American Entertainment Magazine by Watus Kirby

14 COVER STORY: CAMP FREDDY

If you are looking for an event with star power, look no farther. Camp Freddy brings to you some of the world’s best rock music with legendary performers leading the way. One look at their stats will prove that the world’s finest musicians have been their guests.

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FROM THE PUBLISHER My Generation Spanky McFarland Guests.

SO YOU WANT TO SHOWCASE Dave Calzaretta Inside Out. BLACK VIOLIN: An Absolutely Awesome Show See Why These Guys Are Hot!

BOB ARNO A Good Reason To Hire A Thief Need Something Different? BOB STROMBERG A Shadowy New Twist More Than Just Comedy.

THE IACEP PAGES News From The Special Events Conference.

2009 IACEP CONFERENCE Registration Fees, Details, Hotel Costs and More.

IACEP/ AMERICAN ENTERTAINMENT MAGAZINE 2009 Showcase & Exhibit Applications.

THE OFFICIAL PUBLICATION OF IACEP

MY Generation Spanky Macfarland has been writing for American Entertainment’s sister publication for years. He is a national comedian and has, shall we say, an unusual and sometimes poignant view of life. I never censor Spanky’s comments nor do I ever tell him what to write. This month, I am going to share with you his column from Campus Activities Magazine® and step down from the soap box. “If your parents never had children, chances are you won’t either.” Dick Cavett I recently received an email inviting me to speak at a college graduation ceremony to “bestow any wisdom accumulated since my graduation.” I thought it must be a friend playing a joke. It wasn’t. Ouch. Seems the older I get the more life be-

comes a series of painful conclusions; the email made me realize that in my mind’s eye I have seen myself as college age from the time I was fourteen years old, until, well, the present. Psychologists refer to this phenomenon as “latent or prolonged adolescence.” I call it “fun.” My family calls it “immaturity.” From the inside looking out it is easy to fool myself, but life has a way of slapping you out of your fantasy world. All I have to do is go into an antique store and recognize my childhood toys, or hear my favorite song being played in an elevator. Just a simple glance in a damn mirror and reality pokes you in the eye and you are reminded that you are not the age of a college student; in fact, you are closer to the age of a college student’s parent. I am beginning to hate mirrors. I don’t want to paint too bleak a picture for my younger readers and imply that aging totally sucks (although it does); there are

benefits to aging, however the only one I can think of is that your eyesight will begin to go at the same time you begin to wrinkle, so when you look in that damn mirror you won’t notice the crows feet if you don’t wear your glasses. I’ve seen my Levi’s go from traditional, to hip-hugging bells, to tight straight-legged, to baggy, and back to traditional and hiphugging bells again. I can measure my life in denim. How sad. I’ve gone from pinball to Pong to Halo 3; from the Gong Show to Star Search to American Idol; from the Beach Boys to the Jackson Five to the Jonas Brothers; from Sean Connery to Roger Moore to Daniel Craig; from “backseat bingo” to “sucking face” to “friends with benefits”; from “I am not a crook.” to “Read my lips: no new taxes.” to “I did not have sexual relations with that woman.” But despite

all that has changed, in my mind’s eye, I am still nineteen, ready to change the world with my wrinkleless skin and full head of hair. Sadly, my perpetual Peter Pan delusion is easily and often shattered by something as common as a reflective surface. When faced with self-reflection I am left muttering, “Dude, what happened? You wanted to change the world and the world changed you?”

your children are doing it.) Our parents (your grandparents) instilled in us a tenant that has been passed down from every generation in our nation’s history: each generation of Americans will have a better lifestyle than the previous. My generation embraced this belief and pursued a lifestyle that we only just now discovered we really can’t afford. Sorry to leave you with the tab.

How can I be a member of the generation viewed as responsible for environmental disaster, economic collapse, countless broken homes, and unparalleled corporate avarice?

Naturally it is impossible to review the past fifty years and divide it into three eras with distinct borders; people have children at different ages, generations blur, achievements and trends overlap, so for the sake of simplicity, let’s look at three generations: yours, your parent’s (mine), and your grandparent’s. All generations have common ground: bitching; younger generations always bitch about not being understood, and in return older generations always bitch about how much harder they had things (walking to school 5 miles… in the snow… uphill…both ways).

If you are a college student reading this, on behalf of myself and all members of your parent’s generation, I’d like to offer a few explanations. First off, we are really sorry, we truly are. We sincerely apologize that the house you thought you were going to inherit is in foreclosure, and the job you thought you were going to get was shipped overseas, and that our pensions and retirement accounts have disappeared so you’ll have to take care of us when we get too old to work. We’re sorry, but it wasn’t our fault. Well, that’s not altogether true; it wasn’t entirely our fault, your grandparents helped. (Funny how blaming parents for problems only seems like a cop out when

One of the many annoying traits of my generation is the desire to label and categorize everything. We call ourselves “Generation X,” the previous generation “Baby Boomers,” and your age group “Generation Y.” Tom Brokaw calls the people that grew up during the Great Depression the “Greatest Generation” and that may be true, but I’d rather be a Gen-

X guy than a Greatest guy, because depressions are depressing, as we are beginning to learn firsthand. Although there are a great many reasons to take pride in being a member of Generation X, there are also an equal number of reasons to feel ashamed. We are a living enigma, a breathing paradox, a walking Catch 22. We have more toys, yet less happiness. We make more, yet save less. We spend more each year on dieting than the GNP of Ireland ($50 billion+), yet twothirds of us are overweight or obese. We preach “just say no to drugs,” yet gobble antidepressants like candy. We have more time-saving devices, yet less time. We are the first generation to ever shout at a microwave oven to hurry up, because for us, instant gratification takes too long. We spend money we haven’t earned to buy things we don’t need to impress people we don’t really like. If you think the older generation doesn’t understand you, perhaps you are right, because to be honest, we don’t understand us either. Why are we so confused and confusing? Where do I start? Since we are exploring your parent’s generation lets start with a

FROM THE PUBLISHER CONTINUES ON PAGE 9

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, March/April 2009

www.americanentertainmentmagazine.com

March/April 2009, AMERICAN ENTERTAINMENT, 5

So You Think You Want To Showcase Your Act?

case to over 100 seasoned corporate entertainment producers with global experience. They’ve seen just about every type of talent and entertainment available. The harsh reality is that most of them have decided about your act within the first minute. When watching “American Idol,” does it take you the entire song to decide if you like the Artist, or does it occur within the first 30–60 seconds? Use your time wisely. Be mindful that your audience is often sitting through a threehour showcase. If you can present your act in less than the allotted time (typically 10– 15 minutes), the audience looks upon this favorably. Were you ever upset when your college professor dismissed you early? The same principal applies here.

By Dave Calzaretta Magnificent Events, Ltd

“The Captain has turned off the fasten seat belt sign.” If you’re in the entertainment industry, read on. I compose this article while cruising at 30,000 feet on a flight to Phoenix. I’m enroute to a gig for a producer who saw my act showcased at the International Association of Corporate Entertainment Producers (IACEP) 2007 conference. If I hadn’t showcased, I would not be on this flight, nor would I have agreed to write this article. Showcasing at industry conferences can be a rewarding investment. Like any investment strategy, it’s important to analyze the decision before loading in.

The Decision: Should I Showcase?

Many entertainment industry associations’ annual conference provides Artists the opportunity to showcase before their respective membership. Showcasing your act may cost several thousand dollars in fees, travel expenses, marketing materials and shipping costs. Consider that you might forfeit other paying opportunities that arise during that timeframe and you may question, “Can I afford to showcase?” My answer is, “Can you afford not to?”

Analyze the cost/benefit ratio. Compare the performance income versus showcase costs. If you can cover your showcase expenses with one or two bookings, it is a no brainer. If not, analyze why your act is so expensive to transport, then determine how to reduce these costs. If you can’t reasonably afford to transport your act, odds are, neither can a corporate client. Think of showcasing as an investment in potential income instead of an expense. A successful showcase can lead to multiple bookings, with each appearance leading to others. It’s all about being seen.

Preparation:

Preparation is imperative to executing a successful showcase. Understand your audience. At IACEP, for instance, you show-

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Do not, under any circumstances, go over your allotted time. Adherence to time requirements on corporate events is crucial. Illustrate that you understand working within defined parameters. All of the talent in the world won’t keep you working in the corporate market if you can’t follow directions and fit into a producer’s program. Musical acts should perform medleys or shortened versions of songs (less than three minutes) to show a greater breadth of material. Keep the crowd energized by moving from song to song, showing diversity and range. It is like cocktail party networking: being a mile wide and an inch deep allows you to quickly cover more ground. Display the detail when booked for the event. Identify what makes your act different and special. Articulate that in your performance. Seek opinions and experiences from Artists who have previously showcased and Producers who have attended. Learn from the successes and missteps of those who traveled the road before you. Push the boundaries of “playing safe.” Producers have seen thousands of acts worldwww.americanentertainmentmagazine.com

MITCHELL ZEIDWIG Acclaimed Pianist and Comedian

BILL BOGGS Speaker

Motivational Speaker and Founder of Fast Food Chain Blimpie’s

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

PETER DE CARLO

GERRY MCCAMBRIDGE

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

FROM THE PUBLISHER CONTINUED FROM PAGE 5

Producers have seen thousands of acts worldwide perform “Mustang Sally.” Distinguish your act’s performance. The same holds true for non-musical acts. Whether a mentalist, comedian, or another form of performance artist, demonstrate your uniqueness to producers.

Execution:

You’ve planned, prepared, traveled and set up. Now it’s show time! Eye catching and energetic performances have producers buzzing the next morning. Movement, enthusiasm, and color energizes the audience and gets their blood flowing. Only interrupt your act to address the audience when a critical point needs to be conveyed that may sell your act. Otherwise, maintain a high-energy pace. Technical difficulties on multi-act showcases are inevitable. Producers watch how you handle them; after all, it’s a telltale sign of how you would handle adversity in front of their client. Announce that it appears some technical difficulties exist, you intend to help resolve them quickly, and will then continue the performance.

Post Showcase Follow Up:

overbearing. Don’t bombard producers with countless calls, emails and packages. Find a comfort zone that allows you to keep your act fresh in their mind without becoming a source of frustration. Think about how you feel when relentless telemarketers interrupt you during a busy moment at home or at work. Employ basic etiquette. Immediately ask, “Did I catch you at a good time?” Asking permission to continue is a sign of courtesy and respect. When concluding correspondence, ask for their preferred method of follow-up. Play the game, but allow the producer to define the boundaries and rules of engagement. Be creative in your follow up. Instead of sending a Christmas card, send one wishing a Happy St. Patrick’s Day. Include a note updating them on your act’s activities. There’s a better chance of your note being read when it’s the only one as opposed to one of many. Consider joining the organization you showcased for and get involved on a producer’s committee. Volunteering on their committee saves them from being intruded upon. Doing good work on a committee gains a producer’s trust and respect. They will be more apt to think of your act when an appropriate opportunity arises.

Understand your audience’s role in buying talent for the corporate community. Showcases vary. At a Performing Arts Center or NACA (National Association for Campus Activities) showcase, attendees may come with calendars in hand, ready to book dates. At IACEP, Meeting Planners International (MPI) or International Special Event Society (ISES), producers attend the showcase to see new acts they can pitch to clients. Showcasing doesn’t guarantee the phone will ring off the hook with corporate offers. It can give you top-of-mind awareness to producers who regularly propose acts to clients.

The Journey: Showcasing is the beginning of a journey. Results are not often immediate. Staying involved and being seen is crucial. However, the most critical element to repeated success in the corporate market is delivering when called upon. Until now, I’ve voiced my thoughts and advice about getting the phone to ring. Once it does, the rest is up to you. Deliver the best show you can. Pull out all of the stops. Keep it fresh and ever-changing. Remember the three A’s of working in the corporate market: be Agreeable, Adaptable and Appreciative. Realize that curve balls are more the norm than the exception. Acts that understand this and adapt to the situation are called upon repeatedly. Good luck I think your phone is ringing… Dave Calzaretta is the owner of Magnificent Events, Ltd. and the founder of the band Maggie Speaks (maggiespeaks.com). His three versions of the band have performed over 452 shows across the country in 2008. An IACEP Board of Directors member, he chairs the Emerging Trends and Talents Committee.

Much to my chagrin, I was born too early to experience the benefits of “parenting.” My parents were so far removed from this concept that on my fifth birthday they gave me “Jarts,” a game consisting of giant lethal darts with heavy metal tips, which was played like horseshoes, except with child fatalities. My parents operated with one simple rule: in by 10, out by 21. When I was growing up if your kid was dumb, tough luck, your kid was dumb, now, your kid has A.D.D.. If your kid was hell-on-wheels, you didn’t have the option to sedate him with daily medications (well, not legally). If your kid was not gifted in sports, no one gave him a “Thanks for Participating” trophy. Child Therapy consisted of swift blows across the backside. We did not have “Time Outs” – we had “Ass Whoopings.” My parents would beat me any time, anywhere, with anything: belts switches, yardsticks, wooden spoons, Hot Wheels track… weapons of ass destruction. They would beat me for any reason; they used to beat me for wetting the bed (of course, I was standing on the dresser at the time). Obviously I needed some “parenting.” Prior to the Baby Boomers, the traditional role for American females was to stay home and take care of children, but just before the end of the Cold War the “nu-

clear family” blew up. First, the Women’s Movement encouraged women toward the workplace, closely followed by economic necessity, soon the task of raising children became a shared responsibility and how can a man learn to do that? Enter “parenting.” It has become big business; do a search for “parenting” on Amazon and you’ll get over 130,000 hits. I recall my parents had exactly one book on the subject, the one by Dr. Spock. I remember it being a thick book because it hurt when my mother hit me with it. Not only were stay-at-home moms fading away, divorce rates skyrocketed, doubling from 1960 to 1975. When I was a child, people whispered the word divorce because of the shame attached; now, if you are over 40 and not married or divorced, people assume you are gay. For the first time in America it became common for Mommy to be at work and for Daddy to be living with his new wife, which is a great thing (if you happen to own stock in the Day Care Industry). By the time Gen-Y arrived, nearly a third of American children live in single parent homes. I believe my generation created “parenting” because we felt guilty our children were being raised by people that were not their parents. Of course not everyone got onboard with “parenting.” For example, the parents of 15% of children, ages 5 to 14, are known as “Latchkey Kids”, which return from school to empty homes. On the other extreme, we now have “Helicopter Parents,” which hover close, rarely out of reach, using the cell phone as the world’s longest umbilical cord, so they can rush in to prevent their offspring from ever experiencing any harm or failure.

Unfortunately their children do not get the opportunity to learn from their mistakes, unlike myself; and I have the scars to prove it. I never owned a bike helmet. I routinely played with firecrackers and BB guns. I ate anything given to me on Halloween without prior inspection. My role model was 007, a chain-smoking alcoholic killer that was so horny he would sleep with women that he knew were trying to murder him. Obviously I needed some “parenting.” TO BE CONTINUED… For more information on the intelligent comedy of Spanky, he is represented by Red Planet Productions at (212) 5145741. He has twice been voted “Campus Comic Of The Year,” and once the “Campus Performer Of The Year.” You might want to check out his regular column in Campus Activities Magazine® or campusactivitiesmagazine.com If you were amused or bemused by the above, please write to: forgiveplease@hotmail.com

The Photography Provided For The Nov/Dec LA AllStars Cover and Story Was Done By Natalie Sojka. For more info contact Julie Solomon at 323.663.7881

Maggie Speaks

Be prompt with your follow up without being 8, AMERICAN ENTERTAINMENT, March/April 2009

Why are we so confused and confusing? Where do I start? Since we are exploring your parent’s generation lets start with a Gen-X craze: “parenting.” Naturally there have always been parents, just not “parenting.” What is the difference? According to Nora Ephron, “Parenting meant playing Mozart CDs while you were pregnant, doing without the epidural, and breastfeeding your child until it was old enough to unbutton your blouse.”

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STORY BY IAN KIRBY

defines itself. “Black Violin is basically a fusion between classical music and hip hop,” says Wil B, who makes up one half of this dynamic duo. “We really try to bridge the gap between those genres and fill in everything in between. That can cover funk, jazz, pop, soul, R&B and who knows what else. We represent good music man. We understand that our fans cover a very broad range, from 80 year-old grandmothers to 3 year-old babies, so we try to always be consistent and professional when it comes to our music and our performances.”

I personally have interviewed dozens of colleges for our monthly Campus Activities Live! feature in our sister publication, Campus Activities Magazine®, and during these interviews with schools, a commonly asked question is “Which were the best acts your board has booked?’ Over the past year or so, independently and unequivocally one name has been the choice of 4 out of 5 schools. This act has shared the stage with some of the biggest legends in pop, rock, R&B and hip-hop, including Alicia Keys, P Diddy, Kanye West, 50 Cent, Aerosmith, Tom Petty, Aretha Franklin and the Eagles. The real boon to you buyers out there is that this IS an emerging act and not an unaffordable celebrity fantasy.

This is a group that knows when it comes down to it, being a great act means more than just going through the motions; it means doing what it takes to make sure everyone has a great time. “Anybody who is in the audience, no matter who they are or how old they are can come in and have a good time and jam and leave all that stress at home. Come to a Black Violin concert and have a good time; that’s what we are about. Good music, happy times, stress free experiences and bringing people together.”

Black Violin, made up of Wil B. and Kev Marcus, is an act unto its own; not quite able to be dropped so conveniently into one of our popular mass musical genres, this act 10, AMERICAN ENTERTAINMENT, March/April 2009

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The two performers came together before even their college careers ensued, commonly bonded by a shared orchestra class. “That’s where we met,” Kev says. “We hung out playing classical music but then split up and went our separate ways as we went to college.” Eventually coming back together before both were finished with school, they decided to start this original act with influences ranging from Bach to Nas. “We kind of just stumbled on it,” Kev explains. “Hip hop has always been within us, so it was easy to do this, as classically trained musicians. It was a natural fusion for us.” While the two were attending separate universities in Florida, they were making music, though somewhat indirectly. “They started off as a production camp,” says Sam G., the group’s manager. “They were in the studio producing different tracks and got their first break when we (their team) decided to try and showcase their sound to the rest of the world. We wanted to launch it and let people know what hip hop on violins could be.” BV’s very first public show was at rapper Timbaland’s birthday party around 2002, a door they were able to get into largely because of their partnering with Jeremiah “Ice” Younossi and A-list Talent Agency, a relationship which would lead them on to other incredible stage slots with some of the biggest acts in hip hop. “We did that party on South Beach,” Sam says. “And with that first performance we realized how intricate and powerful a violin performance could be when given in this manner.”

Thus began a string of college dates now almost 200 strong, much thanks to the connections Ice was able to make among familiar college circles. “During the same week after the Apollo finals when they met with Alicia’s team, BV came and met with me as well,” Ice says. “Because of my association with some of the bigger name hip hop artists, Black Violin came to me. Some of the larger acts we were working with were having some real success in the college market, so I started to use my leverage with some of them to get Black Violin some prime opening slots. They really started out opening bigger shows, with us trying to find a few extra hundred bucks in the budgets to get them on the ticket. Not only did we know it would be well worth it for the school’s extra money, but it was invaluable experience and exposure for these guys. On top of that, we knew we could dump all the work we could on these guys, because their work ethic is amazing. They are not (and never have been) afraid to put in the true amount of hours and practice it takes to be great. When you are touring constantly and involved in shows several hours of the day, it takes real dedication to go outside of that and then practice even more. These guys do that.” It didn’t take long with BV opening for other artists that it was widely suggested they get into a showcase and involved with NACA. Between

this and Ice finding support from Concert Ideas, Black Violin was set to hit the college market by storm. “I looked at which college agent I was getting the most offers from,” explains Ice. “And I had a really solid relationship with Concert Ideas at that time so at that point we made the commitment to work with them. Their relationship with the market was really strong and they got it going, no doubt, Black Violin was able to hit the ground running. Now we are running 200 college dates into the group’s career.” The name Black Violin may seem a little bit obvious and while on the surface the moniker certainly does carry a lot of raw descriptive weight for the act, the meaning goes much deeper. “I was actually studying at Florida International University,” Kev says, “and my professor, Chauncey Patterson, gave me a tape on my first day of class. It was of a guy named Stuff Smith. My professor was also a black man and a violinist, as was I at the time, so he had a lot of influence on me. When he gave me this tape of Stuff Smith, he told me how the way Stuff had played changed his life.” Kev listened to the tape on his way home from the class and it did the same thing for him. “It changed my life; the way that I view music, the violin, black people, everything you know?” He says laughing. “I had never heard a violin played

that way; I still can’t really capture it. It was just so left field, but then it just had soul. I loved the way it (the violin) sounded and I loved the way he manipulated it. The guy’s name was Stuff Smith and the name of the album was Black Violin.” There’s more than one reason most of us do anything, as is the case with BV’s reasoning for focusing on a little niche market. “We are sort of educational, with the classical influences coming in while the hip hop element lends itself to a younger crowd. Colleges are very open to this, they love it. It has been a great audience for us and will always be something that we want to do.” Black Violin’s debut album was released recently and is available on iTunes and Amazon and is a shining example of their eclecticism. “It’s all good music,” Wil says. “It’s everything you want to hear. The first track on our album is the classical track, then the next three are R&B, then hip hop and funk; there’s jazz, be bop, everything, you know? It’s anything that’s good music from a violinist’s perspective. That is how we can categorize it, if that’s possible.” Both Wil and Kev are multi-talented, lending more to the songs than just excellent musicianship. “Both of us are vocalists,” says Kev. “We’ll both sing on some tracks, I rap on some tracks and Wil also beat boxes. There is a lot more to it than

just the violin; it’s a fusion of not only all styles of music, but all aspects of those styles as well.”

a pleasure to do it and I hope that anyone who has the album really enjoys it.”

While this is Black Violin’s first full-length studio offering, they have been prolifically creating original material in the past. “We started off with mix tapes,” Wil says. “We were just a group that performed locally at first. Once Apollo hit, we were able to get out there. We wanted to record our album, but scheduling has always been an issue. We have always been known for our mix tapes, we’d take a Jay-Z record or a Kanye record and remixing it and put it on a tape. We have about six of those, but our album of original music just didn’t seem to come together for a while.”

What makes the amount of time, attention and detail the guys paid to the album all the more impressive is the fact they did all of it on their own without major label support. “We have our own label,” Kev says, again laughing. “We financed everything in-house through not only ourselves but also a couple of independent producers who helped us on the project. No Def Jam’s or Universal’s or any of that big time influence stuff. Just Di Versitile Records.”

A dogged determination and creative drive from the core made sure BV would eventually create and produce their own album. “We are artists at heart and we wanted to put together something that we thought would really blow people away; I think it does.” It was no simple task however, because there were no corners cut here. In the day and age of being able to get nearly any sound out of a computer, not all producers will go out of their way to get the true organic sound of real instrumentation. “It took us I think about 16 months to record the entire thing, including full orchestration, but its hip hop like you’ve never heard it before. It was

Black Violin is an exciting act That is now getting strong consideration outside the campus market, playing private dates and performing arts theaters to rave reviews and while certainly not “green,” is fresh enough to the scene to bowl a lot of new audiences over. They may be headed to superstar status and acclaim, but right now they are a viable option for any buyer who wants to feature a great act with awesome musicianship, material, diversity, personality, integrity, experience or any combination of the above. BOOK IT! For more information on bringing Black Violin to your campus, contact Concert Ideas at (800) 836-2000. For virtual links, log on to our website at www.americanentertainmentmagazine.com

In late 2004, the duo started that year’s season of the Apollo theater’s world famous Amateur Night. “In 2004 they started the season and won 1st, 2nd and 3rd place. Then in 2005 they clinched it and won the Apollo Legends title in the final.” It was this major victory that then set in motion a chain of events that has yet to completely unfold in the bright career of this talented young act. “The same day we won the Apollo finals, I took them over to meet with Alicia Key’s management team and they performed in the lobby. They called us back in October to get us on the tour with her.” The group has been extremely successful to date in the six years since their inception and a familiarity with the college market goes part in parcel with this. Not only has the group spent a significant portion of their live show careers playing dates in the college market, but also even one of their premier performances was given on campus. In March 2005, BV opened a show for Lil’ Wayne and Lloyd Banks at the University of North Florida. 12, AMERICAN ENTERTAINMENT, March/April 2009

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Camp Freddy is truly an all-star Rock n’ Roll experience. Originating with some very esteemed friends as just a way to have fun, Camp Freddy quickly turned into something special. Comprised of a veteran and duly qualified lineup, the band’s core includes Billy Morrison of The Cult, the infamous Dave Navarro (Red Hot Chili Peppers, Jane’s Addiction), Matt Sorum (Gun’s N’ Roses, Velvet Revolver), Donovan Leitch (son of legendary folk singer Donovan- Britain’s Bob Dylan) and Chris Chaney who, boasts a bevy of credits. While this impressive nucleus makes up one hell of a band, what’s really special about this outfit is the absolutely astounding array of special guests they’ve hosted, usually one each per show. Made up of an eclectic mountain of A-list talent from not only the music world but also celebrities from nearly all walks, corporate event clients who book this band are 14, AMERICAN ENTERTAINMENT, March/April 2009

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surely in for a special treat one way or another. While the list is much too long to include here, some highlighted guests include (in no specific order) Kid Rock, Lou Reed, the Stones’ Ronnie Wood, Ozzy Osbourne, Billy Idol, Macy Gray, Robbie Williams, Pink, Melissa Etheridge, Mark McGrath (Sugar Ray), DMC (Run DMC), Joan Jett, George Clinton, Leif Garret and even Pauly Shore. Clearly this is a special outfit. Billy Morrison, guitarist for Camp Freddy and one of its founders, gives American Entertainment Magazine an exclusive look at just how this unique rock experience can be a perfect fit for corporate and special events audiences. “Camp Freddy started as a one-off idea, we never intended to keep it going. Now it’s seven years later and we all can barely find as much time as we’d like for the project,” he says in his articulate British accent. “It began with an idea to play some cover songs at the opening of the downtown Standard here in L.A. Donovan Leitch, who we like to call our master of ceremonies, suggested to me that we form a cover band for the opening of this hotel. I had just gotten off the road with The Cult, I knew Matt Sorum and Navarro were friends so we got together and literally learned six songs.” The group played the gig thinking that would be it, however plans changed. “What we didn’t realize,” Billy comments, “is how much fun we were going to have. Cut forward seven years later and we are still having just as much fun, and we’ve also managed to bring a few friends into the deal as well.”

band. That is the core band and the people who make all of the decisions and we schedule everything around those guys. Then we invite our friends to play.” Some of the early success of Camp Freddy encouraged the group to take things to the next level. “The second gig we did was at a club in Hollywood. Robbie Williams, the English pop star is a good friend of mine and Slash was around and everyone knows him out here. Twiggy from Marilyn Manson’s band was there as well. Having those guys down, the place was packed. I don’t know why, I think word just got out that it was a fun time. We played for an hour and a half, and we did some Queen with Slash and Robbie. That was a hit and the show after that Ronnie Woods came in. We knew soon enough that this was going to be great. When you start with Slash and Ronnie Wood, you have to think to yourself ‘Oh God, where do we go from here?’ But, we’ve managed to keep going (laughs).” The selection of hits the band plays can largely vary on the day; Camp Freddy has never played the same show twice. Sometimes it depends on the venue or the audience; sometimes it is by special request from the clients. Sometimes, when you’re dealing with larger than life rock stars, it’s whatever they want it to be. “Ideally, when we have our special musical guests on, we

like to play songs they’re not known for. This makes for a truly special and one of a kind performance each time. The idea is, our audience is familiar with Slash playing Guns N’ Roses songs, but they don’t usually get to see him play Sex Pistols or Jane’s Addiction. It is something you don’t normally get to see. Now obviously, if you bring Slash on stage, everyone wants to hear “Paradise City” and we oblige. In all fairness though, our take on it was to bring Cypress Hill up and do this sort of crazy hip-hop version. It was awesome.” As mentioned though, sometimes when Alist talent gets up there, things may be a little bit less experimental, depending on the artist. “When Ozzy gets up with Camp Freddy, he wants to do his songs. And, you don’t say no to the prince of darkness (laughs), you know what I mean? So we do “Iron Man” and “Crazy Train” and “Paranoid” and it’s great.” Things do get really cool though when you get some artists up who are willing to be a little bit adventurous. “Perry Farrell of Jane’s Addiction got up and sang “A Whole Lotta Love” by Led Zeppelin. You don’t see that very often and that is the kind of example we try and organize. Mark McGrath sings Ted Nugent like I have never seen it done before; it’s incredible. Snowboarder Shaun White plays a mean guitar, and actress Juli-

ette Lewis is one of the best front women I have ever seen. I mean, she sings her ass off. You want to see Juliette Lewis sing a Van Halen song, unbelievable. I mean, I even get to sing “White Wedding” with Steve Stephens (Billy Idol). It’s an eclectic set list we try to put together.” One thing this band doesn’t do is toy with working formulas. They don’t spend a lot of time reworking or arranging the songs they play. While many bands do this for variety, by the very nature of what this band does the songs already sound unique enough without fixing what ain’t broke. “Just by putting Dave Navarro on lead guitar, me on rhythm, Chris Chaney on bass and Matt Sorum on drums, our songs are going to sound a certain way. No matter how faithfully you might try and stay to the original, we are all professional musicians with our own signature style and by default it is going to sound like us. We are strong, hard Rock N’ Roll; we don’t screw with the arrangements too much.” Billy cites a perfect example why this is the right approach. “For instance, Fred Durst got up and sang a Van Halen song with us. You can’t really get into rehearsals with Fred Durst and say ‘Hey, how about we drop the middle eight and we do this verse here this way’, it’s never going to work. We play 22 songs in a set and we know probably over

Even as the players of the band seem to be an unlikely grouping, Billy says this is much of what lends the band its charm. “I do believe that part of our success is because of the eclectic mix. You’ve got me, I was bass player in The Cult for a little while and I front a band called Circus Diablo, but I play guitar in this band. Then you have Dave Navarro who was obviously with Jane’s Addiction and The Chili Peppers. Then you have Matt Sorum, who has drummed for like every big band including G&R, Velvet Revolver and The Cult. Donovan Leitch’s dad was a 60’s icon, you know, Mr. Mellow Yellow. Then you have Chris Chaney, who basically plays bass on everything you’ve ever heard, a really prolific session guy. He was also in Jane’s Addiction and Alanis Morrisette’s 16, AMERICAN ENTERTAINMENT, March/April 2009

150 songs so we keep the arrangements the same and we can call up Fred or anyone else and say ‘Do it exactly like the record,’ and then we are ready to roll. It always sounds like our own take, but to make things universal we keep the arrangements the same. You can’t make Led Zeppelin sound better, so our job is to give it the best face we can.” One interesting aspect of this group is that fact that they were not assembled as a way to make money in the corporate market. This is a band that caters to that market very well, but its formation was in the public venue and that is still where its essence lies. When a corporate client hires Camp Freddy, they aren’t getting some contrived show band just out to do a gig. This is a real Rock N’ Roll show with real stars whose hearts are still in spreading the music. “One thing we are trying to do is give kids today a view into the history of music. We can say “Hey kids, this is a song by a band called Led Zeppelin which you might not know, but here is Brandon Boyd of Incubus to sing it for you by someone you recognize. Kids who’ve never heard of Zeppelin are drawn in by the appeal of some of their more contemporary favorites.” One thing the corporate market is no stranger to are exotic locales and breathtaking venues. Not to worry, because Camp

Freddy is prepared to handle anything thrown their way. “We played on the roof of a building in Times Square and Scott Weiland (Stone Temple Pilots’ lead singer) was singing at that time, and when someone like that says ‘That was the highlight of my career so far,’ that’s pretty cool. The police shut off entrances and exits to Times Square and we were on all of the electronic billboards around the area. That was pretty cool. Really though, nearly every gig we do is special in some way.” Chemistry is an important part of musicians clicking together and producing the right groove and with such a massive variety of artists Camp Freddy has hosted, one would surely think not every gig is as smooth as the next. While Billy may admit this is on rare occasions the case, he is much too discreet of a gentleman to be any more specific. “(Laughs) That doesn’t happen as much as you might think considering we’ve had hundreds of guests now. But, there has been the odd one or two- don’t even bother asking me who because I’m a nice guy and I’ll never tell. But yes, occasionally someone will come and we look at each other and kind of silently say ‘Oh my God, what have we gotten ourselves into?’ That happens, but not very much.” Billy does remind us that the special guests they bring up are a highlight of the show, but not its frame. “What’s really important is that there is so much chemistry between the five of us. It’s a wonder we don’t actually write songs, because for any group of musicians to play together for seven years is something special. When we get on stage, we all know what is going to happen and most bands don’t ever get to that stage because it takes years to figure it out. We are professionally able to smile and get through a song no matter the circumstances.” The group has toyed with the idea of recording original music but at this point, they are happy with their current product and five individual musical careers keep them busy as all get out. “We’ve kicked it around once or twice and I’m not going to say it will never happen, but it is hard to bring together. We have worked on collecting some covers to release but didn’t really feel dropping one or two of our own songs amongst some of the greatest rock tunes ever written was all that appropriate. I think if there were some special circumstance that the five of us felt we

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March/April 2009, AMERICAN ENTERTAINMENT, 17

could write a song for like a movie soundtrack or something, we would do it, but as of yet it hasn’t come along.” Billy reiterates the importance of this band to its members, despite their hectic schedules. “Dave just got back with Jane’s Addiction again, that guy will be on the road forever. Matt’s in Velvet Revolver and I am so busy doing TV and film stuff right now, but this band continues on our days off. We are dedicated to it and it has stood the test of time I think.” The large network of friends does make things easier because when one musician is tied up another can step in, making them available for more dates.

One thing that will please corporate clients is not only this band’s understanding of their needs, but also their willingness to work around requests. “As for learning songs, we don’t even rehearse. You have to understand mate, we are professional musicians and if someone says ‘Play these 17 songs’, we will listen to them on the morning of the gig and then rehearse at the gig and that’s it. It’s more fun like that. Quite frankly, we have been standing on a stage two hours before we play, learning a song because George Clinton has just walked in the venue and he suddenly wants to get up and do a Clash song. We learned it and did it and it was great! We have even learned a song in

a dressing room and we learned it by just listening to it on an iPod and scatting it.”

Joe Castillo Absolutely unique! Powerful! Phenomenal! words that attempt to explain what artist Joe Castillo does. It is almost impossible to describe a SandStory presentation to one who has never seen it. Magically creating detailed illustrations to live or taped music, Joe transforms sand into everchanging shapes. These Sand Stories are projected on large screens for corporate events, conventions and other large audience. Sand Art is an awe inspiring, captivating, inspirational experience. Joe Castillo is unquestionably the top Sand Artist in the world today. 2009 American Entertainment Magazine’s Best Arts Performance and Best Novelty Act.

This skill reflects largely upon what Billy thinks is special about this band. “I have to say that is why Camp Freddy is still going. Despite the novelty of the friends we invite to play and the attention that gets us, when you get right down to it, we are really good musicians (laughs). We are actually really good at what we do and that is why we are still going and still having fun.” This band is ready for corporate work and knows the ropes. For example, do they often cater to custom requests from clients? “Every single time. And, every single time without fail the client has thanked us profusely. Now, obviously if someone rings us up and says ‘We want a set of Smokey Robinson and Temptations songs’, they’ve picked the wrong band. But if someone wants 80’s Rock Classics, we will come out and rock the house. If someone wants punk we do it. We absolutely tailor our stuff to each and every show; we have stood on stage and had the client ask ‘Do you know any Joan Jett?’ So we play it. We are there to please and can deliver on nearly any request that fits in our general scope.” Billy closes with a particularly fun story from the corporate market. “We played a private party in Chicago and were on for an hour and a half. The client was so happy; he wouldn’t let us leave the stage. He said, ‘I’ll pay you some more if you play longer.’ We played another ten songs (laughs) off the top of our heads no problem at all. We accommodate without ego, without complications a great show, no questions asked.”

Bob Stromberg Shadowmaster Bob Stromberg brings to the stage an ancient skill seldom seen. Casting shadows with his hands, Bob brings to life a dreamscape of creatures and images in such stunning, life-like clarity they must be seen to be believed. Everyone has made a shadow on the wall, but no one has seen shadows like these. Whether used as a comic touchor a dramatic flare, Bob customizes his work to leave a lasting impression.

BOOK IT! For more information on bringing the all-star line-up of Camp Freddy to your next special event, contact Christianne Weiss at APA at (310) 888-4226. For virtual links, log on to our website at www.americanentertainmentmagazine.com AE TO DISCOVER HOW THE CURRENT GOVERNMENT ECONOMIC POLICIES MAY EFFECT YOUR BUSINESS:

Jeff Allen

Taylor Mason

The World's Funniest, Most Inspiring Comedian!

2009 American Entertainment Magazine’s Best Comedy Act

• http://adage.com/article?article_id=135017 • www.keepamericameeting.com • http://www.nytimes.com/2009/02/25/ opinion/25dowd.html?_r=1 • http://capwiz.com/nbta/utr/2/?a=12773376&i =91987786&c

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James Gregory America’s Funniest Man

Bean and Bailey

Daren Streblow

ph: 615.243.4147 www.nashvillespeakers.com tim@nashvillespeakers.com

Bob Arno is a professional thief. With a unique background that includes a multi-faceted aspect that serves him particularly well in a corporate entertainment environment, Bob has experience in law enforcement, comedy, business, marketing and special events production.

His experience has taken him everywhere, as he is regularly pulled overseas for reasons ranging from his anti-crime seminars to interrogating suspects of identity theft and cyber crimes across the globe. He is probably the only professional thief you would hire to impart a message to your employees or audience. To be more precise, Bob is a professional pickpocket and aside from showing major companies how to keep from getting scammed, he also gives advice in his presentations that individuals can use to keep themselves safe in everyday life. But, what Bob really offers in the economic climate of today is the â&#x20AC;&#x2DC;WOW!â&#x20AC;&#x2122; factor for those who want an experience with performer with media credentials while maintaining a budget that reflects a responsible event holder. Making regular appearances on major networks and many cable outlets, Bob represents an unprecedented value in an affordable entertainment, education and motivational experiences for clients.

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March/April 2009, AMERICAN ENTERTAINMENT, 21

What’s perhaps most impressive is his diversity of skill; he seems to display his skills equally well whether the audience is law enforcement officers, evening theatergoers or corporate event clientele. Two recent examples tell the tale; his comedic skills are such that he did very well at the 2008 Just For Laughs comedy festival and his corporate event acumen is sufficient for presentations done for IBM. In Bob’s own words, he combines reality and crime with comedy. “I know it sounds like a hard-fought goal to combine the two, but I feel the world is filled with cons, scams and shams in one way or another and I prick holes in the balloons of ego and people who proclaim to be one thing but are not. I use some skills that some mask as psychic but are commonly known as cold reading. It is really about seeing people for what they truly are.” Bob’s show (where he derives most of his income) encapsulates these skills in a way that allows all of the audience to benefit from his ability to get to know people quickly. “We teach the crowd how to quickly establish rapport with each other when they sell a message. I do that by using a lot of audience participation that generally centers around pick pocketing. Those are my main skills, but I am also a good communicator as a keynote speaker as well.” While Bob can effectively impart a variety of messages to audiences, his primary use is in a purely entertainment-driven form. “I would say people usually hire me because they want to laugh and have fun. In the last ten years, there has been a lot of areas where the client wants to hire someone for entertainment, but also seek say, 20% of a message embedded within that. “There are people who are great motivational speakers who can combine humor with a message and there are many ways of doing just that. “I do it by essentially showing how gullible we all can be and how we can certainly learn how not to be gullible. I use pick pocketing and diversion techniques (magicians call it misdirection) to call attention away from whatever I am doing. Misdirection is of course used in politics, sales and throughout the course of my show.” One aspect that makes Bob such a great candidate to work with (and one that becomes immediately apparent upon speaking with him) is that he is intimately familiar with this market, what it requires and what the unique challenges of its pro-

fessionals are. This gives him the insight it takes to work with nearly any client in coming up with an apt performance for their purposes. However, one point Bob readily acknowledges is that his services can be somewhat hard to quantify for the uninitiated. “I wouldn’t say it is exactly a piece of cake to sell,” he laughs. “Meaning a producer who is calling up an investment bank or insurance company or other major corporation and says ‘I have this great pick pocket you have to hire!’ may need to put into context exactly how my services will fit their theme. The event planner will wonder, ‘Why would I hire a thief to come and have fun with my client? Won’t that cast a dubious message?’ So, the first task is to relay that there is nothing dangerous or subversive about this show; in actual fact it teaches everyone how to be alert, aware and to read people better.” Working with Bob leads to a veritable trove of his miscellaneous gems of planning wisdom. “I think where we most fail is in understanding perception. We may come with a message where we are trying to sell a property, good or service and all we think about is the sale and staying on point.

help to develop a language that is politically correct with the party you are negotiating with. If you are dealing with the Asian people there are subtleties if they are Chinese or Thai. If you are working with Europeans you deal with Germans in one way and the English another. Jump continents to South America and there is an entirely different commonly accepted practice. I am not pretending my show is all about international language, but more a core of understanding the people your working with and how to more intuitively read their reactions to your moves.” By taking people up on stage and performing his various pick pocket demonstrations, Bob parallels the ways in which keen observation and astute communication can not only keep one safe from thieves, but lend an effective edge in all forms of communication. “I get people up on stage and point out their mode of dress, their pace, the way they lean, the grip of their handshake and how they hold their general posture. These are all small details that on paper may be hard to define, but when you have someone standing in front of you can be instantly summarized for your benefit.” This allows the sort of snap judgments not previously practical, as was touted in the popular book, Link a couple of years ago where quick decisions based on intuition are explained as the most effective. This is derived from the notion that our subconscious minds make up the greater part of our intelligence and that tapping into that is the real key to our success.”

We have these bullet points from management we are trying to push, when in actual fact we need to listen to and read the opponent or person with whom we deal. What I do in my show is teach how we can learn to read micro expressions. This could be a forehead that suddenly has more of a wrinkle relaying the receipt of a confusing message or someone who lowers their eyes that may not be paying attention. At all times, when it comes time to try either to sell, market or communicate in any other way, you need to be able to listen and look at the other person and either hold back or move forward based on how receptive they are.” Bob is all too well aware of how different factors, both geographically and culturally, can affect the climate of any meeting. “These observations can

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Bob points out an example of this sort of non-verbal cueing that we can all understand and relate to in the familiar cadence and characteristics of our president-elect’s recent campaigning. “You would be amazed at the success or failure of politicians based on people’s snap judgments of them. Take Obama for example, his speeches around the country seemed to make up people’s minds about him rather early based on his voice pitch, mannerisms, dress mode and open clarity and face. People make that determination within the first 20 seconds or so.” The finer points of cold reading are not something that can be taught by anyone in one session. But Bob says he can instill some basic tenets of the technique in the limited time he has with his audiences. “You cannot make an expert out of everyone, but you can rattle them. I can tell people that where we have failed here in the United States in the last 5 to 10 years (or certainly since 9/11) is in taking so many things for

BOB ARNO CONTINUES ON PAGE 36

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At its core, the entertainment industry is about unique and exceptional talent. While it’s too true that much of the entertainment industry is about the dollars available in cloning unique and exceptional talent, there are still the performers in the vanguard of creativity who will be the trend setters for the future generation that will follow suit. A generation of comics was molded around George Carlin; unheeded masses have sought to replicate The Beatles in one way or another, and droves of creepy eyed monotone tricksters set out to become the next David Blaine or Chris Angel. In this sense, Bob Stromberg is perhaps not a name immediately familiar, but is certainly a person upon whom 24, AMERICAN ENTERTAINMENT, March/April 2009

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much credit will be given in the future for his unique contribution to the arts. While the majority of Bob’s career has been spent occupying the stage as a stand up comic, the truly unique gift he has is in presenting his delightfully amusing stories to audiences through the form of shadow puppetry. Much like the simple dog or rabbit we make as a kid in the lamplight, Bob demonstrates in front of a backlit three-foot screen (often projected for larger events) the magical and amazing ways he can manipulate shadows into life. He takes one of the simplest (and probably oldest) idle pastimes and transforms it into something that can truly be considered art, even if you can’t post it on a canvas.

While the puppetry-in-motion Bob performs is nothing short of amazing, the true gem of what Bob does comes in his ability to add the ever important entertainment value to a nifty visual effect. “Well, I’m a comic and that is what I do, but my signature piece has become my hand shadow work. But, I have been performing for far longer than that. I am a storyteller, that is the nature of my comedy, the shadows are just a compliment to that.” Bob has been performing his entire career and while he is a little clean for most comedy clubs and his storytelling style is somewhat unorthodox, he is truly a trained comic. It wasn’t until well into his professional career that fate, luck or providence stepped in, and turned out the lights. “About 15 years ago,

March/April 2009, AMERICAN ENTERTAINMENT, 25

I was at a convention in Pennsylvania and the power went out in the resort where the event was being held,” he explains. “Housekeeping came around to each room and provided a candle se we would have at least minimal lighting.” The next part of the story reminds us of just how much sometimes the goofy little mundane things we do when we’re bored can make such a huge impact in our lives. “For probably a good 12 hours the power was out and the hotel was pitch black. I was taking a bath with my candle sitting on the edge of the tub and it just seemed very natural for me to lift my hand up and make a shadow. I didn’t know what it was, but I had nothing better to do. I put my other hand up and started playing around and all of a sudden there was an amazingly lifelike gorilla in profile on the bathroom wall. It was so neat; I couldn’t believe how real it looked. I thought to myself ‘I don’t dare take my hands down now because I’ll forget their positions!’ (Laughs) I spent a considerable amount of time studying my hands, fearfully taking them apart and putting them back together, yet the image remained.” That night, the power was back on and Bob had a presentation to give. He was so enamored with his newfound trick that on a whim he decided to show it to the crowd; this despite having no context or material written around the gesture, it was just a shadow unto itself. “There were probably about 1,000 people there in this big convention hall and I had the big spotlight brought up on he big white wall behind me. I had the video guy close in on the shadow of my hand in the light and told the crowd ‘okay, watch this…’” Bob had no idea the reaction he’d receive. For all he knew the crowd could have cared less as much as been excited. “It was just a part of my routine, having fun and talking to some people. I made the shadow and the house went nuts (laughs). I thought to myself ‘Boy, there’s probably some potential here.’” Once Bob realized he had stumbled across something that could be inherently entertaining, the rest was just a matter of homework. If people laughed at just the gorilla image, how might they react with material written around it and an actual act developed around the shadows? “I found a

Explaining that it really isn’t so surprising he came across hand shadows, Bob talks about his early training as a jokester. “It was quite natural for me to find something like a hand shadow as a part of my comedy because I actually come from a mime background. I went to Celebration Mime Theater for several years after college and that is a school that teaches physical comedy, which is very much a part of my act today.”

bunch of shadows by myself just playing around and I also got a children’s book on hand shadows from my library that were pretty cool. Of course, a book like that doesn’t show you how to make those shadows move and come to life.” Then, Bob took his shadow puppets and went deep underground. “I practiced solidly for two years before debuting them on stage. I had a lot of variables to work out; what kind of light to use, what sort of screen for the shadows and how to set the whole thing up. Then I had to write the material to go along with it.” Bob wrote a story to go along with the series of shadow animations he made which includes favorites such as a rabbit, hound dog, camel, horse, deer and of course everyone’s favorite, our gorilla friend. “People were just astounded and it took off from there. I started getting calls with requests for my hand shadows.” Between word of mouth and Bob’s wisely getting his material viral through YouTube, he quickly gave his career a completely new life. ”That’s when I realized ‘Oh my goodness, this is a potential gold mine of entertainment and a real signature piece for me.” There’s little doubt that this is a one-ofa-kind performance. Even if one sees the few other really talented shadow puppet artists with videos online, none of them have Bob’s great personality and infectiously funny stand up act.

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In fact, this isn’t the first time mass audiences have enjoyed Bob’s wit, because over a million theatregoers around the world have seen Triple Espresso, a satirical three-man experience. “In 1994, two of my buddies and I were having breakfast. One of them is a comic magician and the other is a comic piano player/singer. One of us suggested that we write a play. I told them we would never write a play if we didn’t book it first, because we are all so busy we’d never make it a priority to get it done unless there was a contract on the line. One of them said he’d call around and see if he could find a place that would be willing to do it. Turns out a church here in Minneapolis let us come in for friends and family on a Friday night. It would be a clean show and fun for everyone.”

part of his career, elementary, middle and high school audiences were a big part of his success. “In a way, it’s not a very glamorous things to say you spent 13 years of your life working in schools, but at least it’s working. And boy oh boy, do you get good because you are never in a good situation. Lighting is almost always horrendous, the sound systems are touch and go and forget about the audiences (laughs). Doing this 2 or 3 times every school day for 13 years certainly keeps you sharp. There is no question that when you are loosing an audience full of kids, they let you know it pretty quickly.” One interesting skill Bob developed in these days (besides crowd control) was the ability to make his show fit into any timeslot- completely on the fly. “Of course one skill that is important with school children was timing, because I had to end before that bell rang. When that happened, forget it, it’s a ghost town, it wouldn’t have mattered if I were on fire. So, I would ask the principal what time the bell

rang, exactly by the clock in that particular room. Every day, it was a fun little game for me to try and finish my story or bit, say ‘Thank you very much’ and have the bell ring. I got a kick out of it then, but it has come in really handy for me through the years with corporate or special events too. When I go to a convention now and a corporate sponsor gives me a slot, or I am performing around other presenters and they run over, I can immediately clip things in the moment to keep that client’s event on schedule.” After 13 years if fun and games in the schools, Bob decided it was time for the next step. “Part of the challenge of a performer is being able to open up different markets and learning how to work them. I felt that I didn’t have any more to learn with kids and in the late 80’s I was invited to do a show for the National Youth Workers Convention. It went extremely well and I sat down at a table in the convention hall with my name on it and people started to line up to request

me to come perform at their events. I sat there for about 3 hours and booked a year of weekend work, because I was still doing schools at the time.” Bob hasn’t looked back since and has found a real home in the corporate, association and special events markets. He is available for nearly any event from Keynotes to mainstage and can customize his show for any audience. With interaction being a big part of the act, surely any audience you can assemble will be gasping in awe and rolling in the floor for Bob’s performance. To get an idea of what he looks like in action, check out a link to his videos on our website at americanentertainmentmagazine.com. BOOK IT! For more information on bringing Bob Stromberg to your next special event, contact Tim Grable at The Nashville Group at (615) 263-4147. For virtual links, log on to our website at www.americanentertainmentmagazine.com AE

The date was 30 days out, which gave them exactly a month to put it together. “We had so little time available to write the show that we decided to take the best of each of our material and split the time into our individual three segments.” The play became Triple Espresso and since opening in 1995 in a church they moved from a theater in Minneapolis to tours around the world. “We’ve had runs for a year or more in San Diego (11 years), London, Dublin and some 45 other cities. Well over a million people have bought tickets to the show and it is probably the real feather in my hat.” Bob always had a natural tendency toward being funny; unfortunately his dreams of being class clown were stifled. I would have loved to be the class clown,” he says laughing, “but my father was the principal and my mom was a teacher, so those aspirations went unrealized.” Bob didn’t exactly escape the school environment for long, because during the early www.americanentertainmentmagazine.com

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“’I was amazed with just how lavish it was,’ Debra Rickard, an ex-Wells Fargo mortgage employee who attended the events regularly before leaving the bank in 2004 told the Associated Press. ‘We stayed in top hotels, the entertainment was just unbelievable, and there were awards — you got plaques or trophies.’" (emphasis added)

“It’s the end of the world as we know it, And I feel fine.” - REM

From Howard Stovall Chairman of the Board Did you see the Wells Fargo article in the Daily Telegraph (London). The scary one? In case you missed it, here are the highlights. Under a headline of “Wells Fargo Bank rethinks Las Vegas sales bash after row over use of US taxpayers' money,” James Quinn writes: “As recently as yesterday, a Wells Fargo spokesman was telling all who listen that the bank continues to recognize its employees’ performance, and that the conference was a part of that. But following public criticism from a number of politicians, the bank has now said it is reconsidering whether the conference will go ahead. New York Attorney General Andrew Cuomo, among others, is understood to have raised his concern at the scale and the cost of the venture. If it were to cancel, it would follow in the footsteps of AIG, who cancelled similar conferences last year after receiving $153 billion of government funds... ...The 12-day conference has in the past involved several days of entertainment and activities such as wine tasting, helicopter rides and horse riding.

Uh oh. Is headline entertainment bad PR? What does that mean for corporate entertainment producers? Corporate demand for headline entertainment is not going to disappear, as there are myriad instances in which it serves a unique and direct purpose. Nevertheless, there are likely to be a number of corporations who may shy away from potential negative publicity by scaling down expenses for events. Many IACEP members saw this during the holiday season as corporations canceled parties due to public perception fears. Hats off to the recent communication resolution from a consortium of associations outlining travel guidelines for companies that take bailout money. Very smart and very pro-active. (“Industry Unveils Guidelines for Firms with Emergency Loans” at www.mpiweb.org) A smart producer is thinking ahead on what new and different ideas to pitch clients looking for a new model. A smart producer knows that the best place to see new ideas in headline talent, interstitial talent, and all types of corporate entertainment is at IACEP’s annual conference. Being there is just good business. (www.iacep.com for info) You won’t have to wait until the conference to see the folks at IACEP. These days, IACEP will come to you. In fact, IACEP members were everywhere during the recent The Special Event (TSE) Conference & Trade Show in San Diego. IACEP helped start the Conference with a very engaging panel on “Maximizing Your Investment in Entertainment for Meetings and Events,” conducted by IACEP members Rick Stowe (EastCoast Entertainment), Gig Xifaras (Associated Entertainment Consultants), Dennis Smith (Party on the Moon), and Ed Duncan (EastCoast Entertainment). Another educational session on “Celebrity Riders and Negotiating for Success” was led by our own Debbie Meyers (BRAVO! Entertainment) and Brian Acheson (VIP Events, Inc.). IACEP member Michael Cerbelli presented his traditional “Michael Cerbelli’s Hot Event and Entertainment Ideas 2009” as a Special General Session and he included several acts that he acknowledged he found at last year’s IACEP Conference Showcase. Hmmm, smart guy!

28, AMERICAN ENTERTAINMENT, March/April 2009

IACEP owes a special thanks to IACEP members Judy Thee (Freeman Audio Visual Services), David Belenzon (Belenzon Management), Steve Thomas (EastCoast Entertainment), Janet Elkins (Event Works), Lee McDonald (Key Artist Group), as well as more than 10 other producer and supplier members who spent HOURS dutifully greeting the 100+ persons who stopped by the IACEP booth and who expressed interest in membership. IACEP Executive Director Leona Plaugh is busy now contacting all these people. It’s an exciting start to 2009. As you know, one of our goals for this year is to mix more pleasure with our business and that included a social gathering during TSE. Well, more of a social hike, as the gathering turned into a scavenger hunter’s dream. The location was to be Hard Rock Hotel’s Sweet Water Saloon, but some people were confused and walked to a different Hard Rock location. Once everyone finally discovered the correct location, it suddenly closed for the evening due to some sort of management dispute. Board Member Lee McDonald, demonstrating an IACEP producer’s ability to respond to unexpected changes, quickly redirected IACEP members and their guests to yet another nearby location. There the gathering went on undaunted, with nearly 25 persons successfully achieving IACEP’s first official certification – Competence in Barhopping. If there’s an important industry event, it’s likely that IACEP will have some members participating. Meantime, keep an eye out for an IACEP member survey that we hope will provide insight into our fellow professionals’ expectations and assessments for the coming year. Also, check out the IACEP Network for regular updates on our new forum calls and other matters of interest.

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).

Final Say Final Say had… well, the final say for the New Year’s Eve bash at the John Hancock Building’s Signature Room (Chicago). Final Say, managed by Dave Calzaretta’s Magnificent Events, Ltd was hired by Bill Peterson.

Janet Elkins

IACEP Member, Janet Elkins recieves the Lifetime Achievement Award at this year’s Special Events Conference.

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

Gig Xifaras (C) of Associated Entertainment Consultants booked Chris Isaak (R) as the headliner for Samsung Corporate at the Red Rock Amphitheatre, CO. Drummer Kenney Dale Johnson (L) poses too.

Rick Stowe of East Coast Entertainment (C) smiles for the camera with Kix Brooks and Ronnie Dunn, of Brooks & Dunn, at a corporate event held outside of Bozeman, MT.

At the time of this writing, our first Forum Call was approaching. “Business in the Midst of an Economic Downturn – What Opportunities Exist?” was hosted by Steve Thomas. Two more Forum Calls followed. “Business in the Midst of an Economic Downturn – Market Exposure and the Internet,” was hosted by Carmen Tomassetti (CTO, Inc.) and Dave Calzaretta (Maggie Speaks) on February 18 and I hosted “Business in the Midst of an Economic Downturn – Collaborative Business Approaches & IACEP” on March 4. For future Forum Call schedules and other network news, visit www.iacep.com. www.americanentertainmentmagazine.com

Bravo! Entertainment Entertains at 2009 TSE

IACEP Member, Debbie Meyers, showcased exceptional new talent at this year’s Special Events Conference.

www.americanentertainmentmagazine.com

A disco-dancing traffic cop aided Barkley Kalpak Associates to shut down NYC’s 11th Avenue, transforming it into live theater for the Intelligent Transportation Society World Congress. BKA scripted, cast and produced. (Photo credit- Kerry Sherck)

March/April 2009, AMERICAN ENTERTAINMENT, 29

PROFILE: SAM TREGO, IMAGINATION ENTERTAINMENT 1. Tell about your company. I started Imagination Entertainment as a broadbased entertainment company for the special events industry in 1996, with three brilliant partners. My passion was producing. Word spread about the quality and type of shows I produced. By 1999, I was too busy to service the “nonshow” parts of the company so I spun off Imagination Entertainment to do one thing, and do it great: produce extraordinary theatrical entertainment for corporate meetings and incentives.

studies the corporation before walking onto that stage. b. I was at The Special Event in San Diego and was not impressed by some newer producers. I know being copied is allegedly flattering, but it was insulting and even illegal how some companies used our photos and intellectual properties (IP) on their marketing materials and

2. How did you get involved with IACEP?

this recession settles. “Evolve or Die” comes to mind daily. Rather than shielding oneself from the headlines, I say become obsessed if necessary. Be angry. Be motivated to rise from that comfortable seat we’ve been in for all these prosperous years! I read an article in Time Magazine that said these “charged up” emotions about the recession cause us to make changes and take chances, which are the very things that will heal our nation. I recently dedicated a huge amount of money into marketing. It’s not without risk, but I’ve got some kick-butt new ads for iL CiRCo and Imagination Entertainment coming out.

Depends who’s asked. Dick Smith says, “If you’re a fan of IACEP, thank me, and if you’re not, talk to Sam Trego.” It began with Dick, myself, and six others sitting down at The Chicago Firehouse restaurant to brainstorm on how to unify our industry. As the story goes, I blurted out, “Let’s start an association!” Boy, had I only known then what I know now! I do have to say though that my involvement in IACEP’s growth has been one of my proudest achievements.

8. Your greatest professional inspiration?

3. What drew you to the industry?

Joe Esposito. A tyrant actually, which forced me to know my gig. There was no BS’ing Joe. He knew enough psychology to see me for who I was-- good and bad, and pushed me to produce. He trained in an old-school way that perhaps wouldn’t work today, but it gave me the skills to excel.

Joe Esposito, the infamous former President of Bally’s Hotels in Las Vegas; Dick Smith, the founding President of IACEP; and the casts of my shows iL CiRCo and On Broadway. Each has taught or inspired me to continue to stay focused on the goal. 9. Who’s been your best boss?

I’ve been involved since I was 16. It’s just a part of me. I love the degree it embraces my passion: theater in business. 4. First industry job? Performing in the musical troupe “The Young Americans.” for a numerous conventions. I began creating our musical arrangements and then the bookings, Thirty years later, I still do. 5. What would you like people to learn about corporate entertainment production? The greatest value entertainment brings to a corporate audience is not to entertain them. It’s to unite… motivate… inspire them: make them proud of being part of the host organization. 6. What impresses you about the evolution of corporate entertainment? a. When a celebrity entertainer “gets it” and

websites. People wanting a foot in this industry would be wise to create an insanely new idea and provide a service instead of copying the successes of other companies. 7. Best and worst for 2009? Imagination Entertainment has an exciting opportunity to be revealed in a future AEM issue. 2009’s most challenging hurdle is to do more with less. For many, it’s about survival right now, much less preparing for the future. These times present an unprecedented opportunity that is ours for the taking. It’s a daily challenge to stay focused on who we are going to become when the dust from

30, AMERICAN ENTERTAINMENT, March/April 2009

ferently.” One of the nicest things I’ve learned being a father is that everything… everything, in the past has played a critical role in making me who I am today, both personally and professionally. I’m not adjusting the version of my reality to coincide with my religious or spiritual beliefs, but I really believe that even the darkest…especially the darkest days of my career, have made me better at what I do today. 12. How do you protect intellectual property from competitors? As I’ve mentioned, I’m very concerned about the integrity of some individuals. My company focuses on its IP, which contains images, choreography, musical arrangements, musical compositions and costume design etc.. Our IP attorney protects us. When people knowingly infringe on that IP as a shortcut, it should concern the whole industry. 13. Favorite event? The 2000 Sydney Olympics is still near-anddear. I custom created a version of our iL CiRCo show for Samsung as part of an in-

genious marketing plan called Rendezvous@Samsung. We were centered at Olympic Village in a massive structure that highlighted numerous Samsung products. In order to enter our free show, guests routed through their products expo. A private digital café enabled all the athletes to meet with their families, hang out and check email on one of the many Samsung computers. Everybody wanted a glimpse of the athletes up-close and The Rendezvous was the place to be, so our show was presented to thousands daily. Media attention put us into the international spotlight. 14. Worst disaster you’ve been part of? A recent client was a DMC who was less than ethical. The customized show featured 45 performers and was performed in the middle of a Mexican desert. On arrival in Mexico, he made… let’s just say some “adjustments” to our rider, including the cancellation of most rehearsals, save one, in order to reduce budget. The all-day day-of-show rehearsal was outside in 105 degree heat. The show was flawless, minus lighting cues

BUSINESS OPPORTUNITIES EXIST EVEN IN A DOWNTURN

10. Advice for someone getting started in corporate entertainment production? SHORTCUTS DON’T EXIST. There’s no other way except to arrive at 6:30 or 7:00 am and occasionally leave at 10:00 pm. Many newcomers I’ve interviewed have a sense of entitlement. When they fail, they blame others. Become an expert in every aspect of this business. Help with set up and tear down. Ask questions. Know music, sound, lighting, and theater. Get your fingers dirty! 11. If Life had “do overs,” what would you do differently? Several things that at the time, I would have enthusiastically said “if I had only done this dif-

www.americanentertainmentmagazine.com

By Karen Kuzsel, Staff Writer The message was clear on the first IACEP Entertainment Forum Call: despite an economic downturn, opportunities do exist for the producer or supplier willing to step out of the comfort zone and to deliver more value for each dollar a client spends. Host Steve Thomas, Vice President of EastCoast Entertainment, Inc, initiated the conversation with practical suggestions on how to capture and maintain business by focusing on thriving markets such as charity functions, social galas, and weddings. The lively discussion among the

Producers and Suppliers from across the country on the call also offered these other solutions: • Negotiate- Even the wealthiest clients are bargaining. • Discount prices- Celebrity talent is taking less. Offer a conditional rebate before the client asks. Example: if you save on projected costs through flexible supplier pricing, rebate the client some of the savings. • Streamline operations- A 2008 MPI survey noted 47% of industry companies are streamlining, up 27%. Reduced labor costs, four-day workweeks, and enacting some unpaid holidays may prevent layoffs.

www.americanentertainmentmagazine.com

due to the daytime rehearsal. I learned that a contract is a contract. The rider must be adhered to. Some things you cannot eliminate trying to “save” a client who has no business producing a show. I have learned to demand an experienced producer. 15. What’s most important in your life? My three-year-old son. He is my pride, joy and the love of my life. You can watch him belt out Broadway tunes with an impressive vibrato if you search for Alek Trego on Youtube! 16. Y our personal mantra? Love is the greatest power in the world and the antidote to our oldest human emotion – fear. (Based on John 4:18: “Perfect love casts out fear.”) We are leaving a period in America where fear was a major motivator. “Hope” is in vogue now, ironical because this economy is one of the scariest things to ever happen to America. I think hope and a lot of love will see us through these difficult days. My hope is that I learn the lessons needed to get through. • Nurture your existing customers. • Supersize a deal- expand into areas not normally part of your operations. Ex: if you’re a producer and the customer asks for linens and flowers… get them priced. • Utilize inexpensive blogs, Twitter, Facebook or other social networks. • Respond quickly to proposals. • Turn negatives into positives- When the client says it’s inappropriate to celebrate when so many are unemployed, talk about scaling back the event so it’s more casual than grand. • Specify the ROI- if any celebratory function is no longer fun, attendees won’t return the next year. • Multiple sponsors lessens everyone’s exposure. • Point out that it’s often just as expensive to cancel contracted events and entertainment than to just go ahead. Not all news is bad. Associations are still spending money on top entertainment and speakers as the lure to guests. Seek out industry clients who are thriving in this climate, such as farm products, cattle ranching, mining, petroleum, waste management, navigation, medical, and software publishers. For information on forum calls, go to iacep.com

March/April 2009, AMERICAN ENTERTAINMENT, 31

2009 Conference Registration Form To Register: Complete this form and fax to (803) 787-8073. You can also register for the IACEP 2009 Conference (Sept 9-11,2009) and make your hotel reservations online at www.iacep.com. A Preliminary Conference Agenda, along with Showcase and Exhibit Applications can also be found at www.iacep.com. If you have questions, contact Leona Plaugh at lplaugh@iacep.com or call (803) 782-1947. Hotel Reservations at Green Valley Resort, Spa and Casino can also be made by calling (866)782-9487 and ask for the International Association of Corporate Entertainment Producers (IACEP) Conference Discount Rate of $130 per night for single or double occupancy plus taxes. Please note that there are a limited number of rooms available at this rate. The hotel has also extended this rate to 3 days before and 3 days after the Conference, again based on availability. Since the weekend before the Conference is Labor Day Weekend, you must MAKE YOUR HOTEL RESERVATION EARLY to get this rate.

REGISTRATION FEES

Advanced Registration (Until 6/30/09)

Regular Registration (7/1 - 8/22/09)

Onsite Registration (After 8/22/09)

Spouse Luncheons (incl 9/9 and 9/10)

The Fourth Annual IACEP/American Entertainment Magazine Showcase and Exhibits gives artists and agencies access to the world’s most influential corporate entertainment producers. This year will be even more important for emerging artists as producers clamor to find different and unique talent to meet a challenging economy. Never before have new artists experienced this kind of interest and exposure is definitely the key. IT ONLY TAKES $35 TO APPLY The forms on the next few pages will guide you through the process of applying. The initial application fee is only $35. Be sure to complete all information and provide an accurate description of your show. The showcase committee will require that you have a decent online video on your website or one posted on You Tube to be considered. Do NOT send media unless applying for a video showcase. If you are selected, you will be notified of your slot and your credit card will be charged for the showcase and exhibit fee. You are required to have a booth in the exhibit hall to showcase. Exhibit fees include one person in your booth to meet potential buyers during exhibit times. Artists who perform are not required to pay a separate fee to enter the exhibit area, however artists who do not showcase and request booth demonstrations must pay a demonstration fee. A pass to the exhibit hall and showcase area will not admit you to the business sessions unless you are a registered delegate for the conference. Conference delegates have access to all conference functions except The Chairman’s Event, which is a separately ticketed affair. Apply Here or online at iacep.com or americanentertainmentmagazine.com

Chairmanʼs Event (separately ticketed) Until August 22, 2009 After August 22, 2009

Number of Registrations

_____________

______________

IACEP Member Fee Rate

$445

$495

$545

Number of Registrations

___________

IACEP Non-Member Fee Rate

___________

$595

$645

TOTAL

$_________

$695

$_________

______________

$125

___________

$125

$_________

______________ ______________

$145 $175

___________ ___________

$175 $200

$_________ $_________

TOTAL PAID Delegate Name: ________________________________________ Delegate Name: ________________________________________ Delegate Name: ________________________________________ Delegate Name: ________________________________________ Delegate Name: ________________________________________ Company:_____________________________________________ Title: _________________________________________________ Address: ______________________________________________ City: ____________________ State: _____ Zip: _______________ Email: ________________________________________________ Phone:__________________ Fax: __________________________ Cell: ____________________________________________

Use same address for billing info Billing Name: _____________________________________ Billing Address: ___________________________________ Billing City: ______________________________________ Billing State: _____________________________________ Zip: ____________________ Special Events Needs: ________________________________________________ ________________________________________________

CREDIT CARD PAYMENT: Card Type: ________________ Account # _______ _______ _______ _______ Exp. _______ Billing Address: ____________________________________ City/State/Zip: ____________________________________ Security Code (3 digit on back) __________ Signature: _______________________________________ Print Name: _____________________________________ ALL On-Site Conference Registration and Chairman’s (Optional) Event Reservations will be accepted based on space availability. This form allows you to register up to FIVE (5) Delegates from the same company address using that same credit card for payment. Separate addresses and card information requires a separate form. Register Early! Funds received are not refundable. IACEP reserves the right to accept Conference Registration forms only from corporate entertainment producers and related suppliers. Spouses of members are welcome and can register at your rate.

FAX IACEP 2009 Conference Registration Form to (803) 787-8073

2009 EXHIBIT APPLICATION IACEP CONFERENCE, SEPTEMBER 9-11• GREEN VALLEY RESORT, HENDERSON, NV Exhibit space is offered on a first-come basis, with preference given to IACEP members. It is available to any entertainment agency, act, or supplier providing entertainment or related goods and services to corporate entertainment professionals. Exhibit space includes both a single tabletop exhibit and admittance for one representative to staff the booth. Double booths may have two representatives. Additional exhibitor staff will be charged a $20 per person admission fee. LIVE DEMOS are required to purchase two booths. Live demo booth locations must be approved by IACEP. Artists are not allowed to use the booth as a performance showcase area, unless approved for a LIVE DEMO. Demonstrations are permitted only within the parameters of Exhibitor’s purchased booth space and as long as they are not blocking access or disturbing others. Each single (8’deep x 10’wide) or double booth (8’x 20’) fee includes an identifying sign made out in the name of the agency specified below. Exhibitors requiring electrical connections or other services will be able to purchase these services at a fee directly from the hotel. IACEP reserves the right to restrict exhibitors from disturbing others or from disrupting the traffic flow. Exhibitors /Vendors are also being offered an opportunity to participate in IACEP’s version of Carson Daly’s TRL-Total Request Live. Our version is called TVL- Total Vendor LIVE! In this unique dynamic session, vendor’s (exhibitors) will have the opportunity to communicate what’s “hot” in their field. A question and answer session by the TVL host will allow the audience to get in tune with your company making you the star for your 6 minute presentation. Exhibitors /Vendors applying for a 6 minute slot must also submit to Leona Plaugh at lplaugh@iacep.com or mail to 73 Somerton Place, Columbia, SC 29209 a narrative of how they would utilize their time, if selected. NAME OF THE AGENCY: ______________________________________________________ RESPONSIBLE PERSON: ________________________________________________________ (Used for Booth Signage) ADDRESS: ______________________________________________________________________________________ CITY/STATE/ZIP:________________________________________ PHONE: _____________________________

FAX: ___________________________ EMAIL: _______________________________ WEBSITE: _________________________________

FEES: All application fees must be paid by check or credit card and are due upon submission of this application. Applications can be made online at www.iacep.com, click “Register Now”, complete the form, and select Exhibit Booth Fees. Exhibit booth locations may be selected by Exhibitor applicant at time of purchase, by e-mailing preferred location to lplaugh@iacep.com. Efforts will be made to assign the booth location of Exhibitor’s choice, if available. After June 30, 2009, any remaining booth locations will be assigned by IACEP. The IACEP’s Exhibitor Contract and Terms of Agreement, contains Exhibit Hall layout and all details /requirements are included here by reference. These documents can be downloaded at www.iacep.com by Clicking on “Conference” Button and then “Showcase/ Exhibit “button.

FEES: Below, please compute all fees for this application. IACEP MEMBER FEE

AMT PAID

NON MEMBER FEE

AMT PAID

Standard Booth (8’x 10’) • Thru June 1st

750

_________

950

_________

• After June 1st

950

_________

1,150

_________

• Thru June 1st

1,500

_________

1,900

_________

• After June 1st

1,900

_________

2,300

_________

500

_________

700

_________

600

_________

800

_________

Double Booth (8’x 20’)

Main Stage Showcase Tickets • Thru August 23rd • After August 23rd

TVL Total Vendor LIVE!

(limited # of 6 min. slots)

• Thru June 1st • After June 1

Additional Exhibitor Staff Cost per additional person (1 representative free)

2009 SHOWCASE APPLICATION IACEP CONFERENCE, SEPTEMBER 9-11• GREEN VALLEY RESORT, HENDERSON, NV APPLICATION REQUIREMENTS: Each act must: list a website or a web link that contains detailed information; submit 300 pdi color photo; provide a 50-60 word bio; as well as a stage plot; technical rider, if available, and any other materials representing the performance. All applications for video showcases must include two (2)copies of a 5 minute DVD and those applying for TVL Total Vendor LIVE presentations are also required to submit a narrative description of how their 6 minutes would be utilized, if selected. These should be submitted by May 29, 2009 to Leona Plaugh, IACEP Executive Offices, 73 Somerton Place, Columbia, SC 29209 or emailed to lplaugh@iacep.com. Incomplete applications will not be considered.

NAME OF ACT: ______________________________________________ ACT’S PHONE: ______________________ AGENCY: ____________________________________________ ( Used for booth signage) RESPONSIBLE AGENT: ________________________________ ADDRESS: ______________________________________________ CITY/STATE/ZIP: __________________________ PHONE: _________________________ FAX: __________________________ EMAIL: ____________________________________WEBSITE: ________________________________ MARK ONE: SHOWCASE CATEGORY: Music Comedy Novelty Emcee Celebrity Speaker Roving Artist ___________ Other ___________ Description of your act: _______________________________________________________________________________________________________________ ___________________________________________________________________________________________________________________________________ FEES: Compute all fees below. All fees include a non-refundable $35 application fee. The remainder will be charged once showcase offer has been accepted. IACEP MEMBER FEE

AMT PAID

NON MEMBER FEE

AMT PAID

LIVE SHOWCASE AND EXHIBIT FEE

1985 ea

_________

2385 ea

_________

VIDEO SHOWCASE AND EXHIBIT FEE

1885 ea

_________

2285 ea

_________

ROVING ARTIST SHOWCASE AND EXHIBIT FEE

1285 ea

_________

1685 ea

_________

(x #____ additional artists in the same group)

100 ea

_________

100 ea

_________

LIVE SPEAKER SHOWCASE AND EXHIBIT FEE

1985 ea

_________

2385 ea

_________

ADDITIONAL STANDARD BOOTH (requesting 2nd booth)

750 ea

_________

950 ea

_________

ADDITIONAL EXHIBIT STAFF FEE (1 person per booth free) ADDITIONAL MAINSTAGE TICKETS THRU AUG 23RD AFTER AUG 23RD TVL - Total Vendor LIVE! THRU JUNE 1ST (Limited # of 6 min. slots) AFTER JUNE 1ST

20 ea

_________

20 ea

_________

40 ea 55 ea 500 ea 600 ea

_________ _________ _________ _________

40 ea 55 ea 700 ea 800 ea

_________ _________ _________ _________

TOTAL DUE

$ _________________

TOTAL DUE

$ _________________

AVAILABILITY (mark only if needed) Specific dates not available: Not available 9/9 Not available 9/10 Not available 9/11 SIGNATURE REQUIRED: I have read the terms, requirements, restrictions and packages provided to showcasing acts and exhibitors and agree to these as specified. Agent: _____________________________________ Company/Act: ___________________________________________ Date: __________ CREDIT CARD PAYMENT:

Full name on Card-(Please Print): _____________________________________________ Card Type: ______________________

Account_____________________________________________________________ Exp. _______/________ Security Code (3 digit on back) _____________ 20

_________

TOTAL DUE

_________

TOTAL DUE

_________

CREDIT CARD PAYMENT: Full name on Card-(Please Print): ______________________________________________________________________________ Card Type: _________________

Billing Address: ________________________________________________________________ City/State/Zip: _______________________________________ FAX APPLICATIONS TO (803) 787-8073 or MAIL to: IACEP, 73 SOMERTON PLACE, COLUMBIA, SC 29209. APPLY ONLINE at iacep.com QUESTIONS? Contact Leona Plaugh, IACEP Executive Director, (803) 782-1947. SHOWCASE REGULATIONS: A limited number of showcase opportunities are available, with preference to IACEP Members when all factors are equal. Showcasing slots include: Main Stage (9/9/09); Chairman’s Event (9/10/09); and other slots throughout the conference. Applications are being accepted until 5/29/09. IACEP & American Entertainment Magazine will approve, schedule & make the final decisions for all slots (max.12 min., except for the 30 min. speaker’s showcase). This application, along with required materials & credit card information or check in the correct amount, must be received & the required $35 non- refundable application fee paid before it will be considered complete. Incomplete applications will be rejected. Credit cards will not be charged, nor check deposited, until applicant is selected for showcase, except for the $35 application fee. Submission of an application doesn’t guarantee acceptance. Once application is accepted, showcase & exhibit fees will be charged or check deposited. All fees are then non-refundable.

Account # _____________________________________________________________ Exp. _______/________ Security Code (3 digit on back) ______________ Billing Address: ________________________________________________________________ City/State_______________________ Zip: __________________

FAX APPLICATIONS TO (803) 787-8073 or MAIL to: IACEP, 73 SOMERTON PLACE, COLUMBIA, SC 29209. APPLY ONLINE at iacep.com QUESTIONS? Contact Leona Plaugh, IACEP Executive Director, (803) 782-1947.

Selected showcasing artists must purchase an exhibit booth (includes one tabletop booth, one act representative to staff the booth & one Main Stage ticket) and must be represented in the Exhibit Hall. Additional exhibitor staff cost $20 each. Until booth payment is received, a booth location can’t be selected. Conference Registration & Chairman Event tickets not included. Showcase production provided by IACEP & Exhibitor Contract & Agreement Terms should be downloaded at www.iacep.com by clicking on the“Conference”button, & then“Showcase/Exhibit”. Any additional production requirements are at the expense of the showcasing act or agency. Exhibitors /Vendors may also apply to participate in IACEP’s version of Carson Daly’s TRL-Total Request Live called “TVL- Total Vendor LIVE!” Here vendors will communicate what’s “hot” in their field & TVL host will allow the audience to get in tune with their company, making them the star for a 6 minute presentation. To be considered, send a narrative of how this time would be utilized to lplaugh@iacep.com.

NO APPLICATION CAN BE ACCEPTED UNLESS IT IS COMPLETE. PLEASE VERIFY YOU HAVE COMPLETED ALL INFORMATION. DEADLINE FOR APPLYING IS MAY 29, 2009

BOB ARNO: CONTINUED FROM PAGE 22

granted. For example, young people don’t read newspapers anymore and there are no longer network hour-long daily news programs, everything is scaled back to 30 minutes. This is all indicative of our society seeming to have lost its attention for anything with depth, clarity and an intellectual basis. What I am saying is that we have become lackadaisical and what I am trying to do is show in my presentation how we can be more careful. How heavily that message is focused depends on the client and their particular needs. A client has the right to swing the pendulum of content from one extreme to the other. Some may say ‘Give me only 10% content and 90% Ra-Ra and hilarity’ for a relaxed dinner show. Other will find themselves with a daytime luncheon keynote with 50% content and 50% fun. I always sit down with the client and find out what the common denominator among their audience will be. Then we can decide how much of the reality they can handle.” Bob not only is willing to work on an individual basis with his clients, he is adamant about it. “I insist with my speaker bureaus who book me and even in my contract that there has to be a decent level of communication between the client and I before the show commences. That usually takes around 30 minutes and generally consists of a conversation that involves the clients and speaker’s bureau representatives and myself.”

In this call, clients find themselves on the business end of what Bob does best (in only a positive way of course). “During this I do what I would call a very light interrogation in which I ask ‘what are the goals of the client? What have been the hardships of the last six months? What are they hoping to accomplish with the event itself?’ If a company is spending hundreds of thousands of dollars on airfare, hotel costs, food, entertainment, speakers and the like, you better have some very clear ideas of what that event will accomplish.” Bob has an array of interesting and unique traits for buyers to consider. Aside from the obvious qualifications he closes with a few examples of how inviting him in to entertain or inform your audience can be a good move. “One of the things I have found is that I am essentially booked in 3 different ways. The first is because all or part of the audience is international, meaning there could be a portion of Americans with worldwide representatives scattered in the audience or there could be a company with a home office in another country.” What you dear reader’s can’t read in the quotes here or see in the photos is that Bob himself is European and still carries a recognizable but not too thick Scandinavian lilt in his voice and has an international perception of the world. “A lot of companies want to make sure they have an entertainer that will amuse their

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American audience but still not be perceived as a Midwest stand-up from a comedy club. This allows for a certain consideration with international audiences who may not be as familiar with our customs.” The second reason is that Bob is able to quickly impart communication skills to attendees. “Many times clients are concerned with a large group of new representatives they would like to communicate with as quickly as possible after the event. This breaks down barriers and forms the glue that helps them chat with each other and work together. My show’s audience participation helps to do this in a tasteful way.” The final scenario is for the events that simply want to be remembered. “When clients want that ‘WOW’ factor my show can provide a way for everyone to be enthusiastic. They may have seen me take off their CEO’s tie or steal his watch without his noticing or they may have been fooled themselves, but either way no one will forget it. It is very important to find better and different shows for their audiences and I believe I can provide a real value and different approach for event planners and producers.” BOOK IT! For more information on bringing Bob Arno to your next event, contact him at (702) 873-9348 or bookinginfo@bobarno.com