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Monsters and Demons: A Short History of the Horror Film

Going to the movies may not seem like a novel way for little kids to spend an afternoon. But have you ever brought your child to see a Disney flick and ended up viewing trailers for Jeepers Creepers 2 or Freddie vs. Jason? When this happened in a Birmingham, Alabama cinema last year, parents became concerned about what the main attraction would be. But before the managers at the cinema could turn off the previews, the main attraction came on, and it wasn’t Piglet. Instead they were presented with the gruesome opening of Wrong Turn, an 18-rated slasher flick in much the same vein as the previews.

Is there a more genre more criticized than the horror film? Not bloody likely. There’s the argument that horror films are socially and morally irresponsible, even influencing some people to imitate the brutal methods of the killers portrayed on screen. Horror films actually have the opposite effect on normal people – sick minds will commit atrocities anyway. Watching horror films lets us encounter our secret fears, share them with other viewers, and eliminate the terror by meeting it head-on.

The genre is almost as old as cinema itself – the silent short film Le Manoir du Diable directed by Georges Mèliès in 1896 was the first horror movie and the first vampire flick. The movie only lasted two minutes, but audiences loved it, and Mèliès took pleasure in giving them even more devils and skeletons.

In the early 1900’s German filmmakers created the first horror-themed feature films, and director Paul Wegener enjoyed great success with his version of the old Jewish folk tale Der Golem in 1913 (which he remade – to even greater success – in 1920). This fable about an enormous clay figure, which is brought to life by an antiquarian and then fights against its forced servitude, was a clear precursor to the many monster movies that flourished in Hollywood during the Thirties.

The most enduring early German horror film is probably F.W. Murnau’s Nosferatu (1922), the first feature-length vampire movie. But one movie paved the way for the “serious” horror film – and art cinema in general – Robert Wiene’s work of genius The Cabinet of Dr. Caligari, still held up as an model of the potent creativity of cinema even to this day.

Early Hollywood drama dabbles in horror themes including versions of The Hunchback of Notre Dame (1923) starring Lon Chaney, the first American horror-film movie star.

It was in the early 1930’s that Universal Studios, created the modern horror film genre, bringing to the screen a series of successful gothic-steeped features including Dracula, Frankenstein (both 1931) and The Mummy (1932) – all of which spawned numerous sequels. No other studio had as much success with the genre (even if some of the films made at Paramount and MGM were better).

In the nuclear-charged atmosphere of the 1950’s the tone of horror films shifted away from the gothic and towards the modern. Aliens took over the local cinema, if not the world, and they were not at all interested in extending the tentacle of friendship. Humanity had to overcome endless threats from Outside: alien invasions, and deadly mutations to people, plants, and insects. Two of the most popular films of the period were The Thing From Another World (1951) and Invasion of the Bodysnatchers (1956).

Horror movies became a lot more lurid – and gorier – in the late Fifties as the technical side of cinematography became easier and cheaper. This era saw the rise of studios centered exclusively on horror, particularly British production company Hammer Films, which focused on bloody remakes of traditional horror stories, often starring Peter Cushing and Christopher Lee, and American International Pictures (AIP), which made a series of Edgar Allan Poe themed films starring Vincent Price.

The early 1960’s saw the release of two films that sought to close the gap between the subject matter and the viewer, and involve the latter in the reprehensible deeds shown on screen. One was Michael Powell’s Peeping Tom, the other was a very low-budget film called Psycho, both using all-too-human monsters rather than supernatural ones to scare the audience.

When Rosemary’s Baby began ringing tills in the late Sixties, horror film budgets rose significantly, and many top names jumped at the chance to show off their theatrical skills in a horror pic. By that time, a public fascination with the occult led to a series of serious, supernatural-themed, often explicitly gruesome horror movies. The Exorcist (1973) broke all records for a horror film, and led to the commercial success of The Omen.

In 1975 Jaws, directed by a young Steven Spielberg, became the highest grossing film ever. The genre fractured somewhat in the late 1970’s, with mainstream Hollywood focusing on disaster movies such as The Towering Inferno while independent filmmakers came up with disturbing and explicit gore-fests such as Tobe Hooper’s The Texas Chainsaw Massacre.

John Carpenter’s Halloween introduced the teens-threatened-by-superhuman-evil theme that would be copied in dozens of increasingly violent movies throughout the 1980’s including the long running Friday the 13th and A Nightmare on Elm Street series. Horror movies turned to self-mocking irony and downright parody in the 1990’s – the teenagers in Scream often made reference to the history of horror movies. Only 1999’s surprise independent hit The Blair Witch Project attempted regular scares.

So go ahead, take a stroll through these favourite horror movies of all time. But pick your way very carefully, this walk is not for the faint of heart. And if you happen to hear what sounds like some subdued whispering or soft creepy grating sounds, just pay no attention to it. It’s probably only the wind.

 

Hire a Magician ? Definitions and Tips

For a lot of people the last time they wanted a magician at their party was when they were 8 years old but magicians don’t just work for children. Adults have always been a great audience for magic because they have defined critical thinking. They “know” it isn’t “real magic” but if the performer does his job right he can bring about the childlike state of wonder in an adult. A good magician can bring you right back to experience the fuzzy feeling you had as a kid when your grandfather pulled a coin out of your ear.

There are 3 styles of magic that are most often hired for events where adults are in the majority.

Close-up magic (the most popular choice for people hiring magicians)

Cabaret shows

Drawing room shows

Close-up magic is often seen at cocktail parties where the magician mingles amongst the guests performing miracles with borrowed objects and simple objects he has on him. He works without a table and uses people hands when he needs to. This is an excellent choice if all the guests will be standing with drinks and eating finger food.

Another type of close-up magic that is closely related to strolling magic is table magic. Table magic is performed between the courses at dinners, wedding breakfasts, balls and banquets. You are more likely to see a short (between 3 – 8 minutes) mini cabaret act that has a structured feel to it. The magician may use the table but it will be as unobtrusive as possible because at banquets there is a premium on table real estate.

Close-up magicians are being hired more and more for Trade Shows to draw people to the stand with customised magic presentations. Presentations are designed to showcase the features and benefits of the stand they are representing but with amazing magic and not just dry sales pitches.

Cabaret Shows are a great way for a lot of people to see some great magic in a relatively short space of time. Often a close-up magician who has performed strolling/table magic before hand will also do a 20 minute cabaret act after dinner.

There are many different styles of cabaret magician – comedy, traditional manipulation act to music, mind reading etc. The type of event you are organizing will dictate the type of cabaret magician you will require. If you would like lots of audience participation and laughter go for a comedy magician, if there will be lots of non-English speakers present then go for a visual act like the manipulator and if it is a very business orientated environed maybe a mind reader would be more suited.

You also see cabaret magicians at comedy clubs, cruise ships and also occasionally at motivational events where the magic is combined with a motivational speech.

Drawing room shows were almost a dead art for nearly a 100 years. They were immensely popular with the Victorians where the gentry would all gather to watch a conjurer perform magic. In recent years it is coming back into fashion at private parties where a magician may perform after dinner for 30 minutes or so. This is a taste of days gone by and is close enough for apparently no shenanigans to be going on yet far enough away to use larger effects for everyone to see. This kind of show is most related to a cabaret show but the effects are smaller and it is more interactive as the audience in only a few feet away.

When choosing a professional magician it is important to choose wisely as in any industry there are “cowboys”.

Questions you may like to ask any prospective performer you are engaging are…

How long have you been a professional?
Some magicians may seem great on paper but as all know paper doesn’t refuse ink. Experience is the key in this industry so make sure they have cut their teeth.

Can I see you perform?
The answer depends on the type of performer you are considering engaging. If it’s a cabaret magician he may well work at comedy clubs where you can go and see him perform and close-up magicians often work at hotels, restaurants and bars as the resident entertainer several times a week. If it’s open to the public then go and see them work. However if the performer works mainly at corporate events, weddings and/or trade shows you may find it impossible to see him work live as these are closed events.

Have you got a brochure/video I can see?

Most professional performers will have promotional kits including photographs, video and brochure. A good promo kit doesn’t mean they are a good magician, it may just mean they know somebody who works at a printing press. A cheap and tatty looking promo kit doesn’t definitely mean the performer is bad, but it does show a lack of professionalism and that is a warning sign. In this day and age some performers have no hard copy for promotional use as it dates so quickly so there website acts as the brochure. If the website looks like it was made from cut outs of magazines then they are not interested in making a good first impression. Would you trust somebody who didn’t make a good first impression at your event?

Does the price include VAT and any other charges?

When in negotiations don’t forget to clarify if there as any other expense other than fee quoted.

What magic tricks do you do?

You should be able to gain a good idea of the style of the magician from any online or hardcopy brochure but if you want to know what kind of effects he/she performs – go ahead and ask!

Are you a member of any magic societies or performer bodies?

Many magicians will be members of different magic clubs around the world. In the UK the most prestigious is the The Magic Circle where there are only 1500 hundred members world wide and you have to perform in front of experienced peers to gain membership. Again in the UK you will find many magicians are members of Equity the performs union which is another sign of their professionalism.

Have you got any referees I could phone?

This may seem like a reasonable question but a lot of magician’s work mainly in the corporate area and are not permitted to pass out the contact details of their bookers. You should be able to see testimonials and letters from clients on the websites/brochures. Of course the best way is personal recommendation; ask friends if they have ever hired a magician.

Have you got public liability insurance?

This is crucial. The magician will be in close contact to your guests and maybe borrowing objects from them for effects. You don’t want to end up with a magician who isn’t covered!

I hope this all helps to give you a better idea of the different types of magic that are available for you to hire for your next event and what to look out for when hiring.

 

Performance Clauses In Entertainment Contracts

Producing and editing a masterwork of recorded music is obviously a specialized art form. But so is the entertainment lawyer’s act of drafting clauses, contracts, and contractual language generally. How might the art of the entertainment attorney’s legal drafting a clause or contract affect the musician, composer, songwriter, producer or other artist as a practical matter? Many artists think they will be “home free”, just as soon as they are furnished a draft proposed record contract to sign from the label’s entertainment attorney, and then toss the proposed contract over to their own entertainment lawyer for what they hope will be a rubber-stamp review on all clauses. They are wrong. And those of you who have ever received a label’s “first form” proposed contract are chuckling, right about now.

Just because a U.S. record label forwards an artist its “standard form” proposed contract, does not mean that one should sign the draft contract blindly, or ask one’s entertainment lawyer to rubber-stamp the proposed agreement before signing it blindly. A number of label forms still used today are quite hackneyed, and have been adopted as full text or individual clauses in whole or in part from contract form-books or the contract “boilerplate” of other or prior labels. From the entertainment attorney’s perspective, a number of label recording clauses and contracts actually read as if they were written in haste – just like Nigel Tufnel scrawled an 18-inch Stonehenge monument on a napkin in Rob Reiner’s “This Is Spinal Tap”. And if you are a musician, motion picture fan, or other entertainment lawyer, I bet you know what happened to Tap as a result of that scrawl.

It stands to reason that an artist and his or her entertainment lawyer should carefully review all draft clauses, contracts, and other forms forwarded to the artist for signature, prior to ever signing on to them. Through negotiation, through the entertainment attorney, the artist may be able to interpose more precise and even-handed language in the contract ultimately signed, where appropriate. Inequities and unfair clauses aren’t the only things that need to be removed by one’s entertainment lawyer from a first draft proposed contract. Ambiguities must also be removed, before the contract can be signed as one.

For the artist or the artist’s entertainment attorney to leave an ambiguity or inequitable clause in a signed contract, would be merely to leave a potential bad problem for a later day – particularly in the context of a signed recording contract which could tie up an artist’s exclusive services for many years. And remember, as an entertainment lawyer with any longitudinal data on this item will tell you, the artistic “life-span” of most artists is quite short – meaning that an artist could tie up his or her whole career with one bad contract, one bad signing, or even just one bad clause. Usually these bad contract signings occur before the artist seeks the advice and counsel of an entertainment attorney.

One seemingly-inexhaustible type of ambiguity that arises in clauses in entertainment contracts, is in the specific context of what I and other entertainment lawyers refer to as a contract “performance clause”. A non-specific commitment in a contract to perform, usually turns out to be unenforceable. Consider the following:

Contract Clause #1: “Label shall use best efforts to market and publicize the Album in the Territory”.

Contract Clause #2: “The Album, as

delivered to Label by Artist, shall be produced and edited using only first-class facilities and equipment for sound recording and all other activities relating to the Album”.

One shouldn’t use either clause in a contract. One shouldn’t agree to either clause as written. One should negotiate contractual edits to these clauses through one’s entertainment lawyer, prior to signature. Both clauses set forth proposed contractual performance obligations which are, at best, ambiguous. Why? Well, with regard to Contract Clause #1, reasonable minds, including those of the entertainment attorneys on each side of the transaction, can differ as to what “best efforts” really means, what the clause really means if different, or what the two parties to the contract intended “best efforts” to mean at the time (if anything). Reasonable minds, including those of the entertainment lawyers on each side of the negotiation, can also differ as to what constitutes a “first-class” facility as it is “described” in Contract Clause #2. If these contractual clauses were ever scrutinized by judge or jury under the hot lights of a U.S. litigation, the clauses might well be stricken as void for vagueness and unenforceable, and judicially read right out of the corresponding contract itself. In the view of this particular New York entertainment attorney, yes, the clauses really are that bad.

Consider Contract Clause #1, the “best efforts” clause, from the entertainment lawyer’s perspective. How would the artist really go about enforcing that contractual clause as against a U.S. label, as a practical matter? The answer is, the artist probably wouldn’t, at end of day. If there ever were a contract dispute between the artist and label over money or the marketing expenditure, for example, this “best efforts” clause would turn into the artist’s veritable Achilles Heel in the contract, and the artist’s entertainment attorney might not be able to help the artist out of it as a practical matter:

Artist: “You breached the ‘best efforts’ clause in the contract!”

Label: “No! I tried! I tried! I really did!”

You get the idea.

Why should an artist leave a label with that kind of contractual “escape-hatch” in a clause? The entertainment lawyer’s answer is, “no reason at all”. There is absolutely no reason for the artist to put his or her career at risk by agreeing to a vague or lukewarm contractual marketing commitment clause, if the marketing of the Album is
perceived to be an essential part of the deal by and for the artist. It often is. It would be the artist’s career at stake. If the marketing spend throughout the contract’s Term diminishes over time, so too could the artist’s public recognition and career as a result. And the equities should be on the artist’s side, in a contractual negotiation conducted between entertainment attorneys over this item.

Assuming that the label is willing to commit to a contractual marketing spend clause at all, then, the artist-side entertainment lawyer argues, the artist should be entitled to know in advance how his or her career would be protected by the label’s expenditure of marketing dollars. Indeed, asks the entertainment attorney, “Why else is the artist signing this deal other than an advance, marketing spend, and tour support?”. The questions may be phrased a bit differently nowadays, in the current age of the contract now known as the “360 deal”. The clauses may evolve, or devolve, but the equitable arguments remain principally the same.

The point is, it is not just performers that should be held to performance clauses in contracts. Companies can be asked by entertainment lawyers to subscribe to performance clauses in contracts, too. In the context of a performance clause – such as a record label’s contractual obligation to market and publicize an album – it is incumbent upon the artist, and the artist’s entertainment attorney if any, to be very specific in the clause itself about what is contractually required of the record company. It should never be left to a subsequent verbal side conversation. In other words, working with his or her entertainment lawyer, the artist should write out a “laundry-list” clause setting forth each of the discrete things that the artist wants the label to do. As but a partial example:

Contract Clause #3: “To market and publicize the Album in the Territory, you, Label, will spend no less than ‘x’ U.S. dollars on advertising for the Album during the following time period: ____________”; or even,

Contract Clause #4: “To market and publicize the Album in the Territory, you, Label, will hire the ___________ P.R. firm in New York, New York, and you will cause no less than ‘y’ U.S. dollars to be expended for publicity for and directly relating to the Album (and no other property or material) during the following time period: _____________”.

Compare Clauses #3 and #4, to Contract Clause #1 earlier above, and then ask yourself or your own entertainment attorney: Which are more hortatory? Which are more precise?

As for Contract Clause #2 and its vague unexplained definition of “first-class facilities and equipment” – why not have one’s entertainment lawyer instead just include in the contract a laundry-list clause of the names of five professional recording studios in the relevant city, that both parties, label and artist, prospectively agree constitute “first-class” for definitional purposes? This is supposed to be a contract, after all, the entertainment attorney opines. “Don’t leave your definitions, and therefore definitional problems, for a later document or a later day, unless you truly want to make a personal financial commitment to keeping more litigators awash in business debating bad clauses and bad contracts before the courts”.

If you don’t ask, you don’t get. Through the entertainment lawyer, the artist should make the label expressly sign on to a very specific contractual list of tasks in an appropriate clause, monitor the label’s progress thereafter, and hold the label to the specific contractual standard that the artist was smart enough to “carve in” in the clause through the entertainment attorney in the first instance.

Again, consider Contract Clause #2, the “first class facilities and equipment” clause, from the entertainment lawyer’s perspective. Note that, unlike Contract Clause #1, this is a promise made by the artist to the label – and not a promise made by the label to the artist.

So, an artist might now ask his or her entertainment attorney:

“The shoe’s on the other foot, isn’t it?”

“‘First class’ in that clause is as vague and undefined a contractual standard as ‘best efforts’, isn’t it, entertainment lawyer?”

Entertainment attorney answer: “Right”.

“So, entertainment lawyer, there won’t be any harm in me, the artist, signing onto that contractual clause, will there, because I will be able to wiggle out of it if I ever had to, right?”

Entertainment attorney answer: “Wrong”.

The fact is, a contractual ambiguity in a performance clause is a bad thing – in either case – whether in the context of a label obligation to artist; or even in the context of an artist obligation to a label. The entertainment lawyer should advise that any contractual ambiguity in any clause could hurt the artist, even in the context of one of the artist’s own obligations to the other contracting party. Don’t rest on the linchpin of ambiguities in clauses when conducting business and relying on contracts – even if, in your musical art form itself, as Cameron Crowe once suggested of my first guitar hero Peter Frampton, you may happen to write “obscurantist” song lyrics while taking your own artistic license. Contracts need to be handled differently.

Here’s how ambiguity in your own contractual commitment to a label hurts you, from the entertainment lawyer’s perspective. The old-saw contractual principle of music “delivery” often finds the artist required to hand over documents to the label, as well as physical materials such as the album itself in the form of masters, digital masters, or “glass masters”, in order to get paid. By virtue of a contractually-delineated procedure vetted by and between entertainment attorneys, the label may be entitled to hold some (or even all) monies back, and not pay those monies to the artist until “delivery is complete” under the delivery clauses and delivery schedule in a contract. As one might therefore guess, “delivery” is a definite event whose occurrence or non-occurrence under the contract is oft-contested and sometimes even arbitrated or otherwise litigated by and between artists, labels, and the entertainment lawyers and litigators that represent them.

It is incumbent upon the artist and the artist’s entertainment attorney to prevent the label from drumming-up a pretextual “failed delivery” under any clause in the contract as an excuse for non-payment. In the context of Contract Clause #2 above, “first-class facilities and equipment” could easily become that pretext – the artist’s Achilles Heel in the litigation-tested contract contested between entertainment lawyer litigators. The label could simply take the position through counsel or otherwise that the delivered materials were not created at a “first-class” facility as contractually required in the relevant clause, no matter what facility was used. Why? Because “first-class” was never defined in any clause in the contractual document by either entertainment attorney on either side, as any particular facility.

And if no clause in the contract explicitly defined “first class” as an entertainment lawyer would have advised that it should do, then the artist could well be out the money, at least for the entire duration of an eminently avoidable multi-year litigation over what 2 dumb words mean. Worse yet, meanwhile, the label might be holding the money and laughing at the artist behind the artist’s back for his or her lack of contractual prescience. From the artist-side entertainment lawyer’s perspective, both of those horror-show possible eventualities and scenarios, are intolerable. They could have been avoided by a single, better clause – often the narrow reed upon which an artist’s success ultimately rests. (Ask Billy Joel. Ask Neil Young. Ask Bruce Springsteen. Ask George Michael. Ask John Fogerty).

What about prescience? How can this foreseeable contractual delivery dispute in the context of Contract Clause #2, be avoided by the entertainment lawyer? The simple solution in this case, again, is for the artist’s entertainment attorney to take a few extra minutes during the negotiations, and textually list-out, in a reply draft counter-proposed contract sent to the label, even if a single succinct clause, the actual facilities intended to be used. The artist-side entertainment lawyer can seek to make the label explicitly contractually pre-agree to the list of facilities, by name and address, in the body of the contract’s text. That is what a contract is for, anyway, as an entertainment attorney will tell you. When used correctly, a contract and its clauses really just comprise a dispute-avoidance tool. An entertainment contract should be a dispute-avoidance tool exchanged between entertainment lawyers. Also note that a contractual ambiguity in a clause could hurt an artist, regardless of whether it is embedded in one of the artist’s performance obligations, or even in one of the label’s performance obligations! The moral?: List all performance obligations. Break them down into discrete and understandable tasks, clause by clause. Approach it the same way an entertainment attorney would. Better yet – enlist the assistance of one before forming an opinion about the clauses or signing the contract.

 

The Seven Keys To Finding The Perfect Entertainment For Your Christmas Party

As we approach the holiday season, many of us are going to be planning Christmas parties and holiday celebrations. Finding the right entertainment for these events is a huge undertaking. Get it right and you’re a hero! Get it wrong and your guests have to suffer through a boring program. No pressure, huh?

Don’t worry! As a professional speaker and entertainer, I have worked with some of the finest event planners in the industry and have learned from them all. Follow this guide to help you through the decision making process and guarantee that you have a massively successful event.

1. Planning

One of the very first steps when planning an event is to decide on as many of the specific details as possible. These details should include date, time, location, number of guests invited, etc. Most entertainers and speakers will ask you these questions to get an idea of what you are planning so they can adjust their performance to best fit your event.

2. Type of Program

The type of event you are planning will also dictate what type of program to consider. If you are planning a Christmas party, you will obviously be looking for a different type of program than if you are planning your child’s birthday party. You must consider who your guests are and what they will find entertaining.

Keep this in mind: your entertainer is representing you at the party. Therefore, you have an excellent opportunity to show off without lifting a finger! The person you choose should be professional and have experience that gives you confidence in them. You will know about an entertainer’s or speaker’s level of experience by their resume, testimonials, references, and letters of recommendation.

3. Choosing the Right Program

All savvy, business-minded, professional entertainers and speakers have websites. A well designed website allows your future entertainer to list their specialties, describe exactly what they do and how they do it, as well as post video clips, photos, letters of recommendation, etc. A good website is the ultimate brochure for entertainers to inform potential clients on who they are.

You should be able to see enough from an entertainer’s website to get a really good idea of whether he or she will be able to do the job for you or not. Be sure to evaluate whether or not the entertainer you are considering specializes in entertaining groups like yours.

4. The Initial Contact

There are several ways to make contact with your prospective entertainer or speaker. The easiest is to just pick up the phone and call the entertainer’s office. Making contact with your prospective entertainer with a phone call is an excellent way to get to know them. By actually speaking with your entertainer you can learn things that you may not be able to tell through other contact methods. A conversation allows you to hear the person’s voice and it allows you to get an impression about how appropriate this person is for your event. A phone conversation also allows your entertainer to ask you specific questions that they need answered in order to quote a fee, check availability, and be sure that they are the right fit for your event.

Another option is to send the entertainer an email. Email is a great way to make first contact with your prospective entertainer. If you choose to make contact through email, try to give as many details about the event as possible. Include your phone number and a window of time when you will be available to talk so that the entertainer can call you back and ask additional questions he or she may have.

An additional way to make contact with your entertainer is to fill out a web form that is on his or her website. A web form will have specific fields such as name, phone number, your address, type of function, venue address, approximate number of guests expected, etc. The web form is often a preferred method of contact over email because it is designed to provide the entertainer with specific information needed in order to quote a fee, check availability, etc.

Price Shopping? Everyone is on some kind of budget. The general rule of thumb is this: Do not go with the lowest price. Going with the lowest price is likely a precursor to disappointment. In the entertainment and speaking fields remember the old adage “you get what you pay for.”

5. Contracts, Confirmation Calls and Letters

Once all the details have been decided on, you should expect to receive a contract from your entertainer or speaker. This is not something to stress over. It is normal operating procedure for any professional entertainer or speaker. In fact, if you don’t get a contract, you should start to wonder.

The contract basically spells out all the details that have been agreed upon when discussing your event. You should take the time to review all of the details, including type of program, start and end time, venue address, price, etc. The performance agreement should set you at ease because you now know that your entertainer has all the details correct and can prepare to deliver a dynamic, appropriate program.

6. The Day of the Event

As far as the program goes, you should have had several discussions with your entertainer by now which would answer any and all questions that either of you may have had. It should be clear, because of the previously agreed upon details in the contract, what time your entertainer will arrive, when and where they will set up, and what time the program will begin. Be sure that you or the main contact person of the event is carrying a cell phone in case your entertainer runs into any last minute issues and needs to contact you.

7. Last Minute Details and Showtime!

You’ve done your research and selected the best program for your event. At this point, there should be nothing for you to worry about. Kick back, relax and enjoy!

 

Make Recognition Dinners and Awards Banquets Special With Entertainment

Have you ever attended an event that has been prepared to give recognition, distribute awards, or show gratitude to the efforts and accomplishments of several people? If you have, then you would agree when I say that in events like these, meals are usually incredible and venues are commonly carefully chosen… How about the entertainment? I think you would agree with the fact that including a good form of awards banquet entertainment is important as well. And if you are going to organize similar events, you must be aware of what to look for and how to choose your banquet entertainment.

Awards banquet entertainment? How exactly will that help you and your event?

First of all, events like these are geared towards showing gratitude to the efforts and accomplishments of people. Apart from serving them with good food, it is a must that you let them enjoy the event. Enjoy not just by eating, but literally enjoy the whole event. Here is when awards banquet entertainment comes in.

Yes, good food is important but good entertainment is as important as well. Providing a good and appropriate entertainment to your awards banquet will make your event extra special. Aside from letting your audience have fun, entertainment will keep your audiences attention from drifting away. Apart from that, good awards banquet entertainment will serve as a motivation for people attending the event to look forward to future occasions.

What are the things that you should remember in order to pull off an effective awards banquet entertainment?

Hire entertainers whose humor is compatible with your audience. There are a lot of performers and entertainers out there. You have to select those who will deliver jokes and acts that will be comfortable for your audience to laugh about.

Next is try to go for an act that involves audience participation. Let us admit it… awards banquet can be a bit long and dragging. Having an act that will encourage your audience to participate, talk, move, and interact will keep the event alive, and prevent people from feeling bored.

In corporate banquets, it will be better if you get an entertainer who could incorporate your company, products, principles, and even strategies with their performances as this would add up to your workers’ morale and motivation.

If you are going to hire performers, see to it that you have the equipments that she or he will need, like microphone, microphone stands, speakers, music players, and even a large space if she or he is going to perform an extraordinary act. It is best if you hire an entertainer who fits with your resources, or if not, you can hire someone and adjust a bit in order to give him or her the needed equipments.

So there you have it. Things to remember when preparing an awards banquet entertainment have been given. Do not forget them as these would help you with your future event planning.Have you ever attended an event that has been prepared to give recognition, distribute awards, or show gratitude to the efforts and accomplishments of several people? If you have, then you would agree when I say that in events like these, meals are usually incredible and venues are commonly carefully chosen… How about the entertainment? I think you would agree with the fact that including a good form of awards banquet entertainment is important as well. And if you are going to organize similar events, you must be aware of what to look for and how to choose your banquet entertainment.

Awards banquet entertainment? How exactly will that help you and your event?

First of all, events like these are geared towards showing gratitude to the efforts and accomplishments of people. Apart from serving them with good food, it is a must that you let them enjoy the event. Enjoy not just by eating, but literally enjoy the whole event. Here is when awards banquet entertainment comes in.

Yes, good food is important but good entertainment is as important as well. Providing a good and appropriate entertainment to your awards banquet will make your event extra special. Aside from letting your audience have fun, entertainment will keep your audiences attention from drifting away. Apart from that, good awards banquet entertainment will serve as a motivation for people attending the event to look forward to future occasions.

What are the things that you should remember in order to pull off an effective awards banquet entertainment? Hire entertainers whose humor is compatible with your audience. There are a lot of performers and entertainers out there. You have to select those who will deliver jokes and acts that will be comfortable for your audience to laugh about.

Next is try to go for an act that involves audience participation. Let us admit it… awards banquet can be a bit long and dragging. Having an act that will encourage your audience to participate, talk, move, and interact will keep the event alive, and prevent people from feeling bored.

In corporate banquets, it will be better if you get an entertainer who could incorporate your company, products, principles, and even strategies with their performances as this would add up to your workers’ morale and motivation. If you are going to hire performers, see to it that you have the equipments that she or he will need, like microphone, microphone stands, speakers, music players, and even a large space if she or he is going to perform an extraordinary act. It is best if you hire an entertainer who fits with your resources, or if not, you can hire someone and adjust a bit in order to give him or her the needed equipments.

So there you have it. Things to remember when preparing an awards banquet entertainment have been given. Do not forget them as these would help you with your future event planning.

 

Best massage salons in Bucharest

There is no doubt that receiving a massage is good for your mind body and soul. If it’s such an important part of living a healthy lifestyle, why don’t we all do it more often?
Massage is one of the oldest natural therapies. It contributes to physical and emotional health and to practical exercises, can stimulate and relax muscles, improve circulation and promote the healing of a wide variety of suffering. Massage is easy to achieve.
Relaxation massage is all about relaxing. It focuses on giving the client time to recover from the stresses of daily life. When you experience relaxation massage, you can expect a treatment that involves:
Long smooth gliding strokes that are rhythmic and flowing
Pressure that is deeply relaxing, but not painful
A treatment that is designed to soothe and relax you, not to relieve chronic pain or other underlying ailments.
A therapist who also takes the massage environment into account – look for soothing music, warm luxurious towels, and occasionally the use of essential oils to enhance both the environment and the effects of the massage
As with any kind of massage, the benefits of a relaxation massage can last for several days after your treatment.

Relaxation massage – like other forms of massage – can offer the following benefits:
Lowering blood pressure – at least for a while
Improvements to peripheral circulation
Improvements to skin tone and appearance
Improvements to gastrointestinal motility (bowel movements will become more regular)
Some reduction in muscle tension including the relief of muscle tension headaches
Improvements to any stress-related symptoms. This can include providing a gentle boost to the immune system if you undergo regular treatments.

There are different types of body massage and you are wellcome to try them all, or the one that is the best for you:

Swedish Massage Therapy

Swedish massage is virtually synonymous with massage therapy. Swedish massage is based on the Western concepts of anatomy and physiology, compared to the energy-centric style more common in Asian forms of massage. Using lotion or oil, massage therapists typically begin with broad general strokes and then transition to specific strokes to address problem areas. As the best-known type of bodywork performed today, one of the primary goals of the Swedish massage technique is to relax the entire body. This is accomplished by rubbing the muscles with long gliding strokes in the direction of blood returning to the heart. But Swedish massage therapy goes beyond relaxation. Swedish massage is exceptionally beneficial for increasing the level of oxygen in the blood, decreasing muscle toxins, improving circulation and flexibility while easing tension. Additional Swedish massage techniques include circular pressure applied by the hands and palms, firm kneading, percussion-like tapping, bending and stretching. Before and during your Swedish massage session, communication is encouraged with your professional massage therapist so that your massage is customized to your specific needs.

Aromatherapy Massage

An aromatherapy massage is a Swedish massage with scented plant oils (known as essential oils) added to the massage oil. Extracted from flowers and other plant parts, essential oils offer a pleasing scent and are believed to have healing properties. Lavender and rose, for instance, are known to promote relaxation. Although oils may be selected to address specific needs, the therapist typically uses pre-blended oils to relax, energize, or uplift. Your massage therapist will usually decide which essential oils to use, but you can let them know if you have a preference. Essential oils are diluted before being applied to the skin. During the massage, you’ll be given a full-body massage while inhaling essential oils through a diffuser and absorbing them through your skin. Sometimes an aromatherapy massage will only focus on your back, shoulders, and head. You won’t wear any clothing other than underwear, which is optional.

Hot Stone Massage

As the name implies, hot stone massage uses warm stones. The therapist places heated, smooth stones on specific points on the body and also holds the warm stones while giving the massage. The stones are usually basalt (a volcanic rock that retains heat well). The warmth of the stones can be relaxing and can loosen tight muscles so that the therapist can reach areas of muscle tension quickly. Stones used for the heat massage are river-smoothed stones that are heavy enough to healing pressure but light enough to avoid discomfort. Some believe that the stones are symbolic of the forces of nature as they are smoothed and molded by the gentle but influential power of the river. The smoother the stone, the more energy it is believed to hold. The stone massage is performed by placing heated or cooled stones along the client’s back, specifically upon the meridians seen in acupressure techniques. The stones then help the body retain their healing heat which in turn enter the muscles and melt away stress. In addition to river stones, some massage therapists use a tool called a body rock. The body rock is carved from stone or found and smoothed for comfort. It helps to enhance the therapist’s strength during the massage and helps focus the pressure being applied to the body. Many therapists use this tool directly on the skin but it can also be paired with massage oil or even used over the client’s clothes.

Thai Massage

Thai Massage is new to modern spas, but it is actually an ancient form of massage thought to have been developed by Buddhist monks in Thailand 2,500 years ago. It uses passive stretching and gentle pressure along the body’s energy lines to increase flexibility, relieve muscle and joint tension and balance the body’s energy systems. A unique blend of assisted yoga, passive stretching, and pressing massage movements, Thai massage is more energizing than other forms of massage. It’s a little bit like yoga without doing the work, as the therapist moves and stretches you in a sequence of postures, usually on a mat on the floor.This is why it is sometimes called “lazy man’s yoga”. Thai massage can be both relaxing and energizing, so it is a good choice if you want to be active after your massage.
The therapist uses a variety of different sequences of techniques on clients, who are either laying face up, laying face down, seated, or on their side.

Massage therapy is a treatment approach which is growing in demand and popularity. It was once considered an alternative or fringe approach, but it is now becoming much more mainstream. More importantly, now that massage therapy is considered a mainstream treatment option, many insurance companies provide coverage for treatment sessions. This form of therapy involves hands-on techniques to increase circulation, relieve tension, reduce stress, relieve anxiety, improve sleep, and promote relaxation throughout the entire body, as well as many other benefits.
The body’s soft tissue areas include the muscles, tendons, connective tissue, etc. If someone is tense and in need of a release, or they have been injured and have extensive muscle and/or nerve tissue damage that plagues their body, massage therapy might be worth exploring. Here are some benefits of massage therapy.

 

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Benefifts of massage:

1. It Is Relaxing – When the body is tense and under stress, it produces unhealthy levels of the well-known stress hormone, cortisol, which can contribute to weight gain, sleeplessness, digestive problems, and headaches. Massage therapy has been shown to decrease cortisol levels in the body. This enables the body to enter a recovery mode. Moreover, this form of therapy also triggers lasting feelings of relaxation, improved mood, and reduced stress levels.

2. It Reduces Stress – Not only can massage therapy help with stress relief, but regular massage sessions over a prolonged period of time can boost energy levels, reduce pain, and stimulate individuals on physical as well as emotional levels.

3. It Can Help Lower Blood Pressure – Regular massage therapy sessions have been found to reduce blood pressure levels. In fact, some long-term studies have shown that a consistent massage program can reduce both systolic (upper number) and diastolic (lower number) blood pressure. Moreover, it can also reduce cortisol levels within the body. Furthermore, consistent massage sessions can also reduce trigger sources for anxiety, hostility, tension, and depression. In turn, lower blood pressure levels can also reduce
the risk of heart attack, stroke, and/or kidney failure, as well as many other health issues.

4. It Promotes Muscle Relaxation – The purpose of massage therapy is to target the source of the body’s pain via eliminating tense muscles, increasing flexibility, and providing relaxation to the affected muscles as well as the body as a whole. Massage also promotes circulation to the affected or injured muscles, which increases nutrients and oxygen to the damaged tissues. In turn, this increased activity to the affected sites
reduces stiffness and edema (swelling) in the muscles and joints, as well as increases flexibility to help reduce pain. Moreover, this form of therapy also releases endorphins (pain-killing hormones), which boost the dopamine and serotonin levels in the body. These hormones assist the body in many ways–physically as well as emotionally. Case in point, they promote healing, pain management, and feelings of euphoria, as well as help to calm the nerves.

5. It Can Help Improve Circulation – The long-term benefits of massage therapy are not to be underestimated. Improved circulation is part of a snowball effect that occurs in the body as a result of receiving regular therapy on a consistent basis. This is because proper circulation brings damaged, stiff, and tense muscles the rich blood supply they need to promote healing. Moreover, massage also promotes improved circulation via the use of hands-on pressure, which moves the blood through the damaged and congested areas of the body. In turn, the release of this same pressure causes new blood to flow into tissues. Furthermore, the squeezing, twisting, and pulling action of the massage technique also removes lactic acid from the muscle tissues. As a result, this action improves the lymph fluid circulation, which carries metabolic waste products away from internal organs and muscles. In turn, this results in lower blood pressure levels and improved overall body function.

6. It Can Help Improve Posture – Many Americans experience back, neck, and muscle pain from a variety of sources. However, the primary cause of this pain results from poor posture. In fact, chronic back pain, massage is the number one reason for missed work days and second most common cause of disability, is often the result of incorrect or poor posture while standing and/or sitting. Moreover, being overweight, poor posture, and repetitive or overuse movements can also contribute to the strain on the back and other
potential problem areas. As a result, the added strain often causes spasms, pain, and tense muscles in the hips, glutes, back, neck, and legs. Massage therapy can help get the body back into proper alignment. In fact, improving one’s posture can be one of the most beneficial and relaxing aspects of massage therapy. Massage allows the body to relax and loosen the muscles made tense and sore via bad posture. In turn, this allows the body to position itself in its organic and pain-free posture. As part of a consistent massage therapy program, the body’s muscles are loosened and relaxed. Moreover, the joints have greater freedom, flexibility, range of motion, and pressure points are relieved. As a result,
the body is able to position itself in an organic and healthy posture. In short, massage therapy helps to correct the positions and movements developed over time as a reaction to pain.

7. It Can Help Strengthen the Body’s Immune System – Regular massage sessions provide many benefits to the human body. It is a well-known fact that individuals who experience high levels of stress are more vulnerable to illness and injury. When stress is combined with sleep disturbances and poor nutrition, the impact is directed at the body’s immune system. Its ability to naturally protect itself against infections, pathogens, and bacteria is greatly reduced. Some might wonder how massage therapy benefits the immune system. Studies have indicated that regular massage sessions not only help reduce stress, but can also boost the immune system’s cytotoxic capacity (activity level of the body’s natural “killer cells”) and enhances the body’s ability to deliver nourishment. Moreover, massage therapy can be a great addition to any exercise program. Much like regular exercise can keep the body fine-tuned, regular massage therapy can help keep the immune system strong and resilient.

Once considered an alternative or fringe approach, massage therapy is now much more mainstream and growing in popularity. More importantly, now that massage therapy is considered a mainstream treatment option, many insurance companies provide coverage for treatment sessions. This form of therapy involves hands-on techniques to increase
circulation, relieve tension, reduce stress, relieve anxiety, improve sleep, and promote relaxation throughout the entire body, as well as many other benefits.