Please welcome our newest members who joined IAVM in June 2022. Thank you for being a part of the association! Also, let us get to know you better by participating in the I Am Venue Management series. Please visit http://www.iavm.org/i-am-venue-management-share-your-story to share your story and photo.

Keyanna Alexander  Arizona State University, Tempe, AZ

Ben Andersen  Trail Drive Management Corp./Dickies Arena, Fort Worth, TX

Myles Anderson  TheEventHelper.com, Grass Valley, CA

Joshua Arcurio  David M. Schwarz Architects, Inc., Washington, DC

Scott Aycock  Central Bank Center/Rupp Arena, Lexington, KY

Eric Ballard  Illinois State University, Normal, IL

David Becker  AT&T Performing Arts Center, Dallas, TX

Becky Berends  Parker Arts, Parker, CO

Hallie Bergner  Missouri State University, Springfield, MO

Jessica Berman  The Manhattan Center, New York, NY

Juan Raul Bermudez  CDP – Panama, Panama City, Panama

Stephanie Bork  Central Bank Center/Rupp Arena, Lexington, KY

Maxfield Bronston  Breslin Center, East Lansing, MI

James Brown  Southwestern Baptist Theological Seminary, Fort Worth, TX

Shad Bruce  Branded Seats, san diego, CA

Ryan Brzozowski  Fox Cities Performing Arts Center, Appleton, WI

Jessica Carnacchi  Breslin Center, East Lansing, MI

Bobby Carter  The S/L/A/M Collaborative, Atlanta, GA

Brady Castro  Pro Em, Phoenix, AZ

Martin Chapman  CDP – Panama, Panama City,  Panama

Jill Clark  The Center for the Performing Arts, Carmel, IN

Billy Cobb  TIAA Bank Field – Jacksonville Jaguars, Jacksonville, FL

Kari Collier  Central Bank Center/Rupp Arena, Lexington, KY

Tori Combs  Destin-Fort Walton Beach Convention Center, Fort Walton Beach, FL

Melissa Conley  Central Bank Center/Rupp Arena, Lexington, KY

Tora Crawford  Pro Em, Phoenix, AZ

Molly Crouch  Sodexo/Centerplate, Orlando, FL

Andrew Cullison  Stephens Auditorium, Ames, IA

Douglas Curtis  The Projects Group, Fort Worth, TX

Ryan Curtis  Breslin Center, East Lansing, MI

Emma Dargen  Trail Drive Management Corp./Dickies Arena, Fort Worth, TX

Jennifer Davila  Straz Center for the Performing Arts, Tampa, FL

Mia De Leon  The University of Texas at San Antonio – Student Union, San Antonio, TX

Tony DiCamillo  See Tickets, Los Angeles, CA

Jon Downey  Walton Arts Center/Walmart AMP, Fayetteville, AR

Beth Edwards  Kroenke Sports & Entertainment, Denver, CO

Shannon Elliott  Central Bank Center/Rupp Arena, Lexington, KY

Alfredo Escarcega  Arizona State University, Tempe, AZ

Joseph Fields  Central Bank Center/Rupp Arena, Lexington, KY

Kelsey Foley  Nowsta, Brooklyn, NY

Rick Fourie  The Projects Group, Tampa, FL

Mike Fox  Central Bank Center/Rupp Arena, Lexington, KY

Luanne Franklin  Central Bank Center/Rupp Arena, Lexington, KY

Robert Frimet  Kiosk Prepaid, Las Vegas, NV

Robert Gouldman  Nationals Park – Washington Nationals, Washington, DC

Brian Greenfield  Nationals Park – Washington Nationals, Washington, DC

Dallas Griffin  Breslin Center, East Lansing, MI

Ryan Griswold  Fox Cities Performing Arts Center, Appleton, WI

Thomas Habermann  Central Bank Center/Rupp Arena, Lexington, KY

Misty Hale  Duke Energy Convention Center, Cincinnati, OH

Georgette Hamlett  Qwick, Phoenix, AZ

Hailey Harvey-Campos  AT&T Performing Arts Center, Dallas, TX

Ramsey Henderson  Kay Bailey Hutchison Convention Center Dallas, Dallas, TX

Marlene Hendricks  SoFi Stadium, Inglewood, CA

Mae Hill  New Orleans Ernest N. Morial Convention Center, New Orleans, LA

Ariane Hiltebrand  Miami Beach Convention Center, Miami Beach, FL

Shelia Hladon  Pro Em, Phoenix, AZ

Nate Hoepker  Daily’s Place, Jacksonville, FL

Juan David Hoffman  CDP – Panama, Panama City,  Panama

Jason Hugg  Central Bank Center/Rupp Arena, Lexington, KY

Kaarthik Iyer  Paycom Center, Oklahoma City, OK

Kevin Jeffries  U.S. Bank Stadium, Minneapolis, MN

Jerod Jerry  The University of Texas at San Antonio – Student Union, San Antonio, TX

Deb Johnson  SoFi Stadium, Inglewood, CA

Drew Johnson  Joe Crowley Student Union, Reno, NV

Jackie Justice  Kay Bailey Hutchison Convention Center Dallas, Dallas, TX

Sarah Keller  University of Nevada, Reno, Reno, NV

Shannon Kelly  U.S. Bank Stadium, Minneapolis, MN

Malorie Kiecker  Fiserv Forum, Milwaukee, WI

Emily Kirsammer  U.S. Bank Stadium, Minneapolis, MN

Dan Koch  TIAA Bank Field – Jacksonville Jaguars, Jacksonville, FL

Jon Kram  Scheels Arena, Fargo, ND

Adam Krieger  Fox Cities Performing Arts Center, Appleton, WI

David Kutter  Chaifetz Arena, Saint Louis, MO

Justin LaLone  Chicago Cubs, Mesa, AZ

Louise Larby  Kay Bailey Hutchison Convention Center Dallas, Dallas, TX

Nicole Leboutheller  IPS Inc., Anaheim Hills, CA

Tracey Leird  Paycom Center, Oklahoma City, OK

Aaron Liepins  U.S. Bank Stadium, Minneapolis, MN

Fred Love  Stephens Auditorium, Ames, IA

Brooke Luckman  New York University, New York, NY

Karie Lurie  Arizona State University, Tempe, AZ

Vanessa Mancao  ASM Tulsa, Tulsa, OK

Hannah Mans  McKnight Center for the Performing Arts, Stillwater, OK

Gregory McCullom  Nationals Park – Washington Nationals, Washington, DC

Brandea McIntyre  Central Bank Center/Rupp Arena, Lexington, KY

Michael McKeon  Premium Parking, New Orleans, LA

Andrew McRae  Athletica Sport Systems Inc., Waterloo, ON, Canada

Brent Moura  University of Nevada, Reno, Reno, NV

Leigh Moyers  Live Nation Entertainment, Washington, DC

Shannon Moyes  Volanté Systems, North York, ON, Canada

Jeff Mullaney  Central Bank Center/Rupp Arena, Lexington, KY

Eleanor Muske  U.S. Bank Stadium, Minneapolis, MN

Tom Nast  Portland Expo Center, Portland, OR

Emily Nees  Daily’s Place, Jacksonville, FL

Matthew Nelson  Events DC, Washington, DC

Oanh Nguyen  Kay Bailey Hutchison Convention Center Dallas, Dallas, TX

Lisa Niess  U.S. Bank Stadium, Minneapolis, MN

Erika O’Bryan  Alameda County Fairgrounds, Pleasanton, CA

Cindy Ortiz  Grand Canyon University, Phoenix, AZ

Brian Owen  Seaside Civic and Convention Center, Seaside, OR

Lauren Perez  University of Nevada, Reno, Reno, NV

Jacki Pollnow  The Center for the Performing Arts, Carmel, IN

Jake Quertermous  Lansing Center, Lansing, MI

Neil Ray  City Of Lubbock, Lubbock, TX

Alea Riley  Cox Business/Hospitality Network, Atlanta, GA

Riese Rubin  ParkHub, Dallas, TX

April Russell  Georgia World Congress Center, Atlanta, GA

Rachel Santagato  Kay Bailey Hutchison Convention Center Dallas, Dallas, TX

Nicko Sentoso  Daily’s Place, Jacksonville, FL

Lauren Shadid  Chicago Cubs, Mesa, AZ

Justice Shankel  Lansing Center, Lansing, MI

Deborah Sharn  Logan University, Chesterfield, MO

Donovan Shia  Destination Advantage LLC, Corpus Christi, TX

Michael Shine  Straz Center for the Performing Arts, Tampa, FL

Ron Shumard  Destin-Fort Walton Beach Convention Center, Fort Walton Beach, FL

John Stevenson  The Projects Group, Fort Worth, TX

Ron Stiffler  Yondr, San Francisco, CA

Tina Suca  SoFi Stadium, Inglewood, CA

Brittney Taylor  Paycom Center, Oklahoma City, OK

Sarah Tierney  ASM Tulsa, Tulsa, OK

Lauren Tippen  Chaifetz Arena, Saint Louis, MO

Becky Trimble  Central Bank Center/Rupp Arena, Lexington, KY

Suzanne Turner  University of Nevada, Reno, Reno, NV

Melaine Vaughn  SoFi Stadium, Inglewood, CA

Kaela Waters  U.S. Bank Stadium, Minneapolis, MN

DJ Weiss  Chaifetz Arena, Saint Louis, MO

Peter White  University of Central Florida Athletics, Orlando, FL

Rebekah Yeary  Lansing Center, Lansing, MI

By R.V. Baugus

It will be full steam ahead when moderator Maureen Andersen, President and CEO of the International Ticketing Association (INTIX), poses questions to industry icons Adina Erwin, CVE, and Kim Bedier, CVE, in an Arenas Ticketing session at VenueConnect appropriately called Ticketing Today – Full Steam Ahead! The session takes place on Wednesday, July 20 from 10:15 am – 11:15 am at the Phoenix Convention Center.

While the lights were out, we were changing, reads a description of the session. We don’t get to go backwards and who wants to anyway, but we do get to use the experiences to inform our future. This panel will explore the realities of our normal today, what we are challenged with, what is exciting, and where we are going. We’ll also dive into how we are reinventing and invigorating ticketing with technology, data and a new mindfulness and attention to our customers, fans, and patrons.

Against that backdrop, it was only fitting to catch Maureen before everyone heads to Phoenix for the industry’s premier conference and trade show. We want to see you there and we especially want to see you this interactive presentation.

RVB: Off the bat, how about some background and expertise in the field in which you are presenting?

Maureen: I’ve been around more than a little while. I’ve spent all of my career, 40 years this year, in some form of ticketing. I’ve sat in the ticket chairs in organizations and venues across the market spectrum from not for profit performing arts to rodeos; to technology implementation to sales; to the big chair at INTIX now for six years. For the past 2+ years I have had the greatest honor of all having a front row seat to watch, participate, and facilitate ticketing pros around the world as they heroically navigated the shutdown and shuttering to the slow re-opening to adjusting and flourishing today with a changed business.

RVB: Give us some detail and insights about your presentation. Without giving away the kitchen, what will be some of the things you will share with your audience?

Maureen: We have enough topics for a couple of days of conversations. It won’t be a “pandemic” ticketing presentation but rather a walk through who are we now, what did we learn, what do we need, what opportunities are just waiting to be explored, what is causing us angst. Of course, we’ll also talk about pricing, no-shows, data, great experiences, customer service, and digital.

RVB: You have a couple of industry power players in Kim Bedier and Adina Erwin you will be interviewing. What will some of that be about?

Maureen: I’m the president of these two ladies fan clubs and can’t wait to explore their grit and their experience. Think about it, Adina changed jobs and implemented a new ticketing system and some of the first in the nation tech for COVID safety all during a pandemic. Kim changed jobs, moved and took on a big, big project in the middle of a pandemic. That’s experience and knowledge that is invaluable because they are leaders who were boots on the ground leading us to the new normal.

RVB: How about a main takeaway you would like people to leave with and take back to the venue where they work?

Maureen: The event, the ticketing, the venue, the experience, and most certainly the customer has all been changed by the shared experience of a pandemic. We don’t get to go back to the “before times” and that’s ok. We needed a reset anyway. We all have such a great opportunity to harness the energy and the shared and learned experiences to new action and new experiences. These ladies and this presentation will show how it can be done, how we unleash the power of “yes” and that we are all linked in this industry ecosystem now!

RVB: Lastly, how about those who have collected ticket stubs from concerts and sporting events going back to the 1980s. Do we ever get to harbor any hope for the return of those old-fashioned hard tickets or has that ship sailed?

Maureen: That ship hasn’t exactly sailed but the ship has changed. There will always be an audience of fans who want to collect a ticket or a memento from events because it’s an emotional experience, but each customer is different in how they collect. Think of this way: You have a boat that can run on sails yet has an engine but also has some oars just in case. They are all the tools to make the sailing experience work. Same thing in ticketing. The options are just broader now and good venues and orgs provide the experience the individual event sailor wants. Printed, digital, NFT, and beyond are all options now.

One last word. Back in the “before times” this industry was stuck in silos both at a macro and a micro level. The conventional wisdom was “stay in your lane” both from an event vertical perspective and internally. Arts is arts, sports are sports, venues are venues. Then the marketing is here, ticketing over here, facility management around the corner, technology over there, sales somewhere else. The truly remarkable happened during the “dark ages” when literally no one knew what was right, wrong, best, or had an answer. Collectively we had to rely on each other and come together to solve the problem, to turn on the lights, and open the doors. We’ve had to learn together. This opportunity still exists and we’re still learning. As we come to the end of postponed shows on the books, we’re going to get a new learning curve and a new moment of shared enlightenment. We still need each other to learn what’s next.

By R.V. Baugus

Industry veteran Leslee Stewart has retired from her position as general and CEO of the Paramount Theatre in Oakland, with Jason Blackwell, CFM, promoted from assistant general manager to the top position.

Blackwell steps into a position at a venue that Stewart took from one of sporadic events to become the eighth busiest venue of its size in the United States. Stewart guided the Paramount for more than 20 years.

Stewart has been busy with travel obligations, but we will have comments from her as soon as possible. “Being the general manager and CEO of the Paramount has been the best 23 years of more than 30 years in facility management,” she said in an announcement.

For his part, Blackwell knows the big shoes he is following and is ready for the next phase of his career.

“I am incredibly humbled and thrilled to follow Leslee Stewart as general manager at the Paramount Theatre,” he said. “I have dreamt for many years of one day working as the general manager of a theatre and I feel so blessed to have been given this opportunity.

“While I have been fortunate to work with so many talented and diverse individuals in my venue and arts management career, Leslee has helped me elevate my skillset to another level, especially with booking. I am especially grateful for the chance to lead and care for this magnificent historic art deco theatre and support the incredible team of professionals that will continue to keep the Paramount strong, relevant, and dedicated to Oakland and the Bay Area.”

The 3,000-seat venue is indeed loaded with history. Buit in 1930, in the art deco style Blackwell referenced and opening in 1931, the Paramount was entered into the National Register of Historic Places following a 1972 restoration.

The 3000-seat performing arts venue was built in 1930 in the Art Deco style and opened in 1931. Following a restoration in 1972, it was entered into the National Register of Historic Places.

Now, the keys to the cherished venue visited by millions have been turned over to Blackwell.

“I appreciate the ongoing dedication of the Paramount team and without a doubt the support and camaraderie of my distinguished colleagues and friends throughout IAVM and this industry,” he said. “I look forward to continuing our service together in making the entire events industry resilient and representative of the communities we serve.”

By Michael Roth

AEG has appointed David Jones to the newly created role of Chief Information Officer, AEG Global Technology, it was today announced by the company. In his new and expanded role, Jones will now be responsible for the company’s technology strategy and solutions across the U.S., Europe, and Asia-Pacific regions. The new AEG Global Technology division will help facilitate the use of data and customer-facing technologies to drive revenue across the business and provide best-in-class customer experiences. Formerly CIO for AEG Europe, Jones will remain based out of London, assuming ultimate responsibility for implementing innovative technology solutions to bring to life the company’s 220,000+ annual events that entertain over 100 million fans each and every year.

“The development of AEG Global Technology further underscores AEG’s commitment to ensuring all of our venues, teams, and businesses have the digital infrastructure necessary to continue delivering differentiated live, event customer experiences,” said Ted Fikre, Vice Chairman and Chief Legal and Development Officer, AEG. “With his exceptional background and history of creating innovative solutions to AEG’s technology needs, David is ideally qualified to oversee and spearhead the development of technology required to continue to transform our business into the future.”

Supporting scalable growth while also delivering technology expertise, services, and support across AEG’s global businesses, Jones will also oversee the company’s information security and privacy teams, providing a consolidated infrastructure that aligns the company’s core pillars of technology, data, and innovation globally. In addition, Jones will work in close alignment with the technology teams at AEG’s world-renowned venues like The O2 and Crypto.com Arena and will also partner with the company’s subsidiaries’ AEG Presents, AEG Sports and AXS to deliver expertise, services, and support globally.

“As we look ahead, consumer-focused and data-rich technology capabilities will be core to AEG’s success,” Jones said. “The formation of our new AEG Global Technology division will bring together our talented technology staff in the U.S., Europe, and beyond into one team and will ensure that we are able to deliver best-in-class technology solutions today, and in the future. I am thrilled to be leading the company forward on this journey.

“Our ambition is to deploy technology to help fans have the very best experience at our events, whether they are watching the LA Kings at Crypto.com Arena, the LA Galaxy at Dignity Health Sports Park, rocking out to a legendry performer at The O2, or enjoying a weekend at one of our renowned festivals. I couldn’t be more excited to be leading our new AEG Global Technology division.”

A digital and technology leader in the broadcast, entertainment, retail and real estate sectors for over 20 years, Jones is also the executive sponsor of AEG Europe’s PRIDE Employee Network Group which aims to drive change by giving employees a greater voice, as well as fostering a culture of inclusion.

Jones lives on the Isle of Wight with his husband and graduated from the University of Oxford with Honors in Chemistry.

Michael Roth is Vice President, Communications, for AEG.

By R.V. Baugus

The Buffalo Bills have some of the most ardent and passionate fans in all of the National Football League. They have supported the Bills through thick and thin, which has mostly been thin until recent years when Josh Allen and company have the team on the brink of the Super Bowl.

Give the hearty fans credit as well for supporting their team in what is often brutal weather in Buffalo winters. When the stadium opens, the fans come.

Now, Erie County has released a site plan detailing the initial concept for a new $1.4 billion stadium for the team.

While a specific design of the new stadium, which is currently being worked on by architect of record Populous, is not yet available, the site concept details how 283.42 acres of land will be used for the proposed facility, which will seat at least 60,000 people.

The plans have been released as Erie County begins its State Environmental Quality Review (SEQR). The SEQR Act requires that all state and local government agencies consider potential environmental impacts and social and economic factors during discretionary decision-making processes.

The SEQR process examines potential environmental impacts and social and economic considerations related to a proposed action and encourages communication among government agencies, project sponsors and the general public.

The site concept shows how the new stadium will be built across the road from the Bills’ current home, Highmark Stadium, on land which is currently occupied by parking lots. A large plaza is part of the plan, along with a new operations building and a host of new parking lots.

The plans detail how nearly 56 acres of land currently used by SUNY Erie Community College’s South Campus will be taken over. However, officials have offered assurances that none of the buildings will be affected.

“The plans are such that there would not be a building at the college taken,” Erie County Executive Mark Poloncarz told local broadcaster Spectrum News. “A lot of people thought they would have to demolish buildings at the college. We said, ‘no, we know we don’t have to do that.’ And the site plan that was released shows that.

“The stadium and the parking lot that is a result of this new construction do not need to take any building at that site. It is exactly what I said it would be. And it is important for the public to see what we said was going to happen is going to happen.”

Highmark Stadium opened in 1973. Following the opening of the new facility, the Bills’ current home is expected to be demolished and redeveloped as a large parking lot. The SEQR process is expected to take around six months to complete and, in the meantime, a public scoping meeting will be held on July 14 to garner public input on the scope of the project review.

The Bills in April appointed Legends to lead planning, project management, sales and partnerships for the stadium project.

Legends, the global premium experiences company, had already commenced work on the project having assisted the team and ownership group Pegula Sports & Entertainment on a feasibility study. It has also conducted initial focus groups and surveys to help inform design and sales for the stadium, which could be finished as early as 2026.

Earlier that month, New York Governor Kathy Hochul sealed a deal on a state budget that will include $600m in contributions to a new Bills home that is set to receive the greatest level of public funding for a single stadium in US history.

The conclusion of the deal came after the franchise in March reached an agreement with New York State and Erie County to build a new stadium in Orchard Park. Hochul secured a 30-year commitment for the Bills to remain in Buffalo.

New York State will commit $600 million towards the new stadium project, with Erie County to provide $250 million. The NFL and the Bills will provide the remaining $550 million needed to build the new stadium, work on which is hoped to commence in the spring of 2023.