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11 Secrets of Former Blockbuster Employees

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For nearly three decades, Blockbuster was the friendly neighborhood video store for movie-lovers around the United States—and its employees were our friendly neighborhood movie gurus. Though a few independent Blockbuster franchises are still bravely soldiering on around the country, the company had its heyday in the 1990s to mid-2000s, when video tapes and DVDs were still the dominant way to watch a movie. Doling out recommendations and patiently dealing with our late fee complaints, Blockbuster employees were a crucial part of our movie-watching experience, and frontline observers of the changes in our movie consumption. Mental_floss talked to a handful of former Blockbuster employees about what it was like to work at the video rental franchise from the company's heyday through its decline.

1. THEY RENTED MOVIES FOR FREE.

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Working at Blockbuster had plenty of perks if you were a movie lover. Employees not only received five free rentals a week, but got to watch new releases a week before they became available for rental. Matt, who worked at a Blockbuster in southeast Michigan from 2004 to 2009, explains that the free rental policy was really a win-win for Blockbuster and its employees. “This was actually a necessity because you’d have movie buffs and store regulars come in and ask for recommendations,” he explains. “It was a good way to catch up on movies I missed or had never heard of. I definitely dug up some oddball gems this way.”

2. THEY HATED IT WHEN YOU COMPLAINED ABOUT LATE FEES ...

Over the years, Blockbuster experimented with a range of policies regarding late fees. For a while, the store tried a “no late fees” policy, which, according to former employees, replaced late fees with a confusing “re-stocking fee.” Regardless of policy, employees say dealing with late fees was among the most annoying parts of the job.

“People proved to be astoundingly bad at math, and though they’d agree on how long they kept the movies they had and how much each of them cost for the night, they were just unable to comprehend how they owed us the amount they did,” explains Lex, who worked at Blockbuster in Scranton, Pennsylvania, from 2012 to 2013. “Dealing with people trying to get out of what they owed was basically how we interfaced with 40% of our customers on a daily basis.”

Brie, who worked at a Blockbuster in Salt Lake City from 2007 to 2008, during its “no late fees” era, explains that customers would always fight her on the store’s $1.25 restocking fee. “I would say 95% of the customers would fight me on paying them 100% of the time,” she says. “Customers would argue, ‘What is this restocking fee if not a late fee?’ You’re totally right, I know, it’s a loophole to get around saying it’s a late fee. I didn’t make it up, please don’t fight me on it.”

3. ... BUT THEY'D TRY TO HELP YOU OUT IF YOU WERE POLITE.

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When it came to getting out of late fees, there was really only one strategy that worked: Be nice. “Once I hit Shift Lead status, I would make deals with customers and try to waive a fee or two here or there if customers were regulars or particularly nice,” says Brie .

“We were able to minimize some late fees, eliminate others,” says Tim, who worked at a Blockbuster in East Greenwich, Rhode Island, from 2004 to 2007. “Come in calm and respectful and apologetic, poof, you owe $0.00. Come in hooting and hollering and it’s ‘I’m sorry, sir. There’s nothing I can do. You cannot rent another movie until you pay your $3.75.’”

4. THEY KEPT SECRET NOTES ON CUSTOMERS.

If you ever caught an employee giving you a strange look or holding back a laugh when you tried to rent, there’s a chance there was a note left on your account. Blockbuster used point of sale software that let employees look up your account information, and leave little warnings for each other if you habitually tried to worm your way out of late fees or misbehaved.

“People would constantly complain about late fees, so we had a system where you could write a note in the computer, like ‘Forgave one late fee, don’t do it again,’ or ‘This guy constantly turns in tapes late and says he paid his fees,’” says Mike , who worked at Blockbuster in Malden, Massachusetts, from 1999 to 2003. “Depending on who wrote the note, it could be very professional or sometimes it would just be like, ‘This lady is crazy.’ It would be flashing in yellow and you’d be keeping one eye on the customer, and one eye on the screen, trying to read it, and sometimes trying to keep a straight face.”

5. THEY COULD SEE YOUR ENTIRE RENTAL HISTORY.

If you rented anything embarrassing, you can bet your local Blockbuster employee noticed. “When customers brought up tapes, you’d see their previous rentals automatically,” explains Mike . “So, you’d see like, a thirteen-year-old girl renting Titanic for the twentieth time. You wouldn’t say anything, though.”

6. THEFT WAS A BIG ISSUE.

Customers were constantly finding creative new ways to steal merchandise. Matt remembered the “slashers” who would “show up with a boxcutter hidden on them and sneak around the store, slitting the spines on DVD cases and stealing discs,” while Lex recalled a guy who figured out how to remove the magnetic locking strips from DVD cases. “He’d always steal the weirdest, most arbitrary movies,” she explains. “He’d steal sequels of things and not the originals, or individual discs of TV show season collections. I don’t know if he was just trying to tear down the system slowly from the inside, or if he just had very specific interests.”

Mike, meanwhile, says the most notorious criminal to terrorize his Blockbuster location turned out to be a 10-year-old boy. “We had the full security system at Blockbuster—video cameras, security gates, magnetic locks on the cases—but somebody kept stealing video games. Our manager was totally baffled. He started to think it was an inside job,” says Mike. “It turned out it was a little ten-year-old kid. His mom found all the video games under his bed and turned him in. She brought the games back and we promised not to press charges, but the mom wanted us to scare the kid straight, like Maury Povich-style. So the manager and I ended up in the back room with this little ten-year-old kid who’s crying his eyes out. We had no idea what to do. It’s like, there’s our master thief who’s outwitting our corporate security system, and he’s just a kid.”

7. CORPORATE LOGIC WAS A BIT OF A MYSTERY.

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The employees at individual Blockbuster locations didn’t get to choose which products they ordered to rent or sell. Everything was decided by corporate headquarters, whose logic could sometimes be difficult to discern. Back in the early 2000s, that often meant receiving hundreds of copies of new releases to rent, which stores would later struggle to sell off, or receiving books and magazines that customers never even noticed were there.

Gladiator was the biggest movie that came out while I was at Blockbuster. We had so many copies, just walls and walls of Gladiator. Then, later on, we couldn’t sell them. We had like 200 copies left and nobody wanted them,” recalls Mike. “We’d also sell video game guides and magazines, and they would never sell. At the end of the month, we’d rip the cover off and throw them away. Sometimes instead of tossing them, I’d take them home—to this day, I have so many books without covers.”

8. THINGS REALLY STARTED TO UNRAVEL TOWARD THE END.

By 2012 or so, when the chain was really struggling to stay afloat, Blockbuster locations would often receive seemingly random shipments of movies to sell off, says Lex. They’d set up large tables around the store covered in DVDs for sale. “It was a completely random assortment of stuff,” recalls Lex. “We’d have, like, 50 copies of some mediocre 5-year-old romantic comedy, and then two copies of Indiana Jones and the Last Crusade (and none of the rest of the series), and then 12 copies of some obscure art-house film. There was no curation.”

“The most bizarre thing,” he concludes, “is that we had 135 copies of Dinner For Schmucks. I made it its own table. On the Black Friday I was there, we had a ‘door busters’ sale, with select, new DVDs for $5 a piece. We got 24 DVDs to sell—not 24 titles, 24 individual DVDs. Of those 24 DVDs, six were Dinner For Schmucks. The 135 copies were already selling for $3 apiece. We didn’t have much of a Black Friday rush that year.”

9. THE SWITCH FROM VHS TO DVD WAS PURE CHAOS.

Long before Blockbuster lost its showdown with streaming video, the company was faced with another seismic technological shift: the transition from VHS to DVD. According to Ben, who worked at a Blockbuster in central Pennsylvania from 2001 to 2002, the company struggled to get rid of its excess VHS tapes once the medium became obsolete. "We pulled them by the hundreds and put them on sale," he recalls. "After a few weeks, we started pulling them for destruction. It was kind of a shame, but it was fun at the same time. We just smashed the hell out of them behind the counter. I was washing through an ankle-deep layer of black plastic and magnetic tape … Later destroy pulls were authorized to instead send to local charities, but that first big one was fun.”

10. BEING A MOVIE BUFF WASN'T A JOB REQUIREMENT ...

You didn’t have to be a cinephile to work at Blockbuster. Most managers were more interested in hiring people who were reliable and punctual than employees who could recite the entire filmography of their favorite director. “You didn’t need to love movies at all,” recalls Mike. “You just had to get there on time.”

11. ... BUT MANY EMPLOYEES REALLY LOVED MOVIES.

Nevertheless, many Blockbuster employees really did love movies. “My interview basically amounted to them making sure I was a human that could read,” says Lex. “But everyone I worked there with was pretty big into games, movies, and TV, and we spent a lot of time talking about them.”

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11 Secrets of Romance Writers
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Some readers may snicker at book covers featuring aerobicized men and titles like The Firefighter’s Woman or The Bull Rider’s Christmas Baby. But if it weren’t for the steamy, escapist fantasy of romance novels, a healthy portion of the publishing industry would cease to exist: According to the Romance Writers of America (RWA), romantic fiction brings in $1.08 billion annually and accounts for 13 percent of all fiction sales in the marketplace.

What keeps readers coming back for more? We asked some of the genre’s top authors for insight into the “secret baby" trope, why pen names are necessary, and the one rule of romance that can never, ever be violated.

1. THEY WEAR PERIOD CLOTHING.

Novelist Shelley Adina (A Lady of Resources, A Lady of Integrity) writes historical, Amish, and steampunk-themed fiction, just a few of the many sub-categories that appeal to niche audiences. To better understand her characters, Adina dresses in period outfits to gather what she calls “tactile details.”

“I like to feel how a heroine would feel in the clothes,” she says. “I’ve been laced into a proper corset and you realize what kind of dance steps you can do, or why a lady’s back never touches a chair—a tight corset won't allow it."

2. THE REASON THEY USE PEN NAMES ISN'T WHAT YOU THINK.

Covers of two romance novels by Shelley Adina
Shelley Adina

The authors of romance novels don't use pen names out of embarrassment. Adina (a.k.a. Adina Senft) says that pseudonyms—many authors have more than one—help readers compartmentalize writers who generate multiple series. “People who read Amish fiction may not read steampunk,” she says. Another, bigger reason: Bookstore software can use “kill orders” on authors who don’t sell a certain number of titles. If they fall below parity, retailers will automatically stop ordering more copies from that author. “If that happens,” she says, “you have to reinvent yourself with a new name.”

3. THEY’LL DIGITALLY REVISE THEIR WORK AFTER PUBLISHING IT.

The analog publishing model has traditionally been one of permanence: Once a book is in print and in readers' hands, there's no going back. But romance novel readers are a very particular clientele with certain expectations about how they’d like their protagonists to behave—and the self-published digital distribution model that's popular within the genre allows for a little customization. Author Heather C. Leigh (the Famous series) found that out when her first books featured a heroine who was a little too acerbic. “My first three books sold well, but there were critiques that my female lead was too sarcastic,” she says. “I understood and took it out. I don’t mind making work better based on feedback.”

4. COVER MODELS OFTEN LOSE THEIR HEADS.

The covers of two romance novels by Heather C. Leigh
Heather C. Leigh

Despite seeing hundreds of new titles published every month, the romance genre still manages to find new ways to visualize their shirtless male protagonists. In many cases, though, the beefcake winds up getting decapitated. “A lot of times, the man will be turned away or cut off at the forehead,” says author Eliza Night (The Conquered Bride series). “Readers want to imagine his looks in their own mind.” Grooming is also a necessity. “I had a cover with chest hair once. My readers did not like it.”

5. THEY HAVE BONUS SCENES.

Self-published authors (who make up about two-thirds of the total romance e-book revenue on Amazon) spend much of their time marketing their work. To help maintain interest from their existing readership, some send out email newsletters with updates on new titles and include exclusive passages that can enhance the experience of a previous book. “My first book was about an actor who had to do a love scene with a woman he hated,” Leigh says. “It was never going to be in the book because that was from his girlfriend’s point of view, but I got a chance to write it as a bonus.”

6. THEY WANT READERS TO BECOME WRITERS.

While resources for aspiring writers of all genres are plentiful, the romance field makes an exceptional attempt to recruit new talent. Industry interest group RWA doubles as a conduit between established writers and novices, hosting conferences and panels on the best ways to break in. “We don’t live in a competitive hierarchy,” Adina says. “There are so many readers with so many diverse tastes. It’s a big community where we support one another.”

7. THEY GET HELP FROM THE AMISH.

An Amish woman walking in a field
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While the Amish sub-genre has received media attention for its peculiarity, Adina doesn't believe it's so unusual: She says readers are attracted to a pastoral environment “without having to leave their wired-up house.” For accuracy’s sake, the author has enlisted an Amish reader to vet her titles for details. The popularity of the books “mystifies them,” she says. “They don’t understand the interest. They just hope the books might be able to point people to God.”  

8. THE “SECRET BABY” TROPE IS A READER FAVORITE.

Readers like resourceful women and skilled, wealthy love interests—and they especially like it when the former keeps their baby a secret from the latter. “The trope is that the hero and heroine have an affair, she gets pregnant, never tells him, and he comes back around five, 10, or 20 years later and finds out,” Adina says. “Reunion stories are popular. It’s the appeal of a responsible man.”

9. THEY’RE HISTORY GEEKS.

The cover of a romance novel by Eliza Knight
Eliza Knight

Knight cringes at the idea romance authors do little more than transcribe their own lurid fantasies. A self-described “history geek,” she travels frequently for research into Scottish history. “Most of us who write history nerd out on it,” she says. While once writing about a zeppelin-riding heroine, Adina jumped into one that offered rides over Silicon Valley to see how it would feel. She also got her motorcycle license for the same reason. “We’re serious about it,” Adina says. “We’re not sitting around in housecoats with barking Pomeranians.”

10. THEY’D APPRECIATE NOT BEING ASKED ABOUT THEIR SEX LIFE.

Many romance authors have at least one story to tell about people in their private life finding out they write for the genre and subsequently losing any sense of boundaries. “Strangers have asked me, ‘Do you test out scenes before you write them?’” Leigh says. “It’s like they lose a filter. It’s not real life. J.K. Rowling isn’t a wizard.”

11. THERE’S ONE RULE THAT CAN NEVER BE BROKEN.

While writing instructors invariably have all kinds of techniques for nourishing a story, the romance genre spells it out in an unequivocal manner. According to the RWA, nothing can be considered a “romance novel” without a central love story (naturally) and what authors have come to refer to as the Happily Ever After ending, or HEA. “Romance is a courtship story,” Adina says. “Readers expect the bond will be created at the end of the book. If not, it’s Nicholas Sparks or Romeo and Juliet. It would be like having a mystery where the detective doesn’t solve the case.”

This story originally appeared in 2016.

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15 Secrets of Fireworks Designers
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The Fourth of July just wouldn't be the same without the colorful peonies, waterfalls, and comets that burst across the night sky above wowed crowds. But designing fireworks and their choreographed displays is a labor-intensive, dangerous job that requires the imagination of an artist and the precision of an engineer. Mental Floss talked to two experts in the field to learn how fireworks designers plan their shows, the history and the chemistry behind their displays, and why you don't necessarily want more bang for your buck.

1. THE ROOTS OF THEIR PROFESSION GO BACK OVER A THOUSAND YEARS.

Humans have been adding bright, noisy explosions to their celebrations by setting fire to chemicals since at least 9th-century China. The very first fireworks were little more than quick orange bursts emanating from bamboo rods packed with charcoal, sulfur, and potassium nitrate and tossed into bonfires. Slowly, these contraptions progressed into flares cannon-fired into the sky by “firemasters” in medieval England. By 1830s Italy, the use of metal salts such as strontium, barium, copper, and sodium added vivid reds, greens, and blues to firework displays—a precursor of the brilliant hues we see today.

2. THEY CONSIDER THEMSELVES ARTISTS.

“Fireworks are our paint or our clay, and our canvas is the night sky—or a building, or a bridge, or a waterway,” says fifth-generation fireworks designer Phil Grucci, CEO and creative director of the Bellport, New York-based Fireworks by Grucci. The company has created fireworks displays for seven consecutive U.S. presidential inaugurations, Olympic games in Beijing and Los Angeles, and commemorations such as the centennial of the Statue of Liberty, among other events. “Working with space, understanding color and the dynamics within the fireworks, what moves very quickly, what sounds very loud, what sounds very soft, what is subtle and elegant”—all of it takes an artist's touch, Grucci says.

Pyrotechnic designers “can visualize exactly how various fireworks devices will burst in the sky,” says Julie Heckman, executive director of the American Pyrotechnics Association. That means they know "how high [fireworks] will reach their apex and burst, how wide they will spread, and how long the effect will ‘hang,' or linger. They can then choose other fireworks to burst above, below, or on each side of an effect to create the image they wish to see across the sky."

Of course, "painting" with fireworks is a little trickier than using acrylics or oils, since the medium is explosive. "The difference [compared to painting] is that we’ve got something that’s dynamic, that moves, it’s constantly moving and it’s very temporary," Grucci explains.

3. THEY START WITH A PAPER SKETCH.

A red and green firework bursting in the night sky
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Old pros like Grucci may know from experience how certain fireworks will look together against a backdrop. But he still sketches out each segment of every show he designs with colored markers on paper. From there, he works with his team to set the show to music, then choreographs it using software called Visual Show Director. Next, his programmers create a script in SolidWorks and/or AutoCAD. “In the past,” Grucci explains, “we scripted it all on a piece of paper, and the pyrotechnicians installed the hardware from that same piece of paper." Now, he says, they can be "taking advantage of the computer age, to visualize [a show] to see whether the product works as you’ve designed it.” Finally, Grucci’s team generates the computer file that will electronically ignite the fireworks at showtime—much safer than the days when a human had to ignite the fuse.

But Heckman says that although the technology is useful, it's made fireworks performances a little more homogenous. "Before electrical firing, computer choreography and a reliance on imported product [mostly from China], I think fireworks companies' unique style was much more prevalent," she says. "Technology has somewhat leveled that out." A few companies do still have distinctive styles, she notes—even if those differences are usually only apparent to true fireworks aficionados.

4. SOME THINGS ARE STILL DONE BY HAND.

A fireworks cartridge contains a series of pellets called stars, which are cubes, spheres, or cylinders about an-inch-and-a-half long filled with explosive materials and color-producing chemicals and metals [PDF]. A star’s colors are formulated via computer, then pressed into a pellet shape by machine. But when it comes to arranging the stars in the casings that will be fired into the night sky, it's usually human hands doing the arranging. The pattern laid out inside the casing determines the pattern of the explosion—a heart-shaped firework blooms from stars arranged in a heart shape—and according to Grucci, automating the task to account for the enormous variety of available patterns would be too expensive. The task can be labor-intensive, since a single shell can contain hundreds of stars.

5. THE VENUE DETERMINES HOW THEIR SHOW WILL UNFOLD.

Fireworks over the Brooklyn Bridge in 2018
Spencer Platt/Getty Images

It's as true in fireworks as it is in real estate: It's all about location. That’s partly for reasons of safety—Heckman says that every show has to follow industry standards for “tables of distance,” which “mandate the size of the largest shell that can be fired safely from a standpoint of fallout distance to spectators, and also public highways, occupied buildings, and public roads.” She says there's a complex regulatory scheme that dictates the type of products that can be used per type of venue, as well as when shows can begin and end.

But the site is also an integral part of the beauty and impact of the show itself. "We’re very aggressive in looking at structures, and trying to highlight their key features," Grucci says. “Whether it’s a tower, whether it’s a bridge, we will be [scouting from] the very highest point of that. If [a structure] is horizontal, I know that we are going to capitalize on the entire width of it. I could be easy and say, 'put some fireworks to the left and right side of a bridge.' But that’s not good enough. We have to take advantage of the undercarriage of a bridge, the steel cables that hold its towers together, and highlight the entire structure.” Grucci says he'll often calculate the entire surface area of a structure, so he can make sure he's taking advantage of every square inch.

6. THEY MATCH THE FIREWORKS TO THE MUSIC.

Not all fireworks displays have music, but when they do, the score and the effects should complement each other—not clash. A delicate classical piece may call for smaller, quieter fireworks, while a piece like the "1812 Overture" might fit bigger, louder bangs.

"So many of the [effects] we’re working with, they may have a baroque feel to them," Grucci says. "They’re very bold and strong and very in-your-face, but then you have that very elegant feel to some of the fireworks, that you would never put onto the canvas when there’s a rock-n-roll sequence on. When the product is so simple or so elegant, it would not match that tempo or that thematic."

7. THEY HAVE HIGH-TECH TESTING FACILITIES.

An assortment of colorful fireworks bursting in the sky
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Say you want to create a streaking green comet with a silver twinkling tail. “We’ll make that on a small scale, then we’ll test it at one of our two test sites, in upstate New York or in Virginia,” Grucci says. “Our pyrotechnicians are in protective bunkers and we have high-speed video cameras, wind meters, and dB [decibel] meters for noise. We record everything that we’re testing, so that we can look back on that and analyze it. I can’t tell you how many times we’ve failed. But we failed at the test site—never on the performance stage.”

8. THEY DON'T REPEAT THEMSELVES.

“My desire is to always make something that’s different,” Grucci says. He tries not to repeat a particular scene more than once in a performance, let alone repeat a whole show—although he notes that it helps that the "canvas" is always changing: “Even though we may use a particular beautiful color scheme with a metallic glitter, putting that on the Washington Monument as opposed to [over] an open baseball field—those are two completely different visuals.” One of his newest innovations turned up in the presidential inauguration in January 2017: a 600-foot by 700-foot display behind the Lincoln Memorial, made up of a series of 800 fireworks shells that burst in sequence into an American flag. “The color red [we used] is from a formula that is probably a few hundred years old," he says. "But delivering these little red dots on the sky at these [different] heights is what [allowed us to create the flag].”

9. LESS CAN BE MORE.

Fireworks at the opening of the New York, New York hotel in Las Vegas
JOHN GURZINSKI/AFP/Getty Images

"Sometimes people get caught in the trap of thinking that more is better," Grucci says, but when it comes to the number of fireworks in a performance, it can be exactly the opposite: More shells equals more smoke, which can white-out the night sky. "When you put too much in the sky ... you’re not really allowing the medium to display the beauty of what the product is about," Grucci says. (Plus, the metallic particles in fireworks smoke can pose a health risk for people with asthma or other health problems, which means it's wise to limit smoke where possible.)

10. THEY HAVE THEIR OWN LINGO.

Fireworks designers love to borrow from nature for the names of their displays. In addition to peonies and chrysanthemums, which both burst into circles (chrysanthemums have longer tails), there are willows (bursts with trails of gold or silver stars), falling leaves (glowing embers that flicker as they tumble to earth), fish (which leave little squiggles of light), spiders (a hard burst with straight, flat legs), and palms (which bursts up and out in a shape like its namesake tree). But there are also fountains (showers of sparks, sometimes also called gerbs), comets (several long trails of sparks), crossettes (a comet that breaks into other comets, usually creating a cross shape), dragon eggs (a delayed crackle effect), salutes (a loud noise without a display), and strobes (which burst with a blinking effect).

While creating their show, fireworks designers may work with cake (a single fuse that lights several fireworks in a sequence), whistle mixes (a combination of potassium and sodium benzoate that burns noisily), and dark fire, which is used to allow a star to change from one color to another (it gives off no light as it burns, allowing the new color layer to ignite below it). They hope to avoid flowerpots (which burst prematurely) and stars that are blown blind—or fail to ignite at all.

11. DANGER IS (UNFORTUNATELY) THEIR MIDDLE NAME.

Fireworks manufacturing presents an enormous danger. In 2016, Slate reported on a preponderance of deadly fireworks-making accidents in China—with an average of 400 workers in fireworks production plants dying every year between 1986 and 2005. Elsewhere, fewer accidents seem to happen than one might expect from the mixing and storing of combustible chemicals. According to Heckman, in the U.S. at least, that’s because the Occupational Safety and Health Administration (OSHA) “stringently regulates the manufacturing process, including personal protective gear, and employers must train their personnel on the hazards and the [kind of gear that’s] required.”

“We’re mixing powders to create explosive compositions that have to be handled very delicately," Grucci says. The work has to be done in a non-sparking environment (one with special tools and materials that reduce the risk of sparks), and in a room that has plenty of exits. "[You don’t want to be in a] big, giant room filled with fireworks and there’s only one door to get out," Grucci says. Workers in their factory wear conductive shoes, which conduct static electricity through the footwear and into the ground, "because the environment is very dry and you wouldn’t want to walk across the floor and touch something and have an arc spark that goes to a box of open powder and explodes on you.”

Safety is paramount for Grucci, who lost his father, James, in a massive industrial accident in 1983 at the family fireworks plant on Long Island. He says that the secret to safety, from manufacturing through installation, is to “be consistent and never cut a corner.” He says his grandfather always told him, "As soon as you think you know it all, or you want to start cutting corners, [that's] when potentially you’re increasing your odds of getting injured or possibly killed."

12. SOMETIMES THEIR FAVORITE WAY TO WORK IS SMALL.

Yes, it’s a challenge to produce a 30-minute fireworks show off five barges in the middle of Manhattan’s East River—but intimate shows present their own set of hurdles. Grucci mentions a Dolce & Gabbana fashion event held around Lincoln Center’s fountain that he created pyrotechnics for this spring. The flaming bits were a mere 15 feet from the audience and the clothing that was showcased in Lucite boxes. In that kind of scenario, “You can’t afford to have the hard outer casing or the inner paper wrappings” you’d use at an aerial fireworks event over the river, Grucci says. “The last thing you want is debris falling on the audience.” The solution: stationary fireworks comprised of titanium and aluminum particles of a sub-micron size, which burn quickly and don’t sustain heat for more than a few milliseconds—sort of like a sparkler.

13. THEY BREAK RECORDS.

World fireworks records include the largest fireworks display: 810,904 of them, fired off on January 1, 2016 in Manila, Philippines. And the most shells launched per minute: 479,651 in Dubai, United Arab Emirates (UAE) in 2013. And the longest fireworks waterfall (a long, glittering shower of embers): 11,539 feet, 5 inches, at a fireworks festival in Fukuoka, Japan, in 2008. On New Year’s Eve 2018, the Gruccis broke the world record for the world’s largest single aerial shell at a show they produced on Al Marjan Island in UAE. Weighing 2397 pounds, it was the culmination of almost 40 years of Grucci family trial and effort. “My father attempted the world record for the largest firework back in 1979 [with] a 42-inch-diameter white magnesium cascading flower that we displayed down in Titusville, Florida," he says. "Guinness gave him the world record, but it didn’t launch to the height or break to the size that he wanted it to. He always wanted to retry that and I had the opportunity this past New Year’s Eve to give my family another crack.”

14. THE FUTURE IS BRIGHT (OR PASTEL).

Research is underway on fireworks that are quieter—which could cause less stress to animals, children, and those suffering from post-traumatic stress disorder—as well as fireworks that are kinder to the environment by using cleaner, nitrogen-based fuel.

But those aren't the only innovations shaping the future of fireworks. Shapes are changing, too; look for letters and corporate logos. Designers now also have a host of softer and more diverse colors at their disposal. “In the early ‘80s we started developing colors in between ROYGBIV, the basic colors, so now we can produce lemon and tangerine and chartreuse and aqua and every color within the spectrum,” Grucci says. They do so by fiddling with the purity of the metals used and the size of their particles—which also change other parts of their overall effect. Large particles of metals like titanium, iron, and aluminum result in large “splinters” and a glittery effect, Grucci says, while smaller particles lead to fewer splinters and “a very bright light.” He notes that at this point, they can "get pretty much any Pantone color" in a fireworks composition.

15. THEY LOVE TO SEE AMAZEMENT ON THE FACES OF AUDIENCES.

People watch the Macy's Fourth of July Fireworks from outside Brooklyn Bridge Park in 2015
Andrew Renneisen/Getty Images

“I think a crowd, in general, appreciates a lot of action—variations in colors and noise; and pattern shells such as smiley faces, hearts, and dice are always pleasers,” Heckman says. According to Grucci, “This is a very serious business. But it’s colorful and it’s beautiful and it has great, great energy. When we go to a performance, we can see an 80-year-old man and a 5-year-old granddaughter watching the show and their expressions are pretty much the same.” In that moment, “They both [become] children.”

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