard of one,” saidSolotech's Vice President “There were afewchallenges onthis trend for theMontreal basedcompany. that justleftfor Europe. seems tobea This forand rigging Britney Circus Spears’ goliath isproviding lights, sound,video Celine Diontour, andnow theproduction Solotech shopfor therecently completed the Lights, soundandvideocameoutof In 2007. tourthatendedin Soleil Delirium the 30monthlongCirque du production onamajor tourwas timeSolotechprovidedThe first with CanadabasedSolotech. However, suchisnotthecase fewer stillactuallygetthecall. those thatcango “soup tonuts,” a major headliningtour. Among to turnkey production services that are setuptooffer one-stop fewvery production companies by michael A. Beck Turns theKeyonBritneySpears Solotech mpm feature world there are touring concert the high-end tour call, but hewas involved.” on. Hemay ormay nothave madethefinal somethingwasgoing in charge outthere if [Mathieu Lavallee] wasthe guyIput chief when thetourisover. My lightingcrew it’s allcomingbacktothesame location cable isgoingtoenduporwhen because is that there’s aboutwhere that noconcern cabling cross compatible. goodnews The our to have it because we tomakeallof try cable, it’s likelythat soundorvideoisgoing the lightingcrew needs aspecificpieceof someoneon cable. If close to30milesof said Roney. “We startedoutthetourwith this definitelybecame my fulltimejob,” plate besidestheBritney account,but we course have otherthingsonour “Of out ontheroad onthisone.” time theroad, but Ispentalotof get off He explained laughing, “Iquittouringto hiswakingminutes dealingwiththetour. of Development DeanRoney who spent most the company wasLasVegas basedVPof Britney Spears. Inthismatter theliaisonfor even beonthetouraswascasewith On atourthisbig, that mightnot person responsibility.through onesource pointof represented by Solotech, itcanbehandled thedepartments any of with concerning In theevent there isanissuetobedealt to make upatour. several companies that come together of up made crew a by completely so shared cooperation such that ever, israrely, if interdepartmental logistical ethos of financial efficiency. It’s about the internal a reference construct or to corporate from within Solotech. That isn’t just handled are departments rigging] and video sound, [lighting, the of All put together piece meal.” it were services at alower price than if onto the tour, we are able to provide our out bring we that gear of volume sheer the have about. Because of to worry they don’t from one point. That’s allstuff and communication with production “We handle insurance, per diem, logistics explained, Lachance efficiently. down and lot to the tour Such point control single contributes a saddle aproduction. headaches that mightotherwise a lotof coverage powerful offers insulation from something thislarge withsuch complete per diem.Having thecapabilitytohandle just getting the gear up

To becontinued… say, you can’t argue withsuccess. phone isstartingtoringfor more. Asthey comprehensive outingfor Solotech andthe attention towhat ishappeningonthisthird people are efficiency,paying close alotof bottomlines of or inahotelbar. However, inthereal world thebus, at catering in thebackloungeof or notisatheoretical conversation tohave production theturn-key Liking theideaof thoughtonthismatter. schoolsdiffering of production business, there are widely the As insomany otheraspects of about anything that would comeitsway. would makeitpossible toprovide for just buying powerenormous Solotech possesses the inventory toservicethetour.” The buying the tourandweigh thebenefitsof for Adamsonspeakers, we would lookat using ourcompany but they were looking came tousandsaidthey were interested in someone do withbeingaone-stopshop. If comes down togear, andithasnothingto want totry,” saidRoney. “Thatreally trust. “We can’t fightthat, and we wouldn’t companies they have grown toknow and outtheremanagers who stickcloselytothe directors, andproduction designers Yes, there's goingtobethoseengineers, shop. same the from comes andthe client whendepartment it all each to offered is that support customer tech and the almost endless internal of view inlight credence to that point of give to hard it’s hand, other the On room for consideration onthe matter. attention totheir job. There must be production are goingto pay stronger of aspect one is focus only whose companies dedicated that argument the is There going on. he iswiselymakinguswaittohearwhat’s on upcomingfull-serviceprojects, though to catch aflighttoLondon for discussions this from hiscarontheway totheairport we are happy todoit.”Lachance told full production servicefor theirtours, and supplying asking aboutthepossibilityof peoplecomingtous us. There are alotof Lachance, “Itseemstobecatching onfor shopping ispickingupsteamaccording to one-stopproduction notionof The , loadintimesandoverall photo courtesyofJeremy Cowart 7 mPm Britney Spears: 30 trucks 31 cities 60 days

You pick the stage. We’ll set it.

Richard Lachance at 1-800-361-7721

mobile production monthly 27

024_01 SOLO_MobileTourGuide.indd 1 29/04/09 10:07 AM

apollo jets feature that equipment.” operators that we do business withtofind client’s mission,andwe putitouttothe out what theperfectaircraft isfor our dozen operators outthere. Sowe find have great relationships withafew Director AlPalagonia explains, “We broker. Itdoesn’t own planes. Managing which tochoose. isanaircharter Apollo companiesoutthere from hundreds of be dauntingat best. There are literally negotiating thismaze can the process of For abeginner in theaircharter game, Jets,plane? EnterApollo Inc. requirements, how doyou findtheright most reliable way toserviceyour travel the ideathat private charter isthe So, now that you have reconciled with precisely customize your travel schedule. second totheabsoluteneedbeable to boarding aprivate jetplacesadistant of asuddentheaffluentluxury All of commercial scheduling. to theshow ontime duetothegodsof appearance schedule, andyou can’t get you withaheavy are aperformer painfully inconsiderate public. Suppose constantly by awell meaningbut fly commercially without getting hounded wildly recognizable that itisimpossible to Suppose you are who aperson isso W back inyour officeinthecityatday’s end? all inthespaceofonedayandhave gottoendup York and have meetingsin Atlanta, Tampa andDallas isbasedinNewstratospheric world ofbusinesswho ifyouBut what are ahighperformance player inthe big shotflauntinghismoney zipping round onhisjet.” were) ofopulence. You’ve heard it, “Oh lookatthat of ourpsychestepinandcastitastheheight(as K s p e e almost natural toletthatnastyjudgmentalpart hen thinkingofprivate aircharters, itseems apollojets

mpm feature T m e h C g n i m o imagine. to utilize such service may beable to uswho aren’t ablebeyond what thoseof they fullyexpect servicethat extends money,people are spendingthiskindof contact sport,financiallyspeaking. When questioning that private flyingisafull themission.Thereisno the endof But gettingclientsintoaplaneisn’t “Current EmptyLegAvailability.” the pagethere isatext crawl that lists (apollojets.com). Atthebottomof Apollo’s website on thesplashpageof emptylegserviceiswellThis illustrated cost uptothree times asmuch.” thatthousand dollars would otherwise be able tobuy theflight for 5,10or15 repositioning time, which allows usto point-to-point flightsthat don’t have any have beenvery successfulat finding exact to sellthat tripat adiscountedprice. We plane back,theoperator willbewilling way. Butrather thanflyinganempty known asanemptyleg, oranatural one it’sgoes backwithnopassengers what’s it to have If togetbackCalifornia. there for amonth.That planeisgoing client toNewYork who isgoingtobe have flyinga anoperator inCalifornia how thisprocess works, “Let’s say I of Palagonia went on to discuss one example B a K C F r o M e r o can dealwithitlong before theclient that stuff, and we seeitcoming and all of about animals. We are acutelyaware of documentation. Hawaii isvery strict requireanimals in.Others allkindsof some countriesthat don’t allow certain it’s importanttoknow that there are you’re traveling withananimal flights. If come up, especiallywithinternational thingsthat could There isawhole list of problems mightarise. what kindof that we supplyistheabilitytoforecast service provider. theservice Abigpartof is offered, “We are, and first foremost, a service discussed theways thistypeof sales director for thecompany. Giasi client a“headsup.” DeanGiasiisthe or at leastgive the and headthemoff see potentialproblems that may arise Jetsat Apollo theabilitytogooutand supervisionallows thefolks levelThis of process isstilloverseen by Jets. Apollo owns theaircraft. That beingsaid,the handled through theactualoperator that Jets, Apollo thisclearanceis the caseof ensure that they aren’t onano-flylist.In have tobecleared through theFAA to how important they are, allpassengers No matter who isflyingontheplaneor Unfortunately, that’s nothow itworks. your clubsandmeetusat theairport.” one seat opened up, your grab computer, business meetingintheBahamasand usare flyingtoa saying, “Hey afewof to dealwith.It’s easytoimaginesomeone there are otherfarmore criticalconcerns Once theamenitieshave beenprocured, Indeed, theskyislimit. event planningandmuch, much more. accounting, secretarial, massagetherapy, nannies, tech legal, support,beauty, services includingbut notlimited to catering.gourmet Thereare specialized reservations, onboard securitydetailand hotel andresort reservations, restaurant limo andtown carservices, five star Among theseextra considerations is By

Michael A. Beck continued on38 Since being introduced to Al by a teammate I haven’t used anyone else to handle my travel needs. Al’s an All-Star in my book, he puts me in the safest planes at the best prices everytime! With Al, I get to travel without any worries. The Next Generation Carlos Boozer, Utah Jazz 2008 Olympic Gold Medal Winner 7 Year NBA Player in Private Aviation

I fly privately often. Apollo Jets always provides me with great pricing and the level of service I get from the staff is unparalleled. They are the most reliable in the industry. I’d recommend Apollo Jets to anyone who flies privately. Eric Fessler Entrepreneur

Apollo Jets has contributed to my success both on and off the court. I can travel on my own time in complete comfort and safety, knowing that I will arrive relaxed, focused and ready to work or play. Shaquille O’Neal, Phoenix Suns 4-times NBA Champion 17 Year NBA Player

I did a tremendous amount of homework when it came to my family and I flying privately. I found that Apollo Jets put me in the safest, newest planes at the best prices. I have and will continue to recommend them to other MLB players. Raul Ibanez, Philadelphia Phillies 14 Year MLB Player

Apollo Jets has access to impressive aircraft and provides me with a quality of service that is unbeatable. Ben Roethlisberger, Pittsburgh Steelers 2-times Superbowl Champion 5 Year NFL Player

toll free: 888.910.JETS (5387) phone: 212.889.JETS (5387) fax: 212.889.5388 www.apollojets.com

Exclusive Partnership with mobile production monthly 29

WANetics feature a living. from ANETrealized they stillhadtomake left over. Sheandacouplecore members money were paidoff, there wasabitof that dealclosedandalltheshareholders decision wasmadetosellANET. Once Operating Officer. By2003the the Chief merged withANET, where Rogers became Chicago area. Around 2000,InfoRamp marketing professionalsinternet inthe stockholder, sheworked withagroup of Technology Officerandasignificant Chief InfoRamp, its thefounders of As oneof over aphoneline”since1994. methodsto“fixaproblem deployment of been instrumentalinthedevelopment and WANetics,Janet Rogers, has CEOof download took. line,a telephone nomatter how longthat we could fixaproblem onthe road through (as was the HOG 2), and I was amazed that wasinit’s internet The infancyat thetime you guysgotolunch.” “but thisisgonnatakeawhile… why don’t phone lineandjackeditintohislaptop, the Manager EdHobsonasheunplugged “No problem,” saidourProduction A Long Life Passion needed todownload someinformation toupdatetheHOG. arose andafterafew callsitwas thatwe determined show.to ourfirst During focus thenextday, “software“ issues Beck hadintheHOG2.Brian We loaded outandheaded lighting designer, was happywiththeshow ourprogrammer rehearsal,during thingswent fairly well. BobLooney, the Cyberlight). Otherthan afew hardware glitcheswiththem B By Mike Wharton Martin PALMartin (mirror basedautomated lightsimilartothe ack in1995, Iwas onatourshowcasing thenew mpm featureJanet Rogers&HowWANetics CameTo Be projects toservice various touring needs. company was oftencalleduponfor special association asthevenue provider, the Arena, andAlpineValley. Through this venues including SoldierField,Allstate services inpracticallyallChicago’s major to 2004,Roger’s teamhadestablished its years fromDuring itsinternet themid90s delivered connection. viaaninternet premise then features are moderated off anofficespace. Allthe in theclosetof as opposedtoyour typicalphonesystem system is virtually a phone system in the sky multiple networks. Ahostedphone of aninterconnection similar totheinternet; distinctsites.geographically Itisvery two ormore together multiple networks of Area Network. Itisanetwork that connects WANThe inWANetics stands for Wide WANetics cameabout.” and that’s of how thecurrent incarnation transition over traditionalphoneservice, over Provider) IP(Internet which wasin themarket, voice as thehottestsegmentof experience and applied ittowhat we saw the bandbacktogether. We tookourpast “So,” Rogers said,“We decidedtoput CEO &co-founder, Paul Dault–Sales – SalesEngineer,Randy Rogers Janet– Rogers Service, DavidBauman –CTO &co-founder, Nibeck - Engineering, Louisa Keefe – Customer Peterabove: Kornas – Field Services, Chris University. during Rogers' years at NorthPoint “boxThis withinabox” haditsbeginnings business.”internet special entertainmentbusiness withinthe ‘box withinabox’ of we hadthissortof company“When we soldtheinternet onboxes.’”be sleeping here doingit.46year oldguysshouldnot you were out think you’d thinkthat at allif looked at meandhesays, ‘NO, NO, Idon’t people doingit.He thefirst was oneof back when bands didn’t have IT guys;he you’re doinghere, it’s was socool.’This IT guy, telling him,‘Wow, Ireally like what itall,talkingtotheir I waswiththesize of Rogers recalls, “Iremember how impressed a buzz when Isaw what they were doing.” “At that DMBshow, first Idefinitelycaught DMB’s loyalty . fix theproblem, which theygaining did and herteamwere askedtocome in and as contractedandat the11 companyThe had failedtoprovide theline dedicated linefor itsproductions offices. companya localtelephone toinstalla at SoldierField and hadcontractedwith majorclients.first Onits2000touritwas its DaveThe Mathews Bandwasoneof continued on39 th hourJanet

TouringNetworks

Save up to $100/wk when you mention you saw us in Mobile Production Monthly!!!

Check out these newest, smaller options:

Mid-Sized Cabinet – as low as $495/wk! At just 24” x 30” by 36” this unit packs the punch of our full-sized system in a smaller package with a single drawer.

Suitcase System – as low as $285/wk! Four phones and the power of WANetics packed into suitcase! At just 8” x 24” x 30” and under 20 pounds this unit is great for fly dates, promos or anywhere you need spare lines.

Standard Full-Sized System – as low as $565/wk!

• Easy set up in minutes with no special venue Internet required – works from DSL on up • Phone numbers never change – one number, individual numbers, extension dialing • Crystal clear calls – better than landline phones • Integrated WiFi and color laser printer • Airtunes support with Bose speakers Support for up to 25 phones with exclusive CasterPort that places cables out of the way. Options include cellular and POTS line backup, multi-line cordless phones, international numbers, POTS line connections for TV production and…

Priority access for Production, Management and Accounting!

Mike Muye, Director – SuperCross, Feld Motor Sports, "I had no previous experience with networks or telecom and I was able to learn to set this system up quickly and easily."

"With traditional service, telecom bills for a large event could cost thousands of dollars a night. WANetics offers a truly professional grade network and phone system that can save any event a lot of money." - Steve Dixon of Music Tour Management

Manager Desk System – as low as $395/wk! Production Legend Mo Morrison is thrilled with the storage, easy of use and technology integration in this plug and play production network and desk.

More features…less money! Users like Britney Spears, LiveNation, PC Guild, New Kids On The Block, Alicia Keys, Hilary Duff, Slayer, Incubus, Genesis, Justin Timberlake and Feld MotorSports SuperCross and Monster Jam are doing something right with WANetics!

312 546-6000 - v [email protected] 312 546-6001 – f www.wanetics.com Wanetics, LLC • PO Box 5980 • River Forest, IL 60305 32 mobile production monthly video that mov es impressions that last

Portable and versatile by design, Daktronics mobile and modular LED video products help customers transform ordinary events into engaging, interactive experiences that leave a lasting impression on viewers.

mobile production monthly 33 he monstrous Britney Spears fleetwood mac Circus tour, oddly enough, Unleashed and Uncomplicated rehearsed in the same complex By Michael A. Beck at the same time as Fleetwood Mac. Britney Spears Circus tour was a study of logistics rivaling Patton’s march to the “Battle of the Bulge” and of the massive task of executing a show that takes up the whole of an arena floor while this is the tale of how less can be so much more than more, more, more!

Fleetwood Mac’s Unleashed tour was the essence of simplicity. Designed by Paul Guthrie of Toss Film & Design Inc., the look was meant to have a retro feel to it. “They did start in the 70s where there was a lot of cyc work in the designs. I wanted to go back to that time, but I didn’t want to go all the way down nostalgia lane. I’m also a big fan of modern architecture. The answer was to blend the two aspects together,” Guthrie told mpm.

The result was a group of four large pods that flew over the stage like a fluid ceiling, and two that stood along the upstage line. Each of the pods was 24" long x 4" wide x 2" deep. They were internally lit by Martin LC Panels, which are a semi- transparent modular system of LED arrays. Once the LC Panels were installed, the pods were faced out with custom fit RP (rear projection) screens.

“Originally there were three uninterrupted units that spanned the whole stage,” Guthrie recalled, “but it became apparent that it would be difficult to build and transport them. In the end, we cut them in half which gave us more mobility during the show because we could move them in opposite directions.”

Each of the flown pods were picked at their corners offering the ability to pitch and bank independently. The outside of the boxes were faced in a metallic finish that provided both the modern architectural contrast that Guthrie was looking for, as well as surface that could be lit. The final touch on the pods was provided by High End Systems DL3’s mounted on the floor.

The DL3s were aimed up at the pods where they project video content that hit anything up there, including the lighting rig. Cory Buckingham – Teleprompter / Dressing Bobby Herr - Stage Manager Rooms, Brendan Cooper – Wardrobe This was where the design fell slightly short of the mark. There is no other projection unit available to throw at this design idea. While, in the end, the look was very good, it would have been spectacular had the DL3s possessed a bit more punch.

The lighting system was minimal to what some might call the extreme. There were roughly 60 fixtures (all Vari*Lite of one stripe or another) hitting the stage from above, behind and on the stage. Because of band requirements, there was no haze in the air, making it impossible to achieve the beam play that so often marks a concert. However, it did allow for a completely clean look, which leads one to wonder why it isn’t done more often.

The rig had two truss spots with an interesting twist that wasn’t new, but is certainly uncommon. The spots were VL-3500s with their pan and tilt functions disabled with a handle mounted on the back. “It’s like a poor man’s automated follow spot, said Lighting Director Axis De Bruyn. “It’s great for me because I

34 mobile production monthly fleetwood mac Unleashed and Uncomplicated By Michael A. Beck

Chris Adamson - Production Manager Dave Kob - FOH Engineer

Pokinoi - Audio Bird

Roland Castillo & Jack Dietering – Set Carpenters

mobile production monthly 35 just tell the operators to follow Lindsey [Buckingham]or Stevie [Nicks], and I do the rest from the console.”

One very curious aspect to the lighting system has been met with widely mixed opinions. There were two truss lines that flew in and out between the pods at various times during the show. They looked to be loaded with pars. However, they weren’t pars at all. They were specially loaded with LED units that were only there for display. They had absolutely no affect on the stage whatsoever. Their only purpose was to aid in achieving the nostalgic retro feel that Guthrie was going for. “I felt right from the beginning that I wanted to incorporate something into the show that would be iconic and classically retro. Sticks of preloaded pars were the answer. You don’t see that much anymore,” said Guthrie.

Apparently they really weren’t meant to be a lighting element as much as set pieces. The problem was that the real effect of the idea was lost on all but about the first few rows of audience on the floor.

Apart from the visual aspects of the production which came together to create a truly elegant show, it was very straight forward. Video supplied by newly formed Chaos Visual Productions was strictly about I-MAG, which doesn’t sound like there would be anything all that interesting to write home about. However, in a conversation with Video Director Bob Higgins, it came out that Lindsey Buckingham is heavily involved in the technology of the show.

“He gets involved down to some pretty fine detail, even to the point of choosing the lenses,” Higgins told us. “He took a look at the system we initially brought out here and said he wanted other lenses. He wanted them to hit from a different angle than we had originally designed. When it all showed up, we found that he was right.”

Higgins went on to explain that having a boss who is an expert rather than a deeply interested dilettante can be a big help. “There are always budget concerns. So a guy in my position can’t just pop off and say, ‘Here’s what I’d like to see out here…’ But when he [Lindsey] does that I say, ‘Yes sir and thanks for the extra gear to work with.’”

There really wasn’t much to say about the sound of this production save to note that it had the same warm sound this show has always had. FOH Engineer Dave Kob is a self- proclaimed analog-a-saurus. “I use a Yamaha PM-5K for the meat and potatoes of the mix, and I use a Digidesign Profile for the few Pro Tools tracks that I run as well as a couple of other things that I only use once in the night.”

There is no question that a lot goes into making this show look and sound good for the audience. However, if you want to find out where the priority lies in the overall production effort, you need look no farther than the crew list. There are 24 technicians on the tour. That doesn’t include directors and engineers. Of that number, a third are backline personnel.

The backline team is the largest department on the crew. There were two drum techs because Mick Fleetwood’s kit is huge, and primary tech Steve Rinkov plays nine songs with the band. Someone had to man the fort while Rinkov was playing. Lindsey Buckingham required two techs because of the massive number of guitars that he carries. Of the 10 trucks needed to transport this show, one entire truck is used for backline gear.

All of that said, the mandate really is: less is more. “I’m a great believer that you make it as difficult as you want to

continued on 38

36 mobile production monthly FLEETWOOD MAC CREW PHOTOS Video Crew: Nathaniel Fountain, Seth Sharpless, Sixx opposite page Williams, Adam Finer I Love All Access - Cory O’donnell Dave Evens - Lighting Tech, Patrick Thomsen Merchandise: Terry Ruchotzke, Dieter Szczypinski - Lighting Tech, Ryan Textor - Lighting Tech, Axis De Bruyn - Lighting Director, Ronald Live Nation - Chris Covin, Beth Gold Beal - Lighting Tech, Anthony Ciampa - Band Drivers: Geoff O’connell, Raymond Jacobs Lighting Tech Crew Drivers: Mike Mallat, Joe Folk, Donnie Leach, Dave Walters Bob Higgins - Video Director, Seth Sharpless Truck Drivers: Scott Mckeel, Steve Rohlfs, Dale Vaughn, – Video Engineer, Adam Finer - video crew, Ron Saboley, Tom Lehew, Ron Hall, Dennis Deforest, Nick Sixx Williams - Camera Operator, William James, Jon Mcclain “Tell” Agerter – Rigger/Camera Operator, Nathaniel “Nate” Fountain - Camera Operator

Charlie Hernandez – Audio Tech, Rachel Management - Hk Management, Azoff Management, Adkins - Monitor Engineer, Jim Ragus – Sanctuary Management Audio Tech, Matt Patterson - Audio Tech, Business Management - Boulevard Management Donovan Friedman - Audio Tech, Ben Booking Agency - Creative Artists Agency Rothstein - Audio Tech Record Company - Warner Bros Records Ziffen Legal - Brittenham, Branca Llp Michael Kianka - Key Technician / Pro Travel Agency - Aspen Travel Tools Programmer, Mark Scaggs - Bass Technician, Will Alexander - Key Technician, Promoter -Live Nation Kurt Kasinoff, Lindsey Buckingham’s Guitar Insurance - Delp Company Technician - Stan Lamendola, Roy Kelley Sound Company - CLAIR – Guitar Technician, Joe Dorosz – Drum Lighting - PRG Lighting Technician, Steve Rinkov - Drum Technicians Air Charter - Airworks Chaos Video - Visual Productions Lighting / Set Designer - Toss Film & Design Inc. Set Construction - All Access Principle Members Merchandise - Signatures Network Lindsey Buckingham, Mick Fleetwood, Vip Tickets - I Love All Access John Mcvie, Stevie Nicks Busing - Senator Coaches Band Trucking - Upstaging Vocals - Jana Anderson, Sharon Celani, Lori Nicks Freight - Rock-It Cargo Guitar - Neale Heywood Radios - AAA Communications Keys / Guitar - Brett Tuggle Passes - Cube Services Itineraries - Smart Art 010100101010101001001010111010001001101001000100 100100100100100100100010101010101010101000100100 Tour Manager - Marty Hom 111001010100100111010101010010101010010101010101 Road Manager - Allan Tate 000101010101010010101010100100101011101000100110 Band Road Manager - Jimmy Johnson 100100010010010010010010010010001010101010101010 100010010011100101010010011101010101001010101001 Assistant Tour Managers - Ralph Viera & John Bunker 010101010100010101010101001010101010010010101110 Tour Accountant - Jim Collins MACSPECIALI100010011010010001001001001001001001001000101010ST Assistant To Ms. Nicks - Karen Johnston 101010101010001001001110010101001001110101010100 101010100101010101010001010101010100101010101001 Assistant Mr. Fleetwood - Karol Krauser 001010111010001001101001000100100100100100100100 Personal Security - Dennis Sharp 100010101010101010101000100100111001010100100111 Vocal Coach - Steve Real 010101010010101010010101010101000101010101010010 101010100100101011101000100110100100010010010010 Makeup - Eilynn Chapman 010010010010001010101010101010100010010011100101 Hotel Advance & Luggage - Rome Reddick 010010011101010101001010101001010101010100010101 010101001010101010010010101110100010011010010001 001001001001001001001000101010101010101010001001 001110010101001001110101010100101010100101010101 Production Manager - Chris Adamson 010001010101010100101010101001001010111010001001 Stage Manager - Bobby Herr 101001000100100100100100100100100010101010101010 101000100100111001010100100111010101010010101010 Venue Security - Dean Correa 010101010101000101010101010010101010100100101011 Production Coordinator - Mindi Pelletier 101000100110100100010010010010010010010010001010 Foh Engineer - Dave Kob 101010101010100010010011100101010010011101010101 001010101001010101010100010101010101001010101010 Video Director - Bob Higgins 010010101110100010011010010001001001001001001001 Lighting Director - Axis De Bruyn 001000101010101010101010001001001110010101001001 Monitor Engineers: Rachel Adkins, Ed Dracoules 110101010100101010100101010101010001010101010100 101010101001001010111010001001101001000100100100 Teleprompter / Dressing Rooms - Cory Buckingham 100100100100100010101010101010101000100100111001 Guitar Technicians: Kurt Kasinoff, Roy Kelley 010100100111010101010010101010010101010101000101 Lb Guitar Technician - Stan Lamendola 010101010010101010100100101011101000100110100100 010010010010010010010010001010101010101010100010 Key Technician / Programmer - Michael Kianka 010011100101010010011101010101001010101001010101 Key Technician - Will Alexander 010100010101010101001010101010010010101110100010 Drum Technicians: Steve Rinkov, Joe Dorosz 011010010001001001001001001001001000101010101010 101010001001001110010101001001110101010100101010 Bass Technician - Mark Scaggs 100101010101010001010101010100101010101001001010 Wardrobe - Brendan Cooper 111010001001101001000100100100100100100100100010 Catering Coordinator - Dave Rahn The Music Industry’s #1 Mac101010101010101000100100111001010100100111010101 Resource! 010010101010010101010101000101010101010010101010 Rigger - William “Tell” Agerter 100100101011101000100110100100010010010010010010 Rigger / Carpenters: Roland Castillo & Jack Dietering 010010001010101010101010100010010011100101010010 Audio Crew: Ben Rothstein, James Ragus, Donovan 011101010101001010101001010101010100010101010101 001010101010010010101110100010011010010001001001 Friedman, Matthew Patterson MacSpecialist Offices: 001001001001001000101010101010101010001001001110 010101001001110101010100101010100101010101010001 Lighting Crew: Ronald Beal, Anthony Ciampa, Charles Chicago: 500 North Wells Street, Chicago, Illinois 60654 Villa Park: 234 West Roosevelt Road, Villa Park, Illinois 60181 010101010100101010101001001010111010001001101001 Evans, Patrick Thomsen, Ryan Textor T: 312.755.0000 | F: 312.410.9011 T: 630.858.0000 | F: 630.559.0186 000100100100100100100100100010101010101010101000 E: [email protected] | W: www.macspecialist.com E: [email protected] | W: www.macspecialist.com 100100111001010100100111010101010010101010010101 010101000101010101010010101010100100101011101000 100110100100010010010010010010010010001010101010 TourGuide_5x5_Ad.indd 1 mobile production8/19/08 monthly 3:29:13 37PM Apollo Jets continued from 28 ever has to.” was in. They met with the Giasi explained, ”We less traveled air ports or come back through the pilot, they met with the had to have a plane that FBOs (Fix Base Operator). door to continue doing Apollo Jets was the air operator. They really did could have Spears in The problem was some business. Apollo Jets is a charter provider for the their homework.” the air within an hour if of these places don’t stay new company full of well Britney Spears Circus tour. the primary plane had a open past midnight. In experienced talent whose This project was a little The plane that the Spears mechanical issue. We had other cases, there weren’t business model seems to be different than the normal camp wound up using for one plane on each coast facilities available to keep centered upon maximizing air charter that the the tour was a Gulfstream that was always ready to the plane overnight. the traffic flow coming company might handle G-4. Giasi handled the go.” Sometimes special back “in through the out in that the client had the account from start to previsions could be made door.” 7 same plane for the length finish and told us this was Giasi was in constant on the fly to keep these of the entire American leg a full-time job all the way communication with Pilot FBO open. In other cases, of the tour. “They really through. “We looked at Al Amirali and flight it meant that they would Fleetwood Mac cont. from 36 did their due diligence,” Al a dozen planes before we attendant Kathleen King have to fly out directly Palagonia told us. “They settled on the plane we regarding every aspect after the show. All of this do with any act,” said wanted to see the aircraft wanted to show them. We of the job both from the was constantly monitored Production Manager Chris before they signed off on had to make sure that all ground and during the between Giasi, the flight Adamson. “There are it. They wanted to know of their criteria were met. flights. Because of security crew and the tour’s road challenges with any show. the specs on the plane As a result, they accepted measures, the decision was manager Craig Bolling. Things come up. That’s and what kind of shape it the first plane we showed made to fly into smaller the nature of the business. When all is said and done, You try to surround the list of elements that yourself with the best have to be attended to people and you get what with a project like this is you pay for.” truly endless, whomever the client is. But no matter Stage Manager Bobby what service we are Herr, echoed that discussing, the best service sentiment, “We have great provider is the one that people out here, and it runs delivers the most thorough like clockwork. Everyone, service with the least including venders, have visibility. worked together a hundred times. The result is that we “I know it’s their job to have a show that hangs on deliver for the client,” about 50 points. We are said Bolling, “but those up and running by 1 p.m., guys went well above and and we’re out of here in beyond. I always knew two hours on the hardest when Britney was wheels nights.” up and wheels down. I We understand your needs knew that if I had to talk There really wasn’t a lot to Dean at one in the of production standing morning, he was going to between the musicians “TSO has used Potenza Enterprizes since their first tour. take the call. If they hadn’t and the audience which They’ve grown with us from 2 trucks to 26 . Their attention Touring done as much as they did, is just the way both this to detail, the caliber of their drivers & equipment is the the job would have gotten particular audience and reason we use them and will continue to do so. They are done, but it would have this particular band like it. part of the TSO family”. Elliot Saltzman, Transportation meant a lot more work on Tour Director -Trans-Siberian Orchestra. Specialists !!! my end. And that’s what After seeing both shows, makes the difference when one cannot avoid you have to decide if you comparing this show with Toll free 1.877.832.5546 are going to want to use a the titanic Britney Spears [email protected] company again.” show that rehearsed right www.potenzaenterprizesinc.com next door. On the other By all accounts the non- hand, there really isn’t stop attention to detail much of a comparison paid to the Britney Spears’ to draw because each are tour by Giasi and the rest completely different in of the Apollo team was every conceivable way complete, seamless and except one… them.” invisible. All that was left was the well met needs of Both tours are completely With that out of a satisfied client. successful because these the way, there tours have a perfect read was the issue of The success of any on the audience coming a backup plane. company in any industry through the door every Again, is not based on how many night. 7 clients come through the door to do business. It’s the number of clients that

38 mobile production monthly WANetics continued from 30 Originally entering school through. Steve Dixon was Looking back, Rogers all of us in the company other venders on the to earn an engineering the tour manager at the feels that, “For most of have come to value this tour so they can better degree she quickly time. us, the things that you part of the business and we access their home offices discovered that path was love are lifelong passions. wouldn’t trade it.” and co-workers on tours not for her. While Rogers “He calls us and says, So the fact that you are their companies have out conceded that her mother ‘Hey, this is pretty cool initially unable to find a Rogers would also like simultaneously. Rogers had a point when she told what you’ve done here. good business model for it to thank Chris Weathers wants her company to her that “everyone has You know, you could stick doesn’t necessarily change of Live Nation who provide “something that vocations and avocations all of this in a road case it.” “probably taught me more makes that strange hole and music may be a and put it on a boat if you about this business than that they stick you in great avocation but it is had to.’” Rogers recalled, “As a company we anyone else.” everyday feel more like not a good way to make “I told him, yes we could may have put a home.” a living,” she made the do that and agreed to disproportionate amount Over the course of decision to pursue a degree meet him for breakfast. of energy into the attending rehearsals and Other projects for in Jazz Piano. Steve is a very colorful entertainment side of the years of participating WANetics include Road character, really engaging, business,” she continues. in those one off special Rage - a consortium of Along the way she but really unusual. He “When my business projects, Rogers has artists and venders that discovered she was good started talking about his venture started, it provided seen the need for further are, in essence, trying to at doing IT work and future projects. He brings few windows into the development of her create a virtual warehouse could make money at up the Justin Timberlake music industry. But I just company’s services to the of equipment previously it. However, she hung tour he has taken on and had to follow that path. touring industry. This used on tours to market to in there with her music that he wants us to work And it hasn’t always been encompasses temporary other tours. studies graduating with on it. The system we laid the best business decision expansion of the tour her jazz degree in hand out for Steve on the tour for me personally. I’ve package provided to “Much like what Larry in 1984. During her 20’s was successful and we always tried to do right include all the production [Smith] is creating in his and 30’s when asked started to branch out to by the company but I’ve designers that won’t virtual market place at how she got into the IT other music tours. We’ve often thought I would necessarily continue on MobileProductionPro. business, she would reply done another couple dozen have made more money with the tour past the com,” says Rogers, “we are she always loved music but since then and have gotten if I had ignored the stuff rehearsal build. It would trying to connect people in was just too greedy to be a involved in sports related that I liked so much. It’s also include providing a a telecom way.” 7 musician. stuff as well.” something I’ve enjoyed and “virtual office” for the

Rogers has a daughter WANetics most recent Meghan and son Matt project with Britney McHale who both worked Spears has Dixon at the for Live Nation. helm as Tour Director. Matt is currently out as a It has taken the original production assistant with system pioneered on Justin the Britney Spears Circus Timberlake to a whole new Tour. level in terms of ease of use and scale ability. In 2004 Live Nation contacted Rogers to ask if “Steve says to me, ‘I’m she could solve a problem running a $100 million it had. The promotional business on the road with leviathan was building half a dozen offices, two Chicago’s Charter One dozen phones, and the Pavilion. Ground had been office staff needed to broken and construction support a business like that. was well under way when So I need it to run like an it was realized there had office of that size. I need been no provision made secure WiFi segmented for low voltage cable of so different parts of any kind; no phones, no production have access to internet, nothing. the band width differently. I need to know that at 4 Roger’s company’s pm when the show is hung previous experience and all the crew starts had involved some surfing, getting on email, fairly advanced wireless etc that production is internet projects as well going to get priority over as voiceover wireless. everybody else. I need a WANetics built a system that can scale as big completely wireless service as the biggest shows out through which to carry there.’” voice, data, and video. “I told him we can do that, After the venue was up and we delivered it,” says and running, The Celtic Rogers. Women Tour came

mobile production monthly 39 ADVERTISER’S Index Access Pass & Design...... 13 Accurate Staging...... 39 Alan Poulin Photography...... 14 Apollo Jets...... 29 Arie Crown Theater...... 13 D&S Classic Coach...... 38 Daktronics...... 33 High quality products, competitively priced. EAMC - Event & Arena Marketing Conference.....2 EBTECH - Sound Enhancement...... 9 ➤ 7kW to 75kW generators, powered by a rugged Kubota Entertainment Cargo...... 25 or Cummins diesel engine. Entertainment Services...... 5 ➤ Commercial grade performance and construction. EPS - Engine Power Source...... 40 Four Seasons Leasing...... 1 ➤ Highly-experienced staff to help guide you, including Frank the Plumber...... 12 electrical and mechanical engineers. Illusion Sound and Light...... 25 ➤ Wide range of options available. Littlite...... 37 MacSpecialist...... 37 Comprehensive generator service centers in the Mega-Stage...... 14 Atlanta and Charlotte areas. Midway Car Rental...... 14 Motor Coach Industries (MCI)...... IBC ➤ From simple repairs to complete replacements, we Music City Coach...... 33 handle it all on a broad array of generators. Nitetrain...... 14 ➤ Conveniently located with Interstate access nearby. On Tour Software...... 25 Potenza Enterprizes...... 38

© 2008, EPS Precise Corporate Staging...... 13 Prevost...... BC Professional Wireless Systems...... 40 RIC Corporation...... 39 Roadhouse Coach...... 4 Russell Coach...... 6 ShoMoves Transportation...... 11 Solotech...... 27 Soundcheck Nashville...... 32 Stage & Effects Engineering...... 5 Star Gift Alliance...... 38 Strictly FX...... IFC Taylor Tours...... 13 Tour Tech Support...... 25 Truck 'N Roll...... 7 Tyler Truss Systems...... 11 WANetics...... 31 Atlanta Area: 3412 Florence Circle ❚ Powder Springs, GA 30127 VYV Corporation...... 15 Charlotte Area: 348 Bryant Boulevard ❚ Rock Hill, SC 29732 Mobile Production Pro.com MobileProductionPro.com allows you to search and access records from the world's most comprehensive database of mobile production industry contacts. As you navigate this site, you will notice that Mobile Production Pro is interactive. Both the site and its community will grow with your participation. Create a FREE Account Today

40 mobile production monthly

MCI Updates the Ultimate Smooth Ride DesignworksUSA-styled TOUR BUS call us at 1-847-285-2171. Now featuring 450 HP 2007 EPA Compliant The number one selling Bus in Tour the USA continues to improveSuspension for the Wide-Ride conversion our with smooth rides and great looks body market. The J4500c with standard comes shell conversion J4500 MCI The shocks. FSD Koni featuring slide-outs. 3 to up with equipped be can and headroom interior of 89" class-leading For 2009, the EPA-compliant engine significantlyreduces emissions, while providing great fuel economy and performance. learn aboutTo the many 2009 improvements we've made with feedback from our customers, converters and operators, please Cummins ISM, Wide-Ride Suspension, Electronic Stability Control, Reverse Sensing System, additional 12 or 24 Volt Alternator, and many other enhancements made with input from our customers.

To schedule a test drive today, call 1-866-MCICOACH.

www.mcicoach.com The updated 2009 J4500 conversion shell

MCI TOUR BUS Ad_bluev.2.indd 1 8/22/08 12:09:55 PM The Most Comfortable Ride Factory Integrated Slide-Out SLEEK DESIGN Environmentally Friendly Rooftop Diffuser Ergonomically REPLACES TRADITIONAL EXHAUST Designed Cockpit BUILT FOR DRIVER COMFORT AND SAFETY

Tire Pressure Monitoring System IMPROVES SAFETY Unique Styling DISTINCTIVE DESIGN FEATURES AND IMAGE

Longest Wheelbase UNMATCHED RIDE COMFORT

Independent Suspension Prevost Electronic IMPRESSIVE MANEUVERABILITY Stability Program RELIABLE VEHICLE CONTROL THE INDUSTRY´S CHOICE The world-class Prevost XLII Entertainer is the choice for best overall perfomance. Prevost has the most stringent manufacturing tolerances and has been committed to the Entertainer industry for more than 30 years. Nobody goes the extra mile like we do!

FOR MORE INFORMATION Juan Lepe, Sales Manager, Entertainer Market 800-897-7386 or visit WWW.PREVOSTCAR.COM