The other evening I was having a conversation with a friend of mine about Las Vegas entertainment while we walked about downtown on Fremont St. We happened upon a small cocktail lounge just off the main thoroughfare while literally coming in from out of a sudden burst of rain. To my amazement, I heard live music along with what appeared to be a show going on, featuring what we soon discovered, was a very talented singer / entertainer doing his thing from within the bar area. Being the quintessential optimist, I turned to my friend and remarked that the place was half full rather than adhering to his remark insisting that it was half empty. The mainstay crowd was attentive and supportive of the performer and I wondered why I hadn’t heard of him before. I asked the bartender how long the talented song stylist had been at the club. He said just about a year. A YEAR! This gave me pause. Something was wrong. I had to explore the reasons for this miscarriage of entertainment justice. People should know who this guy is I thought and the wonderful job he is doing. I concluded that the answer was quite a “simple complication” – advertising, promotion, and the re- subvention of MARQUEE POWER.
In the beginning, and for some decades thereafter, Las Vegas entertainers on any level, in any showroom, lounge, or even the smallest, coziest piano bars were awarded some degree of celebrity status by virtue of “the Sign outside the Building.” The tourists and the locals alike knew instantly who would be working where and when – even if it was the coziest out–of- mainstream piano bar. That recognition was a key factor in helping a talented performer build a name for himself and create a “following.” A passerby could look up at a brightly lit sign and read, appearing in the lounge: the Mary Kaye trio, Buddy Greco, Bobby Short, Louie Prima, etc. I wonder if we would know and remember the names of these great entertainers today had their names not appeared on the MARQUEE outside such eminent edifices’ as the SANDS, FLAMINGO, STARDUST, etc. Luckily, it wasn’t then as it is today… “Bobby who? Oh yeah, the guy that sings and plays the piano in the lounge.” or “Do they still have live music there?”
Today, the NAMES of the singers, piano players, and/or comics apparently do not matter. Most everyone working the “lesser” venues are not given the same respect as their predecessors who enjoyed at least some level of fame.
Now a performer is lucky to get a “Live Music” on the outside. In fact, today, almost all singers are judged pretty much as the same, that is, equal in talent and/or drawing power, or not considered at all. The lack of proper fanfare is partly responsible for this.
There are the fortunate few. Those who have worked their way into the showrooms, oftentimes without securing a record deal or having achieved national prominence are able to enjoy a moderate rush of limited fame.
One might argue that this kind of notoriety, the marquee, is not needed any longer to “fill the room”. After all, we have the Internet today. I strongly disagree.
Yes, the Internet is a good tool for advertising. Almost all of the entertainers I know, including myself, have web sites that carry their message throughout the entire Internet community and many are linked with Entertainment Bureaus. An address book alerting our family and friends as to our whereabouts is a valuable utensil by which one can spread the word.
While this adds to the notoriety, this does not replace the power of having the performer’s name appearing on a brightly lit neon sign or having one’s image showing on a 10-second video ad reminding the Strip onlookers that we have a SOMEBODY in the bar, restaurant, or lounge.
Some disagree. Marketing experts insist that it does not make a difference today because of the Internet. Send out your name, and the name and location of where you are appearing and word gets around. True. The word gets around to people that you know and are close to, or perhaps a few former clients whose e-mail addresses are still saved in your address book.
Friends are supportive. No matter how loyal friends and returning fans may be, I have never met a tourist or conventioneer that did not enjoy hearing about those “out-of-the-way” places where the prices are better, the atmosphere is cozy and friendly, and the music and dancing reign. Places, you know, where the locals hang out and the tourist has to search through one magazine after another hoping to find but never does because of the lack of advertising. One cannot expect a bevy of friends to repeatedly return night after night, even during the best of economic times. If a saloon performer is given name recognition in the media, especially if his work takes him away from the strip or downtown, the possibility of increasing his audience is now extended to the out of town visitor. We can count just so much on friends and family and local support, especially now because of the sagging economy. The tourist though, with fresh money and the conventioneer’s expense account, should turnover the crowd, that is, IF they know WHERE to go and whether or not a LIVE SHOW is offered and WHO is going to be appearing there. The frequent visitor can rely on familiar “Where to Go” magazines to help spread the word, especially when proper name recognition is awarded and embellished. The passerby just has to look up. —– And besides,
THIS IS LAS VEGAS – not Peoria, IL.
This is SUPPOSED to be the place where people can come and see the very best of the hundreds, even thousands of gifted entertainers who migrate to the Entertainment CAPITAL of the World in search of some recognition. Las Vegas has traditionally become the home of the gifted, as well as the wannabes that longs to build a name for themselves, either by the good fortune of lucky breaks or by virtue of their extraordinary talent. They need print media and marquee power to help their careers grow. It is a quest – their chance – to be a SOMEBODY.
Where has that all gone? What now happens to the hopes and dreams of those who are not propitious or young enough to get a spot on American Idol? Of course, in the fine city of Peoria, a singer/entertainer will find work and be well received and locally recognized – The Big Fish in a Small Pond theory. That same entertainer would have become a unique part of history working in the Golden Days of Las Vegas, and it could be that way again.
WHAT IS FANFARE
FANFARE – A dictionary definition might read “A sounding of trumpets,” or, “A noisy and/or showy display.” In other words, fanfare is used to GET THE PEOPLE’S ATTENTION.
Fanfare is the greatest form of advertising an entertainer could hope for when trying to make a name for himself/herself. The usage of important tools as the electronic and print media is the epitome of fanfare. These message carriers are essential when marketing up and coming talent. It is necessary to get the attention of the public. One example of the value of name recognition in the print media is recorded in my own personal experience. I can recall my days singing at the old CIGAR BAR in the former REGENT HOTEL, now renamed the J. W. MARRIOT on Rampart Ave. A young couple addressed me at the end of the night and told me how much they enjoyed the show. Of course I thanked them and asked them how they happened to come by that night. The man replied, “We would have come before, but it was not until we saw you featured in the WHAT’S ON magazine. We are locals and will come again.” And they did, and often. Whether or not the entertainers live up to the hype is always questionable until proven or disproven. There is always personal taste factored in by acknowledging that one man’s trash is another man’s treasure. So be it. But let the trumpets sound off to provide the opportunity for the performer to prove it.
In addition to this, the salute given the entertainers transcends the establishment from just another place to one of distinctive recognition, that is, beyond its LOBSTER SPECIAL. Remember THE STORK CLUB, COPACABANA, THE COCONUT GROVE, just to name a few – FAMOUS places because of the reputation they earned by supporting quality entertainment and getting their message out there. Okay, food and gaming promotional specials are important too. They need to be “up there” on that sign also. But give the entertainer’s and establishment some name recognition and both entities pay off. Build an entertainer’s reputation while he adds to his following and he can add important revenues to the cash register as well.
THE ECONOMICS OF FANFARE
Advertising today is expensive. Marquees have to be erected and maintained.
But being that nearly all hotels, bars, or restaurants on and off the strip already have a sign or marquee complete with a caretaker, this minimizes new expense.
The owner or powers that be will decide if the cost of whatever fanfare they choose is indispensable. The cash register is the tool from which he makes his decision. Yet, it is rare today that a performer has the luxury of choreographing an old fiscal dance – “two steps forward, three steps back,” that is, until an entertainment commodity proves its worth. Still, some will judge too soon and prematurely cut the finances before the featured act has a chance to catch on.
CORPORATE MENTALITY TODAY
Corporate demigods have materialized from out of the ashes of former mob bosses who knew and understood the value of entertainment and who also honed the craft of communicating with the general public. It sometimes appears to me that the former breed of bosses that resided in the Las Vegas casinos of yesteryear provided that personal touch which paid off two-fold or more when conversing with the common tourist.
The average casino host, who has today been given limited powers, especially with entertainment matters, has become a sacrificial liaison between the boardrooms down to the people. His influence extends to the exchange of “comps only for gaming points.” He is not part of the decision- making process which helps to evaluate the budgets for advertising entertainment.
We must remember however, to the credit of corporate moguls, they are definitely doing something right. One might grade their efforts and achievements as the epitome of high finance as they continue to generate sometimes staggering amounts for their constituents in bad times as well as good. With that being said, I believe that the true innovators have faded into a historical footnote of this great city. Perhaps corporate executives have now become somewhat indifferent to what earned Las Vegas the reputation of the Entertainment Capital of the World. Is this assumed apathy, which now extends to the smaller venues, economically justified? – Maybe, maybe not.
To be sure, many Las Vegas citizens that have lived here prior to the ‘80s have witnessed the change from the old guard to the new. The aura of “class” perpetrated in early Las Vegas has faded. Unlike before, today’s corporate decision makers lack the freedom of their predecessors to be as flamboyant. The toll of success, which partly rested on the backs of all those talented singers, dancers, comics that the locals or tourists recognized were of a more personal time. The more romantic time of long ago is now considered an unnecessary expense. The names on the marquee that people came to know and recognize, like all those wonderful entertainers that worked the smaller venues, are not as prominent in the minds of the controlling executives. Why? Because today the “hype” is more focused on food and gaming and the quest of achieving fame has become again, just another footnote.
Even some entertainers who worked the main showrooms by acquiring stardom through movies, TV or recording contracts, were able to maintain a presence or even restart their sagging careers on a Las Vegas stage. As a result of this reoccurring recognition, they have been able to extend their notoriety and oftentimes cement their rightful place on the Las Vegas Walk of Fame.
Today, the economy of marketing talent is beyond being practical. The battle cry among most auditors is steadfast. They echo that it is too expensive and unnecessary to carry on like the old days. A healthy economy in Las Vegas is largely dependent upon an equally vigorous national and worldwide economy to be sure.
Somehow though, Las Vegas survives the peaks and valleys of the shrinking dollar through periods of marketing wizardry which will include some giveaways. Unfortunately, one way has been to cut the budgets of lower echelon entertainment. I cringe with disgust when I walk into a WYNN hotel and find no one playing the lounge, or worse, seeing a DJ that has replaced an out-of-work unknown, single, duo, or group. And as for the decisions today’s corporate executives use for justifying this, I offer an old adage. Rather than, “When the going gets tough, the tough get going.” -Today’s corporate mentality reverberates, “when the going gets tough, retreat.”
Pushing the auditor’s pencil into a comfortable profit column is necessary there is no doubt. Stockholders must be satisfied. It is a shame that it has come partly at the expense of crushing the dream of an unknown talented singer. He remains anonymous or obscure, singing to an anemic crowd because there is no budget or will to advertise his name on the marquee.
It’s not my money, but I say NO! Marquee Power Pays Off!
Wake up marketing geniuses! Package it! Promote it! To coin a phrase, “Build and they will come.” Put back the “fame” in famous.
A toast! “Here’s to all the talented performers who work the piano bars and small lounges, but are known only to those fans that have had the good fortune of that one day they, by chance, “came in out of the rain.”
Salute!
by Teddy Kaye
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One Response to “NOW APPEARING – LOBSTER SPECIAL (Oh, and Live Music)”
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April 17th, 2010 at 4:42 pm
This is one hellava article and so TRUE. I commend you for an excellant EXPOSE actually. The sad part of this is nothing will be done to change anything. As you say the only thing they care about is food and gambling. It all boils down to GREED. The hell with the little man.