Jan_Feb_AEM by Watus Kirby

here are speakers and there are entertainers but there is only one Craig Karges!

“We recently had Craig Karges perform at a business seminar where most of the attendees were top level executives who get to attend many such functions. When it comes to seeing speakers, business gurus and entertainers our audience has ‘been there done that! ’ At least that was the case until they saw Craig Karges. To put it simply, Craig astounded, delighted and entertained our group with his unique performance. I would highly recommend Craig Karges to the event planner that is looking to find someone who is truly different. Craig engages the audience and enthralls them. The real magic involved is how good you will look for bringing Craig to your group.” – Frank Daley, Vice President, AmeriQuest

304.233.4366

www.craigkarges.com

ckarges@craigkarges.com

10 COVER STORY: DICK SMITH

IACEP Founder, Dick Smith, is honored as the first inductee into the National Corporate Entertainment Hall of Fame. Inside is an exclusive interview with the legendary producer who put his reputation on the line to do what others said could never be accomplished.

4 6 16 25 26 32 36 40

HERE’S TO YOU DICK SMITH. From The Publisher

THE AWARDS GALA / PART 2 Charmagne Loveless Inside Out READER’S CHOICE AWARDS CONTENDERS Artist Pictures & Bios 2009 READER’S CHOICE AWARDS BALLOT Vote Here or Online

MITCHELL ZEIDWIG Acclaimed Pianist and Comedian

BILL BOGGS Speaker

GERRY MCCAMBRIDGE

FLIP ORLEY Comedy Hypnotist Sleep Has Never Been So Funny!

Nominated Best Speaker from American Entertainment Magazine

The Mentalist Magic, Comedy & Mindreading As see on on NBC’s “Phenomenon”

DIVERCITY

MICHAEL HARRISON

FINIS HENDERSON

As Seen on America’s Got Talent

Master Musical Impresionist, Singer, and Dancer

Nominated Best Novelty Act from American Entertainment Magazine

JAY ALEXANDER: DON’T BELIEVE YOUR EYES More Than A Little Magic

UTOPIA: THE NEWEST SHOW FROM BARKLEY / KALPAK Adapting To A Changing Market.

THE IACEP PAGES Catch Up On Everything That Is Going On Inside The Association JOHN GARRETT Extremely Clean, Extremely Corporate, Extremely Funny.

THE OFFICIAL PUBLICATION OF IACEP

PETER DE CARLO Motivational Speaker and Founder of Fast Food Chain Blimpie’s

A Three Women Theatrical Comedy Experience About Life, Love, Politics and Social Issues

Here’s To You, Dick Smith. If there ever was a person who inspired, motivated and influenced other folks in the corporate entertainment industry, Dick Smith is that person. Dick exudes excitement, knowledge, ideas and control. He built an amazingly successful business, sold it, made money, and then started all over again. And this was no accident. It came from hard work and careful planning. You can’t possibly count on both hands all the fledgling entertainment professionals who worked for or with Dick and went on to be amazing successes themselves. I met Dick Smith through a mutual relationship with Randy Nolen. Back in the mid

IACEP (The International Association of Corporate Entertainment Producers) and the proposed groundwork was laid. These folks were awesome and there was a mutual respect for each other and the lead that Dick Smith took in making something everyone previously thought was impossible, come to fruition. nineties, I was coming off an amazing success with our campus publication, Campus Activities Magazine® and a complete bust on another project, Myrtle Beach Entertainment & Lifestyles and was really considering a launch in the corporate market. Randy put me in touch with Dick and we kicked around some ideas. Dick was up front and at times in my face about this new magazine because he wanted to educate me to the fact that Corporate Entertainment was absolutely nothing like working in the Campus Market where you had thousands of eager buyers hungry for anything that was new or different. With Dick as a teacher, I took a few years to explore and understand the market. Even after the untimely launch of the magazine which just happened to coincide with September 11, 2001, there were lessons to be learned.

But as the magazine began to take on a meaning and life of its own, I went back to Dick with the idea of forming a national advisory board consisting of corporate professionals to help guide the path of the magazine and help us be sure we were hitting our target. Dick’s answer to me was “let’s give it a shot.” In September 2004, Dick Smith used his personal clout to bring in some of the industry’s top producers at their own expense to Chicago to discuss American Entertainment Magazine. On hand were Sam Trego (San Diego) from Imagination Entertainment, Steve Mochel (New York) from Jack Morton Worldwide, Maria Battaglia (Las Vegas) from Always Entertaining and the late Rick Olezewski (Madison Heights, MI) from Jack Grenier Productions. It was from that meeting that a unanimous vote came to start a new organization.

While everyone else had their responsibilities, Dick Smith went straight to the heart of the matter. “People will come because they will be curious and they won’t want to be left out. Here is a chance for everyone to learn from each other and make business better for all of us. This WILL work!” While Dick called in all his favors with all his contacts all over the country, my job was to publicize the initial meeting and offer up my AMEX to fund the facility (which was a little scary for a struggling magazine, but I had confidence in Dick’s ability). On January 22, 2005, the organizational meeting of America’s Entertainment Producers took place at the Manchester Grand Hyatt in San Diego, CA and met with resounding success. While I like to take pride in having a part in this accomplishment, it was truly Dick Smith who brought these folks together and changed history. The Interna-

Dick Smith with the assistance of a part-time executive director, Leona Plaugh, put in countless hours to build IACEP’s membership, talk with members and potential members to find out what they needed and wanted from the association, and plan the annual meeting – the key deliverable.

tional Association of Corporate Entertainment Producers was unanimously voted a reality by the attendees and the rest is history. Through Dick Smith’s guidance, a board of directors and an executive committee were established. The attendees in San Diego voted Dick Smith chairman of the board and for the next two years, a tremendous amount of work fell on his shoulders. As with any non-profit organization starting out, it was difficult to get volunteers to take time from their busy schedules to devote to the massive work required to get the organization on its feet. So for most of two years,

Obviously, the huge amount of time Dick Smith committed to IACEP took a toll on his personal life and his business. In 2007, he announced that he would step down from the role of Chairman and with the end of his term, he planned to step down from the board. With all this said, Dick has continued to be an avid member and supporter of the organization he gave birth. Will he make another run for the board? I think it will depend on the direction of the organization and what’s going on in his personal and professional life. In the meantime, we can only be thankful for the friends we met, the lessons we learned and the experiences we shared. Dick is one guy who will ALWAYS tell you exactly how he feels and many times with the highest degree of discretion. The cards are always on the table.

THE WATER COOLERS ARE THE “PERFECT STORM” Some acts pull the audience together… “WOW! Yes, WOW you did a great job recognizing and expressing the words of independent pharmacy!” - United Drugs Some acts bring world class musical entertainment… “The voices were amazing – it’s like a cross between a Broadway show and an awesome dance band!” - Las Vegas Meetings By Harrah’s Entertainment Some acts deliver hilarious comedy... “You had our 300 guests hysterically laughing – the talk about your performance lasted until the last guest was on the plane.” - Seattle Premiere Events, Microsoft Event

BUT VERY FEW ACTS ACHIEVE ALL THREE. WELCOME TO THE WATER COOLERS –- THE PERFECT STORM FOR CORPORATE EVENTS. Go to www.seethewatercoolers.com or call 1-877-Cooler 5 (266-5375) today to put a date on hold! 4, AMERICAN ENTERTAINMENT, January/February 2009

www.americanentertainmentmagazine.com

January/February 2009, AMERICAN ENTERTAINMENT, 5

The Awards Gala

With MCs, as with so many other purchases, you get what you pay for. Good professional MCs with a track record may cost from $5,000 to $10,000. You will have an even better selection with nationally-known MCs who cost in the $10,000 to $20,000 range. Is it worth it?

Producing an “Entertaining Event”: Part Two

Absolutely! If it’s between having fancy centerpieces, shrimp cocktails or good entertainment, budget for the entertainment. People don’t just remember how pretty things looked or what they ate... they remember what a good time they had.

By Charmagne Loveless Key Artist Group

In Part I of this article , which appeared in the Nov-Dec issue of AEM, I talked about the 3 key building blocks you need to create a great gala awards evening. Those elements are: 1. A concise written schedule for the evening 2. Professionally written scripts, completed well in advance, and… 3. Great live or recorded music If you missed Part 1, please go to www.americanentertainmentmagazine.c om where you can read the article in its entirety. In this issue, we’re going to focus on just one element. It’s the catalyst who brings all of the other elements together and turns them into a memorable event— a professional MC.

WHY A PROFESSIONAL MC? Being an experienced talent agent, I’m partial to having a professional MC running the show because I know it is usually the best thing for most awards programs. Even if a company employee is “good on stage” or “a really funny guy”, a professional MC is a better alternative. Here’s why: By definition, an employee already has a job. Most can’t take the time from that job

to prepare, rehearse, and memorize whatever might be required. That’s not to say employees can’t take part in the program. They should. But asking one person to be responsible for carrying the show, in addition to his or her regular job responsibilities, is asking a lot. Second, a professional MC is a neutral person who is free to relate to the audience on levels a co-worker can not… or probably shouldn’t. There are no office politics, no reporting relationships, nothing that can get in the way of being entertaining. The MC is free to be himself or herself, and everyone else is free to enjoy the show.

CHOOSING A PROFESSIONAL MC

My first piece of advice: do it early in the process. Many corporations think about their MC late in the process, after menus, décor, staging, and sound and light production are paid for. In reality, your choice of MC should be one of your earliest decisions — before the budget is spent.

6, AMERICAN ENTERTAINMENT, January/February 2009

That goes for non-award winners as well. A professional MC makes the awards night enjoyable for everyone, which is why it’s also important to consider an MC who is truly an entertainer in his/her own right, not just a pretty face or speaking voice. Magicians, musicians and comedians all make excellent MC’s, simply because they are entertainers. They can fill for five minutes, 10 minutes, or longer if necessary… and save the show in the process. Very few company executives can pull that off. Don’t forget to consider the demographics of your audience when thinking about an MC. Audiences like seeing someone they can relate to on stage, someone similar to them in age, likes and dislikes. For example, if you are the male CEO of Tupperware or Mary Kay Cosmetics, you need to consider that your audience is mostly female. Who will they relate to? They need someone who comes off as authentic from a female perspective and who relates well to their industry background. According to Jeff Enloe, of Enloe Productions in LA, “Today's age groups of 30 and younger are very critical of the message being authentic and true. Having the right speaker or emcee these audiwww.americanentertainmentmagazine.com

The Awards Gala

Producing an “Entertaining Event”: Part Two

By Charmagne Loveless Key Artist Group

CHOOSING A PROFESSIONAL MC

6, AMERICAN ENTERTAINMENT, January/February 2009

Since itâ&#x20AC;&#x2122;s inception in 2001, American Entertainment Magazine has had support from many helpful guiding forces in the industry, all which strive to make our publication better. Few have done more for not only our publication but the corporate events industry in general than Dick Smith. It was Dick who was first approached by our publisher, W.C. Kirby, when the idea for an American Entertainment Magazine advisory board was born and it was Dick who invited most of the attendeeâ&#x20AC;&#x2122;s at their initial meeting. Here the seeds were planted for not only a long and fruitful relationship between our magazine and these attendees, but also the International Association of Corporate Entertainment Producers was first conceived.

STORY BY IAN KIRBY 10, AMERICAN ENTERTAINMENT, January/February 2009

www.americanentertainmentmagazine.com

January/February 2009, AMERICAN ENTERTAINMENT, 11

ince then Dick has been a champion for the organization (and for us as the official publication of IACEP), if not the industry as a whole. For these reasons, we feel compelled to make Dick Smith the first recipient of the American Entertainment Magazine’s National Corporate Entertainment Hall of Fame Award. Read on and you’ll see why we feel he is so deserving.

Dick’s roots in this business began long before he ever considered becoming a corporate entertainment producer, as a performer himself. Playing in a band throughout high school and college, he was able to offset the majority of his higher education expense through performing. “Choosing to stay in a band instead of getting a corporate job, even after receiving a degree in business, seemed like an obvious decision. Quite frankly, not only was it more fun than a 9 to 5, but I was making as much money.” While his early group was a collaboration of friends, Dick’s ambition and keen business savvy (for which he would become so well known later in life) made the project a real success. “It certainly wasn’t all me because I was with a good group of guys, but I did always assume the leadership position. As a college graduate with a business degree, I was in a unique position and I had always been an entrepreneurial spirit. As a kid I shined shoes at Midway airport in the 50’s and mowed lawns in junior high school; for me the band was no different.” Although the outfit was a co-op and shared any profits evenly, Dick found himself simultaneously gaining vast amounts of experience, but doing most of the work to get there. “I found myself doing a lion’s share of the work and after getting out of college (and just before getting married), I left the co-op to start my own band.”

a stepping-stone for Dick’s rise into corporate entertainment. Dick turned the agency over to his equally savvy wife, Ellen, who ran the operation until 2003., In 1978 Dick joined Paramount Attractions. “I had a little bit of a background in booking some celebrities through Top Notch Talent and I was more interested in the celebrity side of corporate entertainment than bands. I joined the likes of Randy Nolen, Bob Barranco, Paulette Wolf, Marianne Bowles, Al Curtis and a number of other names that have gone down in infamy at Paramount, not least of which was Art Goldsmith, the owner and an industry leader at the time.” Helping to dramatically grow Paramount as Executive Vice President until 1985, Dick felt he was suitably prepared to start his own entertainment production business and felt he had the understanding and strategy to do well.

In 1985, Corporate Productions Inc. (CPI) burst onto the scene and immediately began positioning itself along with the biggest and best names in the business. “We were competing with the likes of Jack Morton Productions, Williams Gerard, Ray Bloch Productions, Gail & Rice and some of the other stalwart companies that were successful at the time.” Coincidentally by aiming the focus away from only promoting entertainment to helping companies communicate and reinforce their meeting messages, CPI was doing more entertainment events than ever. “It just so happened that we wound up doing more talent than less, even though our focus was on helping corporations develop and deliver strategic mes-

Working for Dick Smith two decades ago was a tremendous learning experience that has greatly shaped my skills as a producer. His distinguished career in the industry is the benchmark so many of us strive to reach. Frank Steck, Spotlight Corporate Entertainment

“Through my tenure with Paramount from ’78 to ’85, I learned that just selling corporate entertainment to people didn’t work so well. I came to the realization that the corporate entertainment side of business came under the umbrella of a company’s “corporate communications” department. So, I began using my theater background to help business execu-

“Dick Smith and the Creed” was his first experience in running his own operation. “I started with four members in the band and acted as the leader, paying sideman rates for the backup. That was around July of 1973 and I never looked back.” Because his band was so successful, Dick made many acquaintances that would be an open door into his role as a booker. “Club owners and event bookers would ask me for other acts of the same caliber, so I started referring bands to buyers and the next thing you know I became an agent.” Successfully developing Top Notch Talent was

tives stage meetings by doing what were known then as industrial theater programs.”

12, AMERICAN ENTERTAINMENT, January/February 2009

saging, not just putting entertainment events.”

great

Dick looks back on this strategy as one of the “game breaking” moments in his career. “I think that was one of the biggest single blinding flashes of realization to happen in my career – to understand that companies don’t want to book entertainment. I’ll say that again: Fortune 1000’s and the decision makers who are charged with selling more product, lowering their costs or enhancing their brands as their primary focus have no interest in entertainment. Unless, that entertainment helps them achieve one of those three goals.” Dick realized his background in theater, entertainment and business could give him a unique advantage in helping busy executives to meet those golden objectives of selling more, lowering costs and enhancing the brand. Of course Dick’s ideas were profound to him, but nothing completely revolutionary to the industry as a whole, as he will himself tell you. “The companies that did well in the 70’s and 80’s (and beyond) in corporate productions of all sorts mostly had a communications bent or flair. This meant they could and did do programs for clients without entertainment, but

www.americanentertainmentmagazine.com

they found that using entertainment as part of the process and a vehicle to help to deliver messages made a whole lot of sense and got them much more impact. The early pioneers

current company, communivisions llc . “Within 3 months we were in business,” he says. Practically living on the edge of his seat until he could get back on the horse, Dick looks

But, as the sale of a small business usually goes (especially to a publicly traded company), the principal players don’t necessarily see eye

Congratulations to Dick Smith for yet another first! Being the first inductee in the National Corporate Entertainment Hall of Fame. It is only fitting that this wonderful honor is bestowed upon this great man that we are all better for knowing. As Arthur Ash said, “With what you get you make a living, with what you give you make a life”. That sums up the Dick Smith that I know. Always ready and willing to share friendship, knowledge, and opportunities. Maria Battaglia, Always Entertaining

got this. People like Jack Morton himself who was an entertainment agent and bandleader; Frank Dickson of Ray Bloch Productions and Ray Bloch himself as a bandleader are great examples. Art Goldsmith was a bandleader as well. When they grasped “entertainment” as a communication concept early on, they wrote the book on the subject. Their companies grew exponentially and became significantly profitable.” Dick remembers a time when the tenets laid out by the forerunners above were not commonly accepted by the industry initially and also even scoffed at. “There were people in entertainment (producers) who refused to align themselves with corporate communications objectives through those years. They felt being great entertainment was reason enough for a corporation to hire you. I think some of those people never made it in corporate entertainment.”

to eye. “The first year was a honeymoon. The second year we became estranged and before the third year started, I had to get out. But, that’s kind of how things go; it’s amazing how an entrepreneur and his company can be acquired by another entity. In the process, the entrepreneur gets paid a lot of money and commits to staying on for the long term, but how quickly one can go from a genius to someone who doesn’t know what they’re talking about.” Dick says the handwriting was on the wall; if he couldn’t provide some direction or suggestions on the project he started (owner or not), he realized he needed to move on. “I realized I was better off living through my 5-year noncompete period by doing industry consulting, which TBA kindly agreed to.” In 2003, Dick almost immediately started his

back in hindsight with some regret. “I have to admit in some respect it was a mistake. I thought I could start again with 5 or 6 people and quickly grow the operation back into one of the leading companies in the industry.” Dick says this ideal quickly revealed itself as an illusion. “What I learned is that you can’t go back. Things change; although I am proud of our efforts and the many things we have done at communivisions, I found winding the operation down was what I wanted to do. It has become just myself and a secretary and part-time bookkeeper, with me serving a few select customers that appreciate what we bring to the table. I don’t ever see growing the business back to the level that Corporate Productions was before the sale. I am happy in a more relaxed setting.”

With these philosophies set out from the launch, Corporate Productions thrived with Dick at the helm. “We became one of the preeminent business communications and entertainment event companies. We actually called ourselves a production company early on, then switched the title later to a business communications company as we grew.” For 15 years Dick guided Corporate Production along its way, growing all along. CPI went from a staff of 6 to 50 by the time the company was sold to TBA in 1999 and though Dick did come out the other end with means, he did not at all intend it to be his ticket out of the business. “Actually, the sale to TBA was never intended to be some sort of golden parachute and a way for me to get into early retirement at the age of 48. I had every intention of working for TBA until the end of my career…, which I hope will be 100+.”

www.americanentertainmentmagazine.com

Dick And Ellen Smith With Bob Hope January/February 2009, AMERICAN ENTERTAINMENT, 13

In fact, today corporate entertainment occupies just a segment of Dick’s activities. “I have actually scaled back my activities in the corporate entertainment field to probably about 25% of what I do. I am now actively and happily engaged in consulting with small to mid-size business owners, both within the entertainment

said, “You’re not really going to go ahead and publish that magazine are you?’ At which point Kirby assured me he had to. He had plenty of commitments; both from people who were determined to keep the industry alive and investing advertisers. So, I wrote a new article with a totally new twist about how we might all try to survive post 9/11 as perhaps a dark chapter in

entertainment?” And the concept of IACEP was born. The history of the organization could fill up another full story, but the crux of the matter is that Dick and many of the key members above were invaluable in the organization’s inception and initial growth. “Someone asked ‘Who’s gonna run

To say that Dick Smith is a legendary figure in our business is an understatement. Dick's knowledge of the business and willingness to share with others (including founding IACEP), as well as mentor so many in our industry is unmatched. I am truly grateful to have benefited personally from his leadership and unselfish advice through the years and to also call him a colleague and friend. Nancy Hays, Nancy Hays Entertainment

industry and beyond.” This includes some manufacturers, distributors and sales service organizations who wish to take their businesses to the next level. This all takes place under the banner of a 52 year-old organization called Vistage International, (formerly The Executive Committee- TEC). “I am doing a lot of coaching and consulting work as a Vistage Chair now and feeling great about it.” Dick’s involvement with American Entertainment Magazine and IACEP (an organization many say would’ve never grown legs without Dick Smith and exec director Leona Plaugh) originates during his days with TBA. “In the spring of 2001, my good friend Randy Nolen introduced me to [W.C.] Kirby as a guy who wanted to start a magazine focused on corporate entertainment. Kirby had heard from Randy that I might be a good person to speak to about the industry and when Kirby subsequently contacted me, we agreed I would write an article for the first issue of what at the time was called American Corporate Entertainment Magazine and was due to be put out in October 2001.”

our lives but a chapter nonetheless.” Soon enough, Kirby called a meeting for an advisory group on the magazine. “He asked me if I wanted to be a part of it and I asked him the two questions any self-respecting entrepreneur would ask, “Who else is involved that I know?’ and ‘How much does it pay?’ At this point Kirby informed me it didn’t pay anything and I was the first person he’d approached.” This led to a meeting in September of 2004 during the Motivation Show in Chicago, including Dick, Steve Mochel, Rick Oleszewski, Sam Trego, and Maria Battaglia and Ron Blackmore, among others. “It was a great meeting, at the end of which Sam Trego mentioned he had so much fun getting together and learned so much sharing ideas, why not start an association of producers specializing in corporate

it?’ And everyone turned and looked at me and said ‘Oh Dick, you’re retired, how about you?’” Despite being unequivocally un-retired, Dick took the initial 2-year position as the first Chairman of the Board of Directors of IACEP and took the organization through its infancy. “Kirby, Leona Plaugh, our founding Board Members and many others stepped up to the plate and had a tremendous impact.” Dick Smith (whether he wants it in print or not) has certainly made a tremendous footprint on our industry and with this tribute, we thank him. Consider attending the 6th Annual IACEP Conference at Green Valley Ranch & Resort in Las Vegas, Nevada and get a chance to meet and speak with this veteran and don’t forget to congratulate him on his award. AE

14, AMERICAN ENTERTAINMENT, January/February 2009

5x7” FULL COLOR POST CARDS w/ UV Coating on Primary Side 14-Pt Commercial Grade Stock. 1,500 Free when you Buy 1,000 8.5x11” COLOR ONE SHEETS printed on one side 100-lb Premium Gloss Text. 1,500 Free when you buy 1,000 11x17” COLOR POSTERS printed one side 100-lb Premium Gloss Text. 1,500 Free when you buy 1,000

Dick began working on the article, due to Kirby by the middle of September 2001. “When 9/11 struck, I simply tore up the draft and threw it out, saying to myself ‘Well, this guy won’t be starting a new magazine now, the industry is probably going to implode, at least for a while.’ Couple this with the dotcom bust we were just suffering through and the impending impact of Sarbanes/Oxley and I never expected to hear from Kirby again.” While producing an event for one of his oldest clients (IGA) in Palm Springs at the end of September, Dick received a panicked call from Kirby. “He said ‘Where’s your article?’ And I

Special Paper Buy. Limited Quantities Available. Prices in Effect As Long As Current Stock Lasts. Order Now!

11x17” COLOR REPRINTS/ 4 PAGES color all sides Folded to 8.5x11” on #100 Text. 1,500 Free when you buy 1,000 FULL COLOR BUSINESS CARDS printed two sides with UV 14-Pt Commercial Grade Stock. 1,500 Free when you buy 1,000

Music heals Dick’s mid-life crisis www.americanentertainmentmagazine.com

$299 $299 $599 $999 $79

Plain White T’s

Cheap Trick

Toxic Audio

Aretha Franklin

Taylor Swift

Jay Leno

Mike Birbiglia

Jeff Dunham

Lewis Black

Taylor Mason

Jackson Browne

Plain White T’s

Emerson Drive

Charlie Daniels

Blue Man Group

Mitchell Zeidwig

Joe Castillo

Craig Karges

The Passing Zone

Terry Fator

Plain White T’s new album BIG BAD WORLD is the highly anticipated follow-up to the band's breakthrough release, Every Second Counts. On the strength of megahit single "Hey There Delilah," which rocketed to No. 1 in 10 countries and was the fourth song in history to sell over 3 million digital downloads, Every Second Counts sold over a million and a half copies worldwide and earned the Chicago quintet two Grammy nominations. The band recently finished a North American arena tour with Panic at the Disco and a successful headlining tour around the U.S.

Jackson Browne has written and performed some of the most literate and moving songs in popular music and has defined a genre of songwriting charged with honesty, emotion and personal politics. He's been honored with inductions into the Rock and Roll Hall of Fame (2004) and the Songwriter's Hall of Fame (2007). At the latter ceremony, Jackson performed his song "Lives In The Balance," which SHOF notes is, "a fitting example of how his social and political activism has influenced much of his work."

CHEAP TRICK may be one of the most covered bands of all time. Since the 70s they’ve been blending elements of pop, punk and even metal in a way that is instantly catchy and recognizable. With timeless classics such as “I Want You to Want Me,” “Surrender,” and the late 80s lighter-waving favorite, “The Flame,” CHEAP TRICK are a musical institution. With more than 5,000 performances, 20 million records sold, 29 movie soundtracks and 40 gold and platinum recording awards, the band is an industry favorite.

Plain White T’s new album BIG BAD WORLD is the highly anticipated followup to the band's breakthrough release, Every Second Counts. On the strength of mega-hit single "Hey There Delilah," which rocketed to No. 1 in 10 countries and was the fourth song in history to sell over 3 million digital downloads, Every Second Counts sold over a million and a half copies worldwide and earned the Chicago quintet two Grammy nominations. The band recently finished a North American arena tour with Panic at the Disco and a

Vox Audio aka “Toxic Audio” is an amazing, Off-Broadway award-winning theatrical show, where the star is the human voice. The five powerhouse singers are an instant hit at theatres, casinos, colleges, trade shows and performing arts centers everywhere! Their album, “Chemistry” was named “Acappella Album of the Year”. Vox Audio has thrilled sell-out crowds and toured internationally throughout Canada, Mexico, Asia, South America, and Europe.

With a work ethic the size of Texas, Emerson Drive emerged from Canada into the Nashville music scene with a brand of hip country combined with stellar musicianship and signed with Dreamworks, Nashville. They are one of the only bands ever signed to a major label who have the distinction of playing their own instruments on ALL of their records. They humbly accept this honor because they are true instrumentalists.

18, AMERICAN ENTERTAINMENT, January/February 2009

As a member of contemporary music’s royal family, Aretha Franklin is peerless, the undisputed reigning “Queen of Soul.” The 17-time Grammy winner (second highest of any woman in history), Grammy Living Legend and Lifetime Achievment Award honoree, the first woman inducted into the Rock And Roll Hall of Fame, and 2005 recipient of the Presidential Medal of Freedom (America’s highest honor, her awards and accolades are endless. Her name is on the lips of every producer and every audience member.

Born in 1936 in Wilmington, North Carolina, he was raised on a musical diet that included Pentecostal gospel, local bluegrass bands, and the rhythm & blues and country music. Epic Records signed him to its rock roster in New York in 1976. The contract, reportedly worth $3 million, was the largest ever given to a Nashville act up to that time. In the summer of 1979 Daniels rewarded the company’s faith by delivering “The Devil Went Down to Georgia,” which became a Platinum single, topped both country and pop charts, and

"Got the radio on, my old blue jeans, and I’m wearing my heart on my sleeve,” Taylor Swift sings on “A Place in This World,” a self-penned coming-of-age anthem from her self-titled debut album. It’s an apt description of the enthusiastic, down-toearth young woman, whose original compositions about teenage life brim with poignant honesty and an infectious spirit. Just 16 years old, Taylor is at an age where most teenagers are only beginning to find their identity and lay tentative plans for the future. But there’s never been much doubt in Taylor’s mind about her calling.

Blue Man Group is best known for its award-winning theatrical productions which critics have described as "groundbreaking", "hilarious", "visually stunning" and "musically powerful." These performances feature three enigmatic bald and blue characters who take the audience through a multi-sensory experience that combines theatre, percussive music, art, science and Vaudeville into a form of entertainment that is like nothing else. People from all over the world, from all walks of life and from all age groups have become

www.americanentertainmentmagazine.com

Jay Leno follows in the footsteps of legendary NBC late-night hosts Steve Allen, Jack Paar and Johnny Carson as the host of the Emmy Award-winning and top-rated “The Tonight Show.” Jay has won four Emmy Awards - In 1995 for Outstanding Comedy, Variety or Music Series, and in 1996, 1997 and 1999 for Outstanding Technical Direction. One of the country’s premier comedians, Leno has appeared in hundreds of comedy shows around the United States and in 2001, Bosnia, where he performed for the troops.

Mitchell Zeidwig is a critically acclaimed concert pianist, comedian, and composer who has performed as a soloist with major symphonies around the world on 6 continents and for many Fortune 500 corporations. Audiences call his one man show "Masterful, Hilarious, Ingenious!" But this is a show you need to experience live to enjoy. It is filled with brilliant music and uproarious comedy that will leave you with fond memories of an enjoyable evening.

At 24, Mike was one of the youngest comedians ever to appear on The Late Show With David Letterman. Seventeen Magazinenamed Mike one of the “Voices Of The Next Generation” and Mike made countless appearances on Conan, Kimmel, Carson Daly, and Ferguson. From there, Mike took his act on the road. His debut album Two Drink Mike drew comparisons to Seinfeld from Esquire Magazine in their “Favorite Comedy Albums.” AMG Music hailed it “the arrival of standup’s next big thing.”

Absolutely unique! Powerful! Penetrating and visceral are just a few of the words that have been used to describe him. Magically coaxing detailed images from fine grains of sand, then transforming them into ever-changing shapes. This sand animation is projected on large screens for corporate events, conventions and other audiences. Sand Art is an awe inspiring, captivating, inspirational experience. Joe is one of the first and certainly the premier “SandStory” artist in the world!

www.americanentertainmentmagazine.com

Jeff Dunham is a ventriloquist whose tremendous talent and skill make him a master of his craft. His puppets come to life and portray characters with intense and colorful personalities. His puppet Peanut is a self-described comic genius who possesses unending energy and a rapid fire wit. Dunham has a tremendous amount of experience and has been featured on shows such as “Entertainment Tonight” and “Good Morning America” and he even shared the couch with Johnny Carson.

During Craig’s one-man show, tables float, minds are read, metal bends and your imagination is challenged because you won’t believe your eyes. Craig’s credits include more than 4,000 performances in 16 countries on 4 continents; 40 national television appearances including The Tonight Show with Jay Leno and two, one-hour television specials.

Lewis is one of the most prolific performers working today. He executes a brilliant trifecta as a standup comedian, actor and author with 200+ nights a year to sell out audiences. He is one of few performers to sell out renowned theatres including Carnegie Hall, Lincoln Center, New York City Center and the MGM Grand in Las Vegas. He was the first stand-up comedian to ever perform at the Walt Disney Concert Hall in Los Angeles.

Experience the unbridled adrenaline of roaring chainsaws, flaming torches and knives flying through the air, as only The Passing Zone can deliver. As Tonight Show regulars and finalists on America's Got Talent, Jon Wee and Owen Morse are bona fide experts on working together effectively. Holding four Guinness World Records and 18 Gold Medals from the International Juggler's Association, expect as many big laughs as big stunts. When it comes to comedy entertainment, They are the best in the business.

World-class ventriloquist, stand out stand-up, and talented musician, Taylor Mason has spent the last 25 years making audiences laugh from on stage, in film, and on television. Taylor’s credits include his Star Search Grand Champion performance, Last Comic Standing, FOX-TV’s “Bananas”, TBS’s “Comedy Roadshow” pilot (airing Spring 2009), and numerous appearances on Comedy Central and Showtime. His comedy has cut to the funny bone of audiences of all ages.

The Human Jukebox blends Danny Gans and Ronn Lucas into a world class singing impersonator, comedian, and ventriloquist. From country stars like Garth to rock legend Sir Elton, to the voices of the Rat Pack, he can please any audience with clean humor, right-on impressions and amazing ventriloquism.

January/February 2009, AMERICAN ENTERTAINMENT, 19

Tim Sanders

After helping to lead Yahoo! to the forefront of the Internet value wars as Chief Solutions Officer, Tim Sanders is now a man on a mission, spearheading the corporate “responsibility revolution.” Following two previous best-sellers, Tim explores social innovations in Saving the World at Work while advising leaders on next-generation global strategies. Tim has the winning playbook: companies that nurture people, communities and the planet have stronger brands, better sales and healthier bottom lines.

Harlem Gospel Choir

The world famous HARLEM GOSPEL CHOIR gives foot-stomping and hand clapping blues, jazz and gospel spirituals. From the heart of Harlem, the choir travels the world as the ambassadors for African-American culture, and is loved for its joyous music. The theme of every performance is bringing people & nations together & giving something back. The Choir's songs of gospel and inspiration touch the depths of the soul and raise spirits to angelic heights, truly a musical experience not to be missed.

Anderson Cooper

Anderson Cooper graduated from Yale then studied briefly at the University of Hanoi. He was the chief international correspondent of Channel One before joining ABC News on World News Tonight and 20/20. He then accepted a position as anchor on his own eponymous CNN talk program, Anderson Cooper 360°. Cooper joined the cast of 60 Minutes as an infrequent correspondent in December 2001. In addition he hosted the reality show The Mole for its first two seasons (2001-2002).

Blue Man Group

Bill Boggs

Celebrity interviewer and TV personality, Bill Boggs, challenges corporate audiences by narrowing down the key elements of success.Author of the book, Got What It Takes, he relates information derived from exclusive interviews with Donald Trump, Matt Lauer, Brooke Shields, Sir Richard Branson, Mario Cuomo (former NY Governor), Bobby Flay, Bill O’Reilly, Yankees manager Joe Torre, songwriter Diane Warren, NBC CEO Jeff Zucker, Renée Zellweger and even “Survivor” creator Mark Burnett.

The Rat Pack Is Back

Critics are raving; audiences are standing. THE RAT PACK IS BACK! is a major hit! Playing in more than a dozen cities in 2006, the show is now booking many corporate dates and is the perfect demographic for typical audiences. The show re-creates an impromptu night at the Sands Hotel in Vegas, circa 1961. Relive life as it once was with all the music and frivolity of an age that was carefree and fun.

20, AMERICAN ENTERTAINMENT, January/February 2009

Steve Wozniak

The rise of personal computing as we know it, hinged on Wozniak’s (or “Woz”) decision to follow his passion for engineering. To finance this expedition into the technological unknown, both Woz and Steve Jobs had to sell some of their most prized personal possessions. Together, they raised the $1,300 needed to create the earliest Apple prototypes in Jobs’ garage. The rest is history. Apple is now known as the most resilient, trouble-free computer in the world.

Black Violin

Black Violin was discovered by Grammy Award winning Linkin Park’s front-man Mike Shinoda, who enjoyed their sound and invited them to embark on a worldwide tour. They have appeared on various corporate, private, charity non-profit, and nationally televised programs with pop stars Alicia Keys, P.Diddy, Kanye West and Fifty Cent and Rock 'n Roll and Soul icons Areosmith, Tom Petty, Eagles, Michael Bolton,Aretha Franklin and many more. Their performances have been seen from Dubai to Las Vegas, Boston to Bangkok, Miami to Mumbai.

Mike Rayburn

Featured in Newsweek, USA Today, Billboard, and Gig, Mike has received standing ovations at all 8 of his Carnegie Hall performances. Nominated Speaker of the Year and Solo Performer of the Year by American Entertainment Magazine last year, most recently Mike was featured on the cover of Successful Meetings Magazine.

Joe Castillo

www.americanentertainmentmagazine.com

Craig Karges

Bonnie Raitt

Forging an alliance with Capitol Records in 1989, Bonnie achieved new acclaim. She won four Grammy Awards in 1990—three for her Nick of Time album and one for her duet with John Lee Hooker on his breakthrough album, The Healer. Luck of the Draw (1991, seventimes platinum) fired out two hit singles— "Something to Talk About" and "I Can't Make You Love Me" and added three more Grammys. The double-platinum Longing in Their Hearts, featured "Love Sneakin' Up On You" and won Best Pop Album.

Greg Schwem

The Chicago Tribune calls Greg Schwem “king of the hill in the world of corporate comedy.” Greg skewers the business world with clean, customized routines on topics such as Blackberry addiction, mindnumbing Powerpoint presentations and AFE’s (Acronyms for Everything). Despite the economic downturn, Greg’s recent clients include Microsoft, Cisco Systems, GM, McDonald’s and General Electric. Greg can be heard on XM/Sirius Radio and has shared the concert stage with Celine Dion and Jay Leno.

Esteban

Esteban’s latest release “Best of Esteban” is Billboard’s #1 New Age Album with 46 weeks on the chart. With over 3 million career albums sold and over 700,000 Signature Guitars, he holds the record for Highest Music Related Sales in the history of television. He has been featured on “Entertainment Tonight,” “Letterman,” and appears on GEICO commercials and the Home Shopping Network (89 Million Homes). He has been featured in People Magazine and the Wall Street Journal.

Lionel Richie

Joe Walsh

Taylor Swift

Melissa Etheridge

Sarah McLachlan

Aretha Franklin

www.americanentertainmentmagazine.com

Melissa Etheridge became one of the most popular recording artists of the '90s due to her mixture of confessional lyrics, pop-based folk-rock, and raspy, Janis Joplin/Rod Stewart-esque vocals. Etheridge's fourth release that would prove to be her massive commercial breakthrough. The album Yes I Am spawned two major MTV/radio hits with "I'm the Only One" and "Come to My Window" . The album would sell six million copies in the U.S. during a singleyear and earned a 1995 Grammy Award for Best Female Rock Vocalist.

You can comb statistics surrounding Lionel Richie's amazing career and still miss something. You can factor in the nearly 60 million albums sold, the five Grammy's, twenty two top ten hits, an Oscar for best song, a golden globe, People's choice and American Music Awards too numerous to count, and a discography that navigate an emotional landscape that few writer/performers have ever truly captured-- and still not see what may be the key to this incredible musical legacy.

Sarah McLachlan's atmospheric folkpop has gained a following of fans not only in her native Canada. Continually redefining herself and emerging as a major voice in the growing adult alternative pop format, she founded Lilith Fair, a concert tour that helped usher other female songwriters into the mainstream. She traveled to Cambodia and Thailand to work on a Canadian-sponsored documentary on poverty and child prostitution. Her songs use her astounding voice to relate to her audiences and the world around her.

From his early hits with the James Gang through to his tenure with the Eagles -- as well as a successful solo career -- Joe Walsh remained one of the most colorful characters in Rock & Roll, lending his distinctively reedy vocals, off-the-wall lyrics, and expansive guitar leads to a series of AOR staples including "Funk 49," "Rocky Mountain Way," and "Life's Been Good." The soundtrack to the film Urban Cowboy generated Walsh's next solo smash, "All Night Long."

January/February 2009, AMERICAN ENTERTAINMENT, 21

Edwin McCain

Esteban

Millions of albums sold, hit songs on the airwaves, an unwavering fan base that keeps him on the road, and two of the most enduring wedding songs on the circuit: While radio fans may know him best for his smash hits “I’ll Be,” “I Could Not Ask For More” and “Solitude,” Edwin McCain paid his dues by touring relentlessly early in his career. Eight albums later, he continues to enthrall audiences with his live performances.

SoundConnection

Maggie Speaks

This award-winning ten piece band has been called, “outrageous,” “hip,” and “edgy.” Their bold sound and powerful performances “bring the art of playing music to a whole new dimension.” Andy Kushner, Entertainment Producer and bandleader, performs with SoundConnection at venues including Bellagio, Disney World, the Olympics, and Trump’s Maralago. Press includes appearances on Entertainment Tonight and TBS series Movie and A Makeover.

Finally there is a “National Cover Band” that appeals to both 20-somethings and 60-somethings. Their repertoire spans the 60’s through today with a focus on Emerging Trends and Artists. Their high energy, continuous music format with seamless transitions and imaginative mash-ups keeps dance floors packed. With a client list that reads like a Who’s Who of the Fortune 500, Maggie Speaks brings corporate events to life.

John Charles

A professional musician, John Charles is one of the most sought after, experienced and versatile entertainers in the world. He's an amazing singer, accomplished guitarist, hilarious & clean comedian, versatile song & show writer, and articulate MC. Customization is his specialty. John has also written, produced and hosted the openings of almost every Walt Disney Resort .

Toxic Audio

22, AMERICAN ENTERTAINMENT, January/February 2009

Mike Rayburn

Mutaytor

For a decade now, The Mutaytor has combined a cast of roughly two-dozen performers an 11-piece modern analog and electronic dance orchestra, plus a 15-member visual team, to create a rapid fire succession of futuristic vaudevillian theatre and choreographed dance acts, coupled with breathtaking feats of aerial performance, giant screen visuals and unique theatrical interpretations. The vibe is ecstatic, friendly and all-inclusive, and each show is an explosion of immersive, vivid art both on and off of the stage.

Darius Rucker

Darius Rucker’s album, Learn to Live, debuted #1 on Billboard’s country album charts, and instantly established the Grammy-winning artist as a major force in the field. The album’s centerpiece, “Don’t Think I Don’t Think About It,” spent two weeks at #1 and remains a top recurrent single while his single, “It Won’t Be Like This For Long,” is already reaching new heights.

Raspyni Brothers

With improv training from The Groundlings, two International Juggling Championships, multiple appearances on "The Tonight Show", and a place in the Guinness Book of World Records, Barry and Dan bring experience and excitement to corporate and special events. These unrelated siblings have toured with Robin Williams, Billy Crystal, and Howie Mandel. Their ability to quickly connect with any group has earned them standing ovations for over 20 years.

www.americanentertainmentmagazine.com

Jeff Kalpak

Jeff Kalpak is Partner and President of Barkley Kalpak Associates. He produces and directs theatrical productions such as the televised Drama Desk Awards show, where he has directed celebrities such as Antonio Banderas, Sean “Diddy” Combs, and Sarah Jessica Parker. He has produced and directed the Broadway musicals Chicago and Guys and Dolls for the Macau International Music Festival in China; and has also produced private concerts with artists including Sheryl Crow, Vanessa Williams and James Taylor.

Barkley Kalpak & Assoc

A fearless team of talented designers and producers, Barkley KalpakAssociates creates award-winning events and entertainment worldwide. BKA creates custom shows, theatrical productions, and has produced concerts with celebrity headliners including Sheryl Crow, Vanessa Williams and James Taylor. BKA also provides corporations with creative solutions for their business meetings and events. Their inhouse capabilities include graphic design, video production, set and lighting design, décor design, script writing, and a host of meeting and event planning services.

Steve Thomas

Steve Thomas is the founder of EastCoast Entertainment and a thirty-plus year veteran booking agent and live entertainment producer. He is recognized as an expert in the procurement and production of celebrity entertainment and has produced major shows all over the US and the world.

ASI Production Services

ASI Production Services was conceived by Dennis Smith and Janet Smith as a sound and light company but they soon moved into providing drapery. They then expanded to stage risers and elevated seating and next the addition of custom and stock scenery. With the inclusion of mobile staging, ASI has become the go-to company by corporate event producers to provide complete state-of-the-art production capabilities. Offices are in Orlando, Atlanta, South Florida, Dallas and Las Vegas.

www.americanentertainmentmagazine.com

Paul Creighton

Paul Creighton is Executive Vice President of T. Skorman Productions and a former member of the Board of Directors of IACEP. He has been involved in planning the meetings at the last two IACEP National Conferences. Paul produces major events all over the world as the company celebrates its 29th year.

ImaginationEntertainment

Imagination Entertainment’s productions travel worldwide. Clients have called them “the most brilliant theatrical productions in the industry.” Each show features the world’s top talent, stunning costumes and sophisticated staging and choreography wrapped up in a high impact format that results in an emotionally-charged standing ovation every time. From the acrobatic thrills of iL CiRCo to On Broadway’s beloved tribute to the Great White Way, Imagination Entertainment INSPIRES YOUR AUDIENCE!

Frank Steck

In 1994, Frank Steck founded Spotlight Corporate Entertainment Inc. based in Minneapolis. Steck has produced hundreds of acts and corporate events featuring such big names as Jerry Seinfeld, Tony Bennett, Jay Leno and the Beach Boys.

Mark Felix

Steck is highly regarded in the industry for creating exceptional performance settings for entertainers, outstanding production and delivering memorable audience experiences.

As Director, Entertainment Services for Drury Design, Mark recommends and procures unique entertainment and speakers for a wide range of corporate clients. He serves as a resource nationwide, and is regarded for his ability to fit entertainment and speaker recommendations with a specific communications challenges and budgets. Prior to Drury Design, Mark initiated and ran the entertainment division at both Caribiner Communications and at Jack Morton Productions, and was an agent at both WMA

Spotlight Entertainment

Total Entertainment

The mission of Spotlight Corporate Entertainment Inc. is to provide exceptional entertainment and outstanding production and create memorable experiences with big impact. Since 1994, they have produced hundreds of events throughout the United States and worldwide. Corporations such as Prudential, 3M, Kraft and John Deere have trusted Spotlight to provide top entertainment for their meetings and events. They value Spotlight’s passion and commitment to their needs.

With over 25 years of business, Total Entertainment is a full-service production company with clients spanning the US and the entire globe. TE has an impressive portfolio of producing events for Sir Paul McCartney, Billy Joel, The King of Morocco, and President Putin of Russia, just to name a few! Headquartered in Carlstadt, NJ, Total Entertainment is renowned for attention to detail, client relations and producing events that leave guests in awe!

January/February 2009, AMERICAN ENTERTAINMENT, 23

VOTE ONLINE, BY FAX OR BY MAIL

DEADLINE IS MIDNIGHT MARCH 25, 2009 VOTE ONLINE: americanentertainmentmagazine.com OR FAX TO (803) 712-6703 • MAIL TO: PO BOX 509, PROSPERITY SC 29127 Business/Agency: __________________________________ Your Name: ___________________________________

APA

Founded in 1962, APA is one of the world's top talent agencies with a large roster of actors, writers, producers, directors, musicians and comedians. APA now represents the full spectrum of motion picture, television, literary and stage personalities. APA clients can be seen daily throughout the world.

Bonnie Raitt

EastCoast Entertainment

EastCoast Entertainment is the largest, full-service entertainment agency in the country, arranging entertainment and producing events from coast to coast and around the world. The Company operates nine offices and delivers the largest direct resource of talent and production services in the industry. ECE makes every celebration an unforgettable experience by combining clientcentered business practices with world-class talent and comprehensive event production services.

Frank Caliendo

Frank Caliendo is a high energy performer who has a knack for imitating famous people and switching between them at a frantic pace. Armed with well over 100 impressions and voices, Frank likes to talk about the movies, television shows, and commercials the stars were in -- as well as the projects they should focus on next.

Paradigm Entertainment

Driven by a philosophy that promotes artistic development, Paradigm has established itself as one of the entertainment industry’s most dynamic agencies. Paradigm’s roster offers many great acts with proven success in the corporate market. Some of these acts include: Aerosmith, Dave Matthews Band, Huey Lewis and the News, Jason Alexander, Chris Isaak, Lyle Lovett, The Doobie Brothers, Jason Mraz, Barenaked Ladies, Fergie, Don Felder and many others.

Jay Leno

Jay Leno follows in the footsteps of legendary NBC late-night hosts Steve Allen, Jack Paar and Johnny Carson as the host of the EmmyAward-winning and top-rated “The Tonight Show.” Jay has won four Emmy Awards - In 1995 for Outstanding Comedy, Variety or Music Series, and in 1996, 1997 and 1999 for Outstanding Technical Direction. One of the country’s premier comedians, Leno has appeared in hundreds of comedy shows around the United States and in 2001, Bosnia, where he performed for the troops.

24, AMERICAN ENTERTAINMENT, January/February 2009

Monterey International

From the company’s launch in 1994, Monterey International sets the standard as one of the leaders in the boutique talent agencies of North America, guiding its diverse spectrum of contemporary artists with one extreme focus on live performance. The company handles the world-wide booking of tours for such diverse artists as Buddy Guy, Bonnie Raitt, George Thorogood, Los Lonely Boys and Cheap Trick, to name only a few.

Taylor Swift

Paradise Artists

Nestled among the orange groves of Ojai, California is the home of Paradise Artists. Since 1988, Paradise has created their niche as the premier booking agency exclusively representing a roster of established, internationally known touring artists and bands with hit songs from the Billboard Top 40 charts of the 1960s, '70's, '80's, '90's and beyond. Along with comedy, family concerts, production shows and a reputation for having an efficient booking process; Paradise Artists fully services your corporate entertainment needs.

Blue Man Group

www.americanentertainmentmagazine.com

Your Email: _______________________________________

Signature: ___________________________________

#1 BEST MUSIC ACT K Plain White Tʼs K Cheap Trick K Toxic Audio K Aretha Franklin K Taylor Swift

#6 BEST ARTS PERFORMANCE K Harlem Gospel Choir K Blue Man Group K The Rat Pack Is Back K Black Violin K Joe Castillo

#11 BEST PRODUCER K Jeff Kalpak K Steve Thomas K Paul Creighton K Frank Steck K Mark Felix

#3 BEST COMEDY PERFORMANCE K Jay Leno K Mike Birbiglia K Jeff Dunham K Lewis Black K Taylor Mason

#8 BEST FEMALE PERFORMER K Bonnie Raitt K Taylor Swift K Melissa Etheridge K Sarah McLachlan K Aretha Franklin

#13 AGENCY OF THE YEAR K Agency for the Performing Arts K EastCoast Entertainment K Paradigm Entertainment K Monterey International K Paradise Artists

#2 BEST MAJOR PERFORMANCE K Jackson Browne K Plain White Tʼs K Emerson Drive K Charlie Daniels K Blue Man Group

#4 BEST NOVELTY ACT K Mitchell Zeidwig K Joe Castillo K Craig Karges K The Passing Zone K Terry Fator #5 BEST SPEAKER K Tim Sanders K Anderson Cooper K Bill Boggs K Steve Wozniak K Mike Rayburn

www.americanentertainmentmagazine.com

#7 BEST MALE PERFORMER K Craig Karges K Greg Schwem K Esteban K Lionel Richie K Joe Walsh

#9 BEST SOLO ARTIST K Edwin McCain K Esteban K John Charles K Mike Rayburn K Darius Rucker

#10 BEST DUO OR GROUP K Sound Connection K Maggie Speaks K Toxic Audio K Mutaytor K Raspyni Brothers

#12 BEST PRODUCTION COMPANY K Barkley Kalpak & Associates K ASI K Imagination Entertainment K Spotlight Productions K Total Entertainment

#14 ENTERTAINER OF THE YEAR K Bonnie Raitt K Frank Caliendo K Jay Leno K Taylor Swift K Blue Man Group

ONLY ONE BALLOT PER READER. YOU DO NOT HAVE TO VOTE IN EVERY CATEGORY. BALLOTS MUST BE RECEIVED BY MIDNIGHT MARCH 25, 2009 EST TO QUALIFY. UNSIGNED BALLOTS WILL NOT BE COUNTED. All voting is subject to random verification. YOUR PRIVATE INFORMATION WILL NOT BE

January/February 2009, AMERICAN ENTERTAINMENT, 25

Many entertainers specializing in the field of corporate entertainment find their way here after countless long and hard years of working their way up to this prestigious and highly sought-after market.

the genuine articles, others take a more tongue-in-cheek approach with the audience, understanding that while some want to believe, an overly serious “believe in my powers” sort of performance approach turns others off. These factors are all relevant when it comes to the type of performance you will see at a particular performer’s show. For example, you aren’t likely to see a fortuneteller pull a rabbit out of a hat or a juggler hold a séance. In the same way, Jay’s show has a certain continuity about it but can still leave audiences guessing. “The show is magic of the mind; it’s a show filled with comedy, magic, psychology and lies. Within the show, there are a lot of things that are not part of your typical magic show. I do feats of human lie detection where I will have a volunteer come up on stage and think of the name of their best friend as a child. I’ll tell them to think of the first letter of their name and tell them to answer in the negative as I ask them if the name starts with each letter of the alphabet. Even when I name the correct letter, they are to say ‘no.’ By the time I have named each

Unlike those ambitious souls who clawed their way up to this elite field, Jay Alexander’s career was born and formed naturally in the corporate and special events entertainment fields. His show is so perfect for these widely widely varying varying groups groups because because his his training training and experience have been rooted in the thick of catering to these highly discerning audiences since he was a boy. While many “magical’ entertainers will split hairs with you all day about what their exact title should be, for the sake of everyone involved, Jay likes to keep it simple. “I call myself a comic mentalist,” he says. Now, you may ask, “Magician, mentalist, mindreader, clairvoyant, supernaturalist, extraordin-ist, enigmatist, psychic, seer, what’s the difference? Don’t they all just do tricks?” Well, not exactly. You see, there is a vast pool of knowledge and experience when it comes to the mystical arts, not least of which are the background details and performance approach of the many entertainers in the field. While some would have you believe they are 26, AMERICAN ENTERTAINMENT, January/February 2009

www.americanentertainmentmagazine.com

January/February 2009, AMERICAN ENTERTAINMENT, 27

letter, I can generally tell which letter they were lying on and therefore have the first letter of the person’s name.” By process of elimination Jay works his way through each letter of the name until the childhood friend is revealed. This is an excellent example of the style you will see from Jay, not only in the type of effect you will see, but also in the creativity and interactivity inherent in each of his shows. “The whole audience gets to be a part of watching their colleague run through the lies. I also do a memory routine where someone shuffles a deck of cards and within 20 seconds I memorize their order. I also do math routines and other things that just aren’t part of your typical magic show, but are more mentally and intellectually based.” 95% of Jay’s work is based in the corporate market with the remaining balance in society events with a particular focus on celebrity parties. “I have been at Robin William’s house for Thanksgiving 10 years straight,” Jay says with a touch of well-earned pride in his voice. He has worked for The Rolling Stones on three U.S. tours keeping their V.I.P.s backstage entertained. “That was incredible. The very first occasion happened in 1994. When I was 19, I met Bill Graham, who used to be a big Rock N’ Roll producer in the 60’s. Whenever a band would come to San Francisco and sell out the Wharffield or Fillmore or other big concert venues he owned, he would have a party and hire me as the entertainment.” This early opportunity in Jay’s career would set the stage for unprecedented success in the future. “I started off working those parties and then one year I got a call from his company, Bill Graham Presents, inviting me to perform at a party on a private yacht, be here at X time. There weren’t really any more specifics at the time and I

didn’t think too much of it. I show up and walk on this boat, look over and go, ‘Hey, wait… That’s Mick Jagger! There’s Keith Richards!’ I realized it was just the Stones and their families. At the end of the cruise, Ron Wood asked me what I was doing later and invited me out to dinner with him and his wife and kid.’ The memory still captivates Jay. “It was the most surreal thing; I kind of became friends with Ron Wood and by the end of the night he asked me about

the next day. He wanted me to come to L.A. with them; this was at a time when I was young and didn’t have much money to even travel. He set it all up so that I got booked to go on the next leg of the tour with them. From there I sort of became their official magician and have performed many dates with them over the years since.” Jay readily acknowledges that this was a significant door opening for him. “What was interesting is that at the

28, AMERICAN ENTERTAINMENT, January/February 2009

same time this was happening, I was beginning to do a lot of corporate events in Silicon Valley and it was really neat because the corporate clients were in some ways more impressed with some of the Rock n’ Roll stars I had worked for, while the entertainment elite I served were impressed by the CEO’s of the major companies I was working for.” When loyal repeat clients include folks like Apple’s Steve Wozniak, people are bound to be impressed. What makes Jay’s abilities in these fields so natural is the fact that when he began magic, he was in the thick of “corporate entertainment” right off the bat. Like a lot of kids, Jay began practicing magic around age 11. It is here that his story diverges from the typical hobby illusionist. “People get into entertaining and try to move into the corporate world but I am kind of one of the few performers who has been here with this being basically all I’ve ever done.”

Without boasting, Jay humbly relates that he usually receives a standing ovation at the end of each of his shows, something he indeed achieved with just a 12-minute showcase at this year’s IACEP convention in Las Vegas. “I get a standing ovation at almost every show, but the most important thing is that it’s not about me, it’s about the audience. It’s about making sure that if it’s a party that is just for fun, I make that happen. If it is a customized event with a certain message, I am there to make the CEO look good if I am going to make them magically appear. If the event is for a product release, I am there to make that product as attractive and meaningful to that audience as possible. It is always about them and outside of the celebrity events, most of what I have done for my entire life has been corporate entertainment.” Jay obviously realized early on the inherent value in avoiding the pitfalls of many performers where the most tech-

nically challenging or artistically abstract material is used to the detriment of the overall experience, preferring instead to once again focus on the audience and a “trick’s” effect on them. “I wanted to have a show that would really blow people’s minds because it was different and unique, but I also realized that wasn’t the most important part. I needed to be an engaging performer, to be able to walk into a room and take over the audience. So many great entertainers come from the mainstream to do corporate engagements and bomb. Part of it is that they just don’t understand the market. I believe it is really important for clients to have an entertainer that truly understands what they are trying to accomplish at an event. It is not about stroking my ego, it’s about making sure everyone has fun, is inspired, motivated and moved. That is one reason why I feel I stand out in this field and companies use me year after year, because I do

listen to what they have to say and will work with them to make their event the best possible.” Customized shows are something few event planners or corporate clients seem to live without and Jay is well aware of this. This is why Jay will not only work in themes, products or messages into his show, but he will even go down to creating custom one-off magical effects for those who are really looking for a different unique and creative experience. “I do my regular after-dinner show which IACEP attendees saw part of at Green Valley Ranch,” Jay explains. “However, a significant part of my work is also in completely customized shows, even down to the effects themselves. I can create tricks based around a company’s people or product and I do a lot of CEO reveals. There are five or six illusions I have created to make a CEO or CFO magically appear.”

Jay literally learned the value of magic as a means of entertaining clientele as a kid of merely 11. My mother had a Buster Brown’s children’s shoe store in Texas and I used to go to work with her every day after school and show the customers magic as they were waiting to be helped. I realized very early on that the magic needed to be good and something that I enjoyed, but what it was really all about was the audience. I needed to connect with them and what it came down to was making sure they were entertained while they were waiting so they wouldn’t get bored and want to leave the shop. In some ways, that was a small insight into the world of corporate events I do today; they are hiring me because I am going to deliver a fun show that is unique and different and that everyone will remember.” www.americanentertainmentmagazine.com

www.americanentertainmentmagazine.com

January/February 2009, AMERICAN ENTERTAINMENT, 29

One thing Jay is sure to do despite the type of effect a company seeks is plenty of homework. Detailed research and communication with a client is key to dialing in the perfect masterpiece of mental manipulation. “I will go in and find out as much as I can, for example, new product information that I can completely integrate into the show.”

themselves and sometimes, if it is the right CEO who wants to be a part of the show, it can humanize them and connect them with the audience more quickly and thoroughly than anything else I’ve ever seen.” Jay has done everything in this regard from making a motorcycle appear on stage for a new release to the many

beginning of their planning a meeting to the close of their business there. It’s not just an after-dinner show; I’ll often be the emcee of the entire conference to keep everyone’s energy and interest up. I do whatever I can to make myself as useful as possible and to guarantee the very best meeting for the client it can be. Again, it’s not about me, it’s about them and

When loyal repeat clients include folks like Apple’s Steve Wozniak, people are bound to be impressed. “I have been at Robin William’s house for Thanksgiving ten years straight,” Jay says with a touch of well-earned pride in his voice. He has worked for The Rolling Stones on three U.S. tours keeping their V.I.P.s backstage entertained. Not only is Jay able to integrate products and people into the show as props, he even takes the level of interactivity up a notch by sometimes bringing clients in on the act. “I may teach the CEO a trick, or sit down with the marketing team and show them some magic that is easy to do for a conference and sometimes I’m not even on the stage. It is a big hit when they come out and entertain the crowd

presentations he’s done for Apple computers in exciting reveals for their new machines. “When video first made its breakthrough on the home computer, we did some neat things where I was interacting with the computer on the screen next to me, which was pretty innovative in the early days.

bearing that in mind is, I believe, what has enabled me to remain a valuable asset in this field.” BOOK IT! For more information on bringing Jay Alexander to your next event, contact SF Magic Entertainment Services at (415) 883-7878.

“The main point is that I will completely work with a company from the

30, AMERICAN ENTERTAINMENT, January/February 2009

www.americanentertainmentmagazine.com

Barkley/Kalpak Associates has become widely known among corporate and special events industry professionals as one company that does top quality entertainment. Specializing in theatrical productions of all kinds for corporate audiences, their newest offering, UTOPIA is sure to wow nearly any group. UTOPIA is an entertainment concept developed over the course of much painstaking effort, designed to fit precisely into today’s climate and fill a very common set of needs in the corporate meetings field. Jeff Kalpak fills in the details. “We’ve created this program as a response to listening to our clients really. They all seem to have a desire for entertainment that is not only diverse, but also accessible to a wide audience and still exciting.” This basic premise left a lot to the

imagination, but as Jeff and team started to add elements they knew were essential, a picture started to develop. “The show is a combination of music, theater, dance and video.”

show. This includes us working on all of the finer details so that everything is woven seamlessly into the whole global experience like menus, décor options, etc. It is a heavily layered show.”

With the idea of video suddenly transferring the experience to multimedia, UTOPIA was fast becoming something that could be not only entertaining but could deliver custom visuals and a message, a crucial advantage for corporate clients.

BKA says what makes this show so appealing is the fact that it was specifically designed to be relevant in today’s market. “What’s so exciting about it is that is so timely,” Angela says. “We just previewed it at the Biz Bash Event Style Show and got very positive results.”

Angela Stassi, Marketing Manager for BKA, jumps in to hone in more specifically on the show itself. “We created UTOPIA to be an event experience,” she says. “It is something that can be scaled up or back and reconfigured for nearly any need. It is an extremely versatile concept; it can go from the 6-minute meeting opener to a full 45-minute finale

32, AMERICAN ENTERTAINMENT, January/February 2009

So positive, in fact, Biz Bash president Richard Aaron said “UTOPIA brought a beautifully crafted production and message of joy to our audience to lift their spirits. The perfect show for troubled times which sent a ray of sunshine throughout the meeting.” www.americanentertainmentmagazine.com

www.americanentertainmentmagazine.com

January/February 2009, AMERICAN ENTERTAINMENT, 33

The show consists primarily of seven key cast members singing and dancing, along with backing by 4 musicians. The style, song selection, atmosphere and delivery are all meant to be uplifting and motivating, but not in an overly gushy way. “It is a very feel-good type of piece, but we don’t want you to get the impression that it is too earthy or spacy; it has a global appeal but it is also very stylish and current.” A fusion of East meets West lends the show a wider stylistic base. Rock N’ Roll music that is very recognizable acts as a base, but the selections have been re-orchestrated to give them a worldly feel. “We have used instruments like didgeridoos and koras over the background tracks,” Angela says. Jeff adds, “Musically the selections run the gamut from The Beatles and U2 to the B52’s. They are songs that people know and are very popular, but they are all re-interpreted by using world instruments.”

company comes together to have a meeting. Through the use of some song choices we have been able to bring that to life using UTOPIA. Angela explains that the multifaceted approach to delivering a great entertainment experience is what makes UTOPIA so special. “The show is really layered in its approach because while the music has that fusion of East and West, so do the moves. There are a variety of dance styles that we drew on for UTOPIA, from Tai Chi movements in the choreography, to hip-hop and many other styles that are blended in as well. When you combine this with the video imagery in the background there is a lot going on for an audience to take in.”

The performance is given in the style of a musical review, so don’t expect any monologues to the Academy, but there are theatrical elements that lend more communicative ability for event planners than through music alone. Video projection screens run throughout the performance and besides the really cool computer generated visuals they produce; famous quotes or images can also be run across the screen to deliver more specific messages. “The imagery can vary from beautiful landscapes to sort of quirky and funny globe hopping videos from a first person perspective. The screen also incorporates the various performers. The show appeals to so many different senses and it definitely appeals to people on a lot of different levels. Some people just seem to respond to video,

some to theater and some to music. This has all of that in there so it can reach early any audience.” Jeff helps us set the scene with a great example of how all the elements of this show come together to make up something really special. “We do ‘Beautiful Day’ in the show and it starts out with the didgeridoo player setting the tone. There is a watercolor technique that is used in the video where it literally looks like a painting is being created on stage.” During the opening of “Beautiful Day,” hand painted images form slowly into something recognizable. As they come together, the audience realizes the images are people and faces from all over the world. The images meld into each other until all of a sudden an awe-

While the music selections are of course open to preferences of individual clients, the bulk of the material performed in UTOPIA is meant to already be ideal for most situations, thereby saving the time and cost of manufacturing one-off custom set lists for every engagement. “We chose a lot of the material very specifically,” Jeff says. “We wanted things we thought could be re-interpreted, especially pieces that could hold some intrinsic value for corporate audiences. Each song kind of flows really well into the next so, while it is a review there is a thread running through it which gives a nice continuity you will see once you go on the journey that is this show.”

As a matter of fact, this statement is even truer than it seems, as the video presentation is not only woven into the show, but becomes an essential part of it in a more direct manner as well. “The video is interactive and actually involves the live performers themselves. At one point there are people on the video singing with the folks on stage and it really ties everything together.”

Obviously there has been a huge amount of creative development that has gone into UTOPIA; a show this organized, complex and so well done doesn’t just pop up over night. “You know, there has been a ton of development on this project. There are a lot factors that influenced this and just now I have to throw some props over to IACEP. Just being at their annual conference this past year and being able to listen to the current trends gave us a lot of guidance. There was such a focus on fusion and different styles of entertainment being popular that we were able to carry a lot of ideas back to New York with us and use them to build on this. The whole idea of celebrating diversity on stage and that people are interested in entertainment from other parts of the world became really clear.” BKA has done a couple of different versions of the show in development, vetting the various formats for their efficacy in the marketplace. “Our clients have said in development that they want something that was sophisticated, yet still really fun and that we could get a message through. In UTOPIA, we bring in quotes through the video presentations that include wise sayings from world leaders and we use a lot of things from Rock N’ Roll lyrics. There is little doubt of the profoundness of some of these clips and drawing them from a Rock N’ Roll setting, they are instantly familiar and connected to the audience. We can use specific selections to play up a certain point or bring home a particular emotion.” Perhaps the most important part of the show would be the delivery of the actors themselves. “There are several instances where the actors speak in different languages; there is even a sign language moment in the show that is really beautiful.

BKA is of course aware that to stay relevant in today’s corporate entertainment market, inflexibility in a show in not an option. “Of course it can be compromised if need be. If clients have a particular song or business message they need to get across we can do it,” he says.

“It’s about breaking barriers and bringing people together while having fun. These are all factors we thought were the next ‘thing’ or big trend in the market. We wanted to take all of that and kind of be one step ahead by bringing it all together in this one original show.”

One popular theme that has cropped up from the runs done with clients thus far has been one of new beginnings. “One of the things that has worked well as a meeting opener is to give the feeling that there is a fresh start to every day and new opportunities every time a 34, AMERICAN ENTERTAINMENT, January/February 2009

inspiring view of a golden sunrise seen flying through the clouds emerges; as different parts of the world come into view, the cast dramatically closes the number. “It’s really a dramatic and engaging piece; its something that an audience is not going to forget,” he closes. “It’s almost like the video becomes another character in the show.”

Another trend no one can deny is sweeping across the nation and world in many more venues than just corpowww.americanentertainmentmagazine.com

www.americanentertainmentmagazine.com

January/February 2009, AMERICAN ENTERTAINMENT, 35

“So this is the new year And I have no resolutions For self assigned penance For problems with easy solutions.”

- Death Cab for Cutie

From Howard Stovall Chairman of the Board I cannot recall ever entering a new year with less idea of what to expect than in 2009. It seems all but certain that our new wave of leadership in Washington will have quite an economic mess to clear up, and we have already seen the repercussions in our industry. Holiday parties were canceled, even by companies with few worries. In many cases it was because a big celebration just seemed inappropriate. Corporate events are being scaled back or canceled, and the sponsorships that drive other types of events are drying up in many cases. So, what does this mean to IACEP? Perhaps not what you would expect. IACEP has just contracted with Plaugh Enterprises to have Leona Plaugh, our Executive Director, lead our esteemed group for another year and we are delighted about that. What might surprise you is that the IACEP Board has funded more resources

to apply to IACEP management; in other words, Leona is getting some help. This means an expanded set of deliverables from IACEP for our members and for our industry. This means that the Board has heard the requests, complaints, and priorities of our membership and is taking aggressive steps to respond. This means that rather than “pulling in our horns,” IACEP is instead increasing its commitment and focus in time and treasure to serve the needs of our membership. Some might characterize this as risky, but the Board believes there is less risk in expanding our commitment to our members than in scaling back and watching those members drift away. So, from IACEP’s standpoint, 2009 will be an exciting and challenging year. Stick around for the ride.

Here are things you can expect to see in 2009:

• More opportunities to interact socially with other IACEP members. • Periodic Forum calls, in which we offer our members the opportunity to participate in discussions about pertinent topics for our industry. • A better web site and a more active IACEP network. • More IACEP panels at other conferences • Increased ability to respond to our members’ needs across the spectrum. While we are expanding our IACEP infrastructure, we remain cognizant that times are tough. And, we have responded to that in an exciting way: A new Producer membership structure! IACEP is offering for the first time in 2009, an inexpensive “second membership” as follows for Producer members: For any company, once the first Producer joins IACEP at the regular price, additional Producers from that company can join IACEP for only $150 a year! And, anyone who has joined since the 2008 IACEP conference would be eligible for the discounted rate. That difference will be refunded to them. What’s more, in recognizing that these are difficult economic times, IACEP has created

36, AMERICAN ENTERTAINMENT, January/February 2009

a first-of-its-kind Membership Renewal Payment Plan. Upon request, IACEP will consider a dues payment plan. Payments may be spread over several months without penalty or interest charges; but the agreed upon terms must be complied with or your membership will be cancelled. Also note that your IACEP membership fee will not be deemed paid until the entire amount has been received. For complete details, please contact Leona at 803-782-1947 or lplaugh@iacep.com. We believe this new structure of a lowercost second membership for Producer members will encourage an expanded producer membership, which benefits us all in many ways. It also means our Supplier members who have been patiently waiting for their “pending” member status to become “active” will get there more quickly, as Supplier memberships become available due to more Producers in the fold. (This is in keeping with IACEP’s 60/40 Producer/Supplier membership ratio.) We trust that the institution of our Membership Renewal Payment Plan will benefit all our valued members.

MEMBERS HELPING MEMBERS The IACEP Members often partner to deliver the absolute best to their clients. Here are few examples of top-notch collaborations that optimized client impact and ensured a flat-out great entertainment experience. This is how our world-class network pays off for all our clients. (IACEP Members: Submit photos and booking information to Sally Allen, sallya@seethewatercoolers.com).

Sound Connection and Extraordinary Events Make Magic Happen

An amazing illusion occurred when singular musicians of the contemporary 10-piece band came onstage playing, distracting the 600-guests of Sysmex America, Inc. from realizing the band seamlessly replaced the then-performing Colonial trio. Collaboration between Sound Connection’s Andy Kushner and Extraordinary Events won audience praise and a nomination for a Special Event Award in the category of Best Event Produced for a Corporation with an Overall Budget Between $250,000 - $500,000.

SEEN AND BE SEEN IACEP members are making the scene all around the world.

Sal Kuenzler, president of City Connection Entertainment & Productions, and Gig Xifaris of Associated Entertainment, hook up in China Power agents Sal Kuenzler (L), president of City Connection Entertainment & Productions, and Gig Xifaris, Associated Entertainment, collaborated in providing the group, Starstruck, to the MGM in Macau China.

Expended deliverables, lower membership prices – your IACEP is not standing still! I wish you all the best in 2009.

Catch Up With Colleagues at one of two IACEP Mid-Year Social Hours!

Dave Grohl Squeezes in time for AEC’s Jamie Truxler and Eddie Kertel

Foo Fighter frontman, Dave Grohl (C), poses with AEC’s Jamie Truxler (L) and Eddie Kertel. AEC provided the Foo Fighters for SaleForce.com’s annual conference at the Moscone Convention Center in San Francisco.

At The Special Event in San Diego: Jan. 29 at 5PM – 7PM , Hard Rock Cafe San Diego in the Sweetwater Saloon, 801 4th Ave. San Diego, CA 92101. Please RSVP to Lee McDonald – 407-352-5266 or email lee@keyartistgroup.com And be sure to make the IACEP Panel on January 27, 2:15 in Room 15A at the San Diego Convention Center! And During The Idea Factory in Las Vegas: February 27 at 6pm – 8pm, Tempo Lounge in the Las Vegas Hilton, 3000 Paradise Rd. Las Vegas, Nevada 89109, 702-732-5111 Please RSVP to Lee McDonald with Key Artist Group 407-352-5266 lee@keyartistgroup.com

www.americanentertainmentmagazine.com

Associated Entertainment and Barkley Kalpak Produce

The Pointer Sisters blow kisses to guests at Wine Spectator Magazine’s California Wine Experience. This threeday wine festival teamed the talents of Associated Entertainment’s Gig Xifaras and Barkley Kalpak’s Rich Bittner. Though AEC has produced the event since 1999, when Wine Spectator decided to make NYC their permanent home, AEC realized the key to retaining the business was to partner with Kalpak.

www.americanentertainmentmagazine.com

John DiDomenico with reality TV Star Kim Kardashian Lionsgate comedy, "Disaster Movie," featured IACEP’s John Di Domenico as Dr. Phil and The Love Guru, and Kim Kardashian. Reviewers said John’s physical and vocal impressions were "dead on”.

Mark Felix makes his point to Lance Armstrong Cycling great, Lance Armstrong (L), was the speaker at a recent IBM event produced by Drury Design’s Mark Felix. Hootie & The Blowfish entertained.

January/February 2009, AMERICAN ENTERTAINMENT, 37

PROFILE: NANCY HAYS, NANCY HAYS ENTERTAINMENT Tell us a little about your company. Nancy Hays Entertainment, Inc. specializes in producing celebrity talent for corporate, association and charitable events as well as specialty dance programs, DVDs and CDs. I formed my own company in 1993 so I would have employment compatible with my goals professionally (as a producer and artist) and personally (as a wife and mother of four).

ter mediation of producers by the internet that does not necessarily mean buyers are getting better entertainment or service. It's unfortunate, but an inevitable reality of our business. In today's environment, we do the best that we can to educate clients and make sure we work with loyal buyers who value our services. The evolution of the internet and Web 2.0 has been great for artists though, who want to reach their audi-

How did you get involved with IACEP?

Bill Kahn, my boss at JMP for many years, is still my business colleague and personal friend today. Bill knew how to manage me better than anyone because he always understood my strengths and believed in me. He empowered me to do my job and never waivered in his faith that I would do it right even when I had doubts myself.

What drew you to the industry? It was the perfect combination of my passion and my educational background. I studied business and advertising at U of I and Northwestern, both as an undergraduate and graduate student, but it was the entertainment industry that was my true passion. Determined to have a career somewhere in the entertainment business, I thought this was the perfect fit. I also got lucky and was hired by what I thought was the best company in the business at that time, Jack Morton Productions.

If you could give someone just getting started in corporate entertainment production one thing that he or she should be sure not to miss, what would that be? Never take for granted the gift of a good and loyal client. They are hard to replace and everyone is looking for them. Savor all the great shows and take the time to enjoy every minute of the ride.

What was your first industry job?

How do you protect intellectual property and ideas (from the competition)? Are you concerned about the general integrity of the industry? We protect ideas by only sharing with clients we trust and those who value our services. Yes, I'm very concerned about the erosion of ethics in our industry, but I still believe that there are plenty of ethical potential clients. We must work harder to find and keep them. What was the best or favorite event for which you were a part? The trifecta event is the most euphoric; happy artist, happy client, and happy producer. Personal favorites include Judy Collins, George Burns, Lyle Lovett, OKGo, Glen Frey with Joe Walsh, and Art Linkletter. The most memorable for me, however, was on September 13, 2001 when Aon Corporation asked me to find an artist to perform at St.

Patrick's cathedral in New York for the families of employees lost in the World Trade Center. I made one call to Judy Collins at home and she agreed to be there the next day. It's hard to describe what that experience was like. I realized at that moment in time how important our role was to serve clients in both good and bad times. What's the most important thing in your life? My family and my faith. Where do you go to find new ideas--books, films, travel, artistic retreats, or what? I go to the internet, trade publications, TV news programs, colleagues, IACEP and other industry educational programs. I also grab a copy of the latest news magazines in the airport while traveling. What's the best advice you ever got? The career advice of my father, Dr. Edward Parker Hays, a man of great wisdom:

ence more directly and pro-actively manage their own careers. I keep up to the best of my ability by constantly trying to educate myself about changes taking place and attending educational events like those IACEP offers.

The most successful, happy and well balanced people in the industry don't necessarily work for the biggest companies.

What are your hopes for the next year in your professional life? What's your most challenging hurdle in 2009?

Are you impressed with the evolution of corporate entertainment: the speed, the pace and/or the transition? How do you keep up?

My hopes are to "weather" the storm and retain our current clients, dig deeper to find new clients we can serve well in a down economy, and to expand the bookings of Nancy Hays as a speaker on topics that address the current challenges of corporate America.

38, AMERICAN ENTERTAINMENT, January/February 2009

I would be a better manager and mentor to young people in the industry along the way. Between my clients, my performing pursuits, my husband and my four kids, I don't have spare time to nurture the industry’s young. Too bad, because I would have liked to. What would you like to produce if there are no parameters, or no guidelines from the corporate office (of a client)? I would like to work with legendary artists or personalities who have changed the face of the business and whose artistry will live long after they pass away (most of whom do not currently perform for private events, or are out of the price range budgetwise). Artists who have defined www.americanentertainmentmagazine.com

Then, go and find someone to pay you to do it. You will never work a day in your life and you will always love your job and be successful at it." Nancy Hays is President and CEO of Nancy Hays Entertainment, Inc. She received a Bachelor’s Degree in Communications from University of Illinois (Bronze Tablet/highest honors) and a Master’s Degree from Northwestern University in Communications in 1984. She worked for the Jack Morton Company from 1984-1993. Nancy’s dance instruction CDs and DVDs have been featured in many publications including Billboard Magazine, The Washington Post, the LA Times and Variety. She has been featured as an entertainer and producer on NBC, Discovery, Fox, ABC, WGN and others. Nancy was nominated for awards in England for her music and has performed three tours of the UK as an artist in 2005, 2006 and 2008. During 2009, she will appear as a professional speaker for a number of corporate and association clients on the subjects of Emerging Trends, Motivation, Ethics and Environmentalism.

"Nan, try to find an activity that you love so much that you would do it for fun with no pay involved.

GOLDEN SHOWCASE OPPORTUNITY FOR CORPORATE ENTERTAINERS

tor of Operations. “We have been inundated with calls from the best agencies and event producers in the industry and are working on a number of bookings for these artists. Undoubtedly, this one of the best ways to gain credibility and to get your performers recognized.” Creative Artists Agency representative Jeff Gregg, whose band, Denver & the Mile High Orchestra, performed at the 2008 Showcase, said they “got the needed attention from buyers attending the convention, increasing the band’s profile.”

Of course life has no "do-overs”, but if it did, what one thing would you do differently in the industry?

What one thing would you like people to know about corporate entertainment producing that you suspect they might not realize?

The evolution of the corporate entertainment business has been both positive and negative. There has been an erosion of ethics and a disin-

Jack Morton, who was my personal mentor. I was fortunate to spend lots of time with Jack during company meetings and called him for advice during my early career. His photo still hangs above my desk and his "handbook" for sales is still as relevant today as it was in the 1980s. I reread passages from it whenever I get ready to make "cold calls" or need an extra boost. Who is the best boss you ever had in the industry?

Dick Smith invited me to become a founding member of IACEP. Dick is one of my personal heroes, so of course I said "Yes" immediately. I also thought it would be a wonderful organization to be a part of, and it would help me to re-connect with industry friends, old and new.

Account Manger for the Chicago office of Jack Morton Productions in the summer of 1984.

Who has been your greatest inspiration or influence professionally?

eras and whose music is timeless. I'd also like to produce events for the Barack Obama's administration. I can dream, can't I?

By Karen Kuzsel Competition will be fiercer than ever for the 22 coveted opportunities to perform before some of the top corporate entertainment producers in the world at the 2009 International Association of Corporate Entertainment Producers’ Conference, Showcase & Exhibit Hall in Henderson, NV, September 9-11. Although a final deadline for application won’t be until Spring, outstanding acts who wish to perform at the Main Stage Showcase (co-sponsored by IACEP and American Entertainment Magazine), the Chairman’s Dinner, or for the

www.americanentertainmentmagazine.com

business session, are encouraged to apply early for the limited number of slots. Acts are recommended by IACEP’s Showcase Committee and approved by the IACEP Board, composed of leading corporate entertainment producers, with preference given to emerging acts who have not previously showcased with IACEP/AEM. “The IACEP showcase is invaluable in allowing event producers and agents to preview variety artists and performance groups alike. In the past two years, Associated Entertainment has showcased The Concert That Never Was (a tribute to Barbra Streisand and Frank Sinatra), Incognito Artists and L A All Stars,” said Gig Xifaras, Direc-

Showcase applications, including full details of fees and benefits (such as an Exhibit Hall booth and a write-up in American Entertainment Magazine) are available at www.iacep.com. In addition to first-class corporate entertainment showcases, this year’s IACEP Conference also offers topical educational sessions on issues relevant to entertainment production and technology, as well as opportunities to network with the people who define and surpass the mark of excellence in corporate entertainment production. For more information, contact: Leona Plaugh, IACEP Executive Director: (803) 782-1947; Fax: (803) 787-8073; Email: lplaugh@iacep.com

January/February 2009, AMERICAN ENTERTAINMENT, 39

While comedians these days may seem to be a dime a dozen; finding comedians that are clean is something quite different. Go a step beyond that and flesh out the purely children’s entertainers and it can be even harder to find clean comedians well suited to adult audiences.

40, AMERICAN ENTERTAINMENT, January/February 2009

www.americanentertainmentmagazine.com

brained than stand-up. “I went to college and graduated with a degree in accounting and worked for PricewaterhouseCoopers for several years.”

John started doing comedy about six months after he began his accounting job and found that what began as a hobby was soon turning into a passion. One more step draws out an even fewer number of “I realized that this corporate stuff can suck the life comedians who can claim not only to be able to right out of ya’,” he jokes. “So I decided I needed a cater to corporate audiences but also boast real little bit of a hobby. That blossomed into me doing world experience in the corporate culture. John full time stand-up for a few years now.” Garrett is one of those comedians. The first and foremost reason you should hire John John has been making waves in the wider comedy is because he is good at what he does; he will world, with regular appearances on the Bob & Tom make your audience laugh. But, the fact he does Show on radio, and a comedy album in rotation on have such hands-on experience in a corporate cliboth Sirius and XM. He has opened for Louis An- mate is nothing to sneeze at. “I think the reason derson, performed with Train and has a fully booked I’m ideal for corporate entertainment is because I schedule of over 250 shows this year, 60% or so of used to be in the audience. I used to be one of the which will be in comedy clubs. The vast remainder people in the audience and understand what they of the work John G will do this year will be for cor- are going through on a day-to-day basis. I realize what they are dealing with and also what they are porate audiences. looking for in entertainment. I think that makes me John’s is an unlikely journey for a comedian, begin- pretty relatable; I’m not just some guy that dropped ning his professional career in a field far more left- out of high school to make pizzas and decided to www.americanentertainmentmagazine.com

January/February 2009, AMERICAN ENTERTAINMENT, 41

tell jokes. It seems to go really well at all of the corporate engagements I have done to date.” John has been performing comedy full time for around four years now, so while he’s no veteran just yet, he’s also not completely green either. “I left my accounting job in early 2005 to try full time comedy and immediately jumped into performing at comedy clubs, corporate events and colleges.” Not many accountants would seemingly take the risky career tack of jumping into a job like stand-up comic. “It was a crazy, risky move, but there was kind of the perfect storm going on in my life at the time to make it happen. Comedy-wise I was starting to really pull away from my peers and that’s when I started getting spots on the Bob & Tom Show, which is nationally syndicated.” John was getting more and more positive feedback from everywhere he performed, from talking to comedy club managers to event planners to campus activities boards.

Part two of the perfect storm was an unfortunate shift of tides at work. “I had a new manager who didn’t seem capable of understanding that an employee of our company could have any sort of life outside of work that was important. I decided I would give comedy a swing and if it didn’t work, I could always just go back and get a job if I had to. That’s why I am doing this, because it is a passion that I have, not because I just want to avoid a ‘real’ job, because this is more work than my corporate job for sure.” John never looked back. “It just paid off and things are looking really well now. I am not in a relationship because sometimes it is pretty hard to understand the crazy lifestyle I have as a comic. It’s really no different than being a corporate consultant though; I’m gone 3 to 4 days a week and I’m home 3 to 4 days a week. But, for some reason, people have some sort of different stereotypical view of comedians (laughs). Of which, I am not even close.” With 40% of his bookings done in a corpo-

rate environment, John may stay in the clubs to stay sharp, but his real focus is the corporate market. “I sprinkle some colleges into my schedule, but my wheelhouse is really the corporate shows and comedy clubs.” John, at 32, is young enough to be hip to nearly any corporate culture, but the college students don’t seem to be as natural a fit for John as the slightly older (and may we say more jaded?) audiences. “College kids are sometimes hard to relate to because of the emphasis in my show on real work experience. They just want to talk about rap songs, playing video games and Facebook,” he quips, laughing. “I don’t dance or juggle or you know, throw glitter.” John isn’t making a s much of a concerted effort to play the college market, as he is the corporate and special events arena where he truly feels at home. “It’s mostly take them as they come,” he says. “I haven’t really pursued investing in college conferences and other resources because I simply know where my strength is, which is more on the corporate shows. John and Louie Anderson

42, AMERICAN ENTERTAINMENT, January/February 2009

www.americanentertainmentmagazine.com

I would rather focus my attention there where I am a perfect fit rather than spreading myself too thinly with other avenues.”

volved and you need to know how to run a business; obviously accounting is definitely a foundation for all of that.”

John quickly clarifies that he isn’t opposed to college shows and despite some obvious demographic differences, can still make the house laugh. “I have done several college shows and they have all gone well so that is not a concern of mine, its just that I have worked with a lot of other comedians that do a lot of colleges and their acts are totally different than mine. I just know what will work and what won’t and believe me, if some of them brought their material into the corporate market they would be a fish out of water.”

Corporate shows seemed a natural evolution for John once he got into the comedy clubs and started to develop his own unique style of comedy. “I have always been clean as a comedian, I guess mainly because my comedy influences were on the cleaner side. I always looked up to people like Steve Martin, Jerry Seinfeld, Jay Leno, Brian Regan and Jim Gaffigan. I always found guys like Ray Romano funnier. I mean, I can laugh at more adult-oriented material, but as far as career paths go, those are the guys I can relate to more than George Carlin or Lenny Bruce.”

Unfortunately while none of John’s previous skills as a CPA will directly translate into an increased edge on stage, the nature of his previous profession certainly does give him an advantage over the countless other talented entertainers in the world who have no head for the business in a show. “Off stage my previous training has come in for sure. I mean, this is a business and there are definitely numbers in-

So, basically as John explains it, he is the best kind of clean comedian, because it comes natural, not something forced to make himself marketable to a certain audience. “That’s why my act has always been clean and to be honest, it can make things harder. In the beginning, when I was going to open mic nights, it was hard to be clean and original because that’s not always rewarded in a comedy club. It

www.americanentertainmentmagazine.com

takes a long time to get funny and build a strong act as a clean comedian. But then once you are there its so much fun and there’s so much opportunity.” From there John says his career track in comedy was pretty automatic. “It naturally transgressed from ‘I’m a comedian that was an accountant’ to being a comedian that was an accountant performing back in the accountant’s natural environment. Then it sort of hit me: ‘Of course I should do shows in the corporate world; I talk about the corporate world in comedy clubs anyway, so why not talk about the corporate world in the corporate world?’ It’s a better audience that would appreciate what I do much more and it all just made sense.” BOOK IT! For more information on having John Garrett light up your next audience, contact him at (317) 340-8513 or johngcomedy.com. If you are a producer or agent who’s interest in working with John, he is currently considering representation in the market. For virtual links, log on to americanentertainmentmagazine.com Opening photo: Danese Kenon

January/February 2009, AMERICAN ENTERTAINMENT, 43

rate entertainment is the ever-growing “Green” movement. “One other trend that came up in the development of our show was the environmental consideration. We asked ourselves ‘How can we make this a more green experience?’ That was a mindset from the start. So, all of the costumes are made using green methods using re-purposed or recycled materials, there is less toxic dye used, etc. There has been an effort to bring down power consumption as well. We have come up with the most green rider possible.” Jeff mentions also that the show can be scaled down to a simply smaller operation, thus reducing shipping and travel considerations on the earth. “There is also a version of the show that exists where we send out the performers only without the musicians for clients who not only need the show to be a little bit more cost effective but also have the ecological consideration in mind.” UTOPIA is geared specifically for discerning corporate audiences, but implications for International shows and or

ticketed dates are not out of the question. “We designed this show with corporate groups in mind, but we have been talking about developing it into a more complete offering. We are considering taking it to the next level and making it available to the public, but it is very special to us. A lot of really wonderful collaborators were brought in to help develop the show the concept and the design and feel of it.” BKA is helping to lead the way to a better world for our descendants by joining other companies who are making a concerted effort to lessen their impact on our environment. Never before designing a show “thinking green” from the ground up, UTOPIA is a great first offering for them and a shining example of how other companies can try to make their small mark as well. “It’s a major initiative for us, but this is really our first full-on show where it has been a mandate from the drawing board. As far as the meetings and events we have produced go, many of them have been green for years. But so far as a theatrical piece that exists where we

36, AMERICAN ENTERTAINMENT, January/February 2009

have gone to the level of costuming for ‘greenness’ this is it.” “From a corporate perspective,” Angela adds, “there is a Green Initiative Task Force here at BKA (as I’m sure there are in nearly every other corporation now) and our major goal is to find the best ways to be aware but also be very genuine and sincere in our approach. There is a ton of green washing going on out there because it is the PC thing to say. That is not what we want to do. It is something that we are really working on and it is very much about research and we are very sincere and genuine. We can’t say that this entire thing is green, nothing is. From our ethical standpoint, we don’t want to be promoted as, ‘We’re the green company!’ It is something we really did incorporate into this show because it is something we care about.” BOOK IT! For more information on booking UTOPIA for your next corporate event, contact Barkley/Kalpak Associates at (212) 947-1502. For virtual links, log on to americanentertainmentmagazine.com