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COAST TO COAST
Self Brings Outdoor
Workout to Four Cities
PHOTOS: BILL MCGEARY PHOTOGRAPHY (NEW YORK), COURTESY OF SELF (MIAMI, SAN DIEGO, CHICAGO)
Exercise-seeking women came out in droves to
spend a fitness- and beauty-filled day in the park
with the magazine.
SELF MAGAZINE PRACTICED WHAT IT PREACHES FOUR
times this spring, hosting its 13th annual Self Workout in the Park in San
Diego, Miami, New York, and Chicago every Saturday from April 29 to May
20. The coast-to-coast event brought a four-hour Crunch Fitness workout
program to a total 12,000 attendees, as well as a quiet zone with meditation,
yoga, and Pilates classes, and a boxing ring with kickboxing, capoeira, and
Thai boxing lessons. Beyond fitness, Self also had 16 advertising sponsors on
hand in individual blue dome-shaped tents,
SELF MAGAZINE’S
where consumers could get free product
WORKOUT IN THE PARK
samples and demonstrations, in addition to
San Diego, Chicago, Miami,
beauty, nutrition, and health consultations.
New York,
“Essentially we wanted to bring the look,
04.29.06 to 05.20.06
feel, and purpose of Self to life for our
readers,” said Yung Moon, Self’s executive director of creative services, who
oversaw the program. Self charged $10 for advance-purchase tickets, and all
who bought a ticket were given a one-year subscription to the magazine
(which usually goes for $9).
When it came to planning the four-city tour, Moon said, “We created a
template of what the event needed to look like, and we rolled it out the exact
same way in each city.” To facilitate this, Moon worked with Dan Mannix of
LeadDog Marketing Group to choose large, flat parks in each city that
would best fit the 60,000-square-foot event and the sponsors’ needs—such
as accommodating caterers and keynote speakers.
One such need included the tour’s first-ever L’Oréal Paris “Mind and
Beauty” brunch that was held from 9 AM to 11 AM each morning in all
four markets. The breakfast accommodated 200 people in each city and
required a caterer and styling stations for cosmetics, skin care, and hair
color consultations. “The biggest challenge we faced in planning the event
this year was homing in on what exactly each advertiser was trying to
achieve,” Moon said. “With L’Oréal Paris, for example, we had to go over
what the design elements of the brunch were going to be, who was going to
attend, how to promote the event, and, most important, we had to assess
exactly what their expectations were.”
For Mannix, the biggest challenge was coordinating the shipping and
receipt of the 15,000-plus samples handed out during the four-week event.
“It was critical that we set up how the sponsors’ samples were going to get
to each market before the tour occurred,” Mannix said. “It was definitely
the biggest aspect of the program. Live interaction with consumers was vital
to each sponsor, so the samples had to be there.” Prior to launching the
tour, LeadDog had all the samples—everything from Aveeno SPF 45 lotion
packets to Nexxus Salon Hair Care mini-shampoos and conditioners—
shrink-wrapped and shipped to each market.
To achieve a consistent look from city to city, Mannix had a traveling
team of four people on hand at each event. Local vendors with whom
LeadDog has worked in the past (and trusts) in all four markets helped with
everything from setting up, breaking down, securing portable toilets, and
providing security, staffing, and more. National trucking company Shomotion drove a 48-foot-long truck packed full of the event decor from one city
to the next.
Workout in the Park added Miami to its roster of cities for the first time
this year, and the beachfront Lummus Park location proved to be difficult
terrain. “Setting up an event on the sand presents challenges in terms of
staking things down and securing items, as well as the ease of access for
consumers,” Mannix said. “We could potentially look at a new location next
year, but a big part of the Miami event’s appeal was that the workout was
being held on the beach.” —Courtney Thompson
NEW YORK Crunch Fitness instructors led their massive classes from a stage at Rumsey Field in Central Park
(top). Self partnered with L’Oréal Paris to host the “Mind and Beauty” brunch from 9 AM to 11 AM on the day
of Workout in the Park in all four cities. The brunch, pictured in New York on May 13 (above left), was a new
addition to the program, and allowed Self editors to interact with readers and V.I.P.s. New York attendees participated in a yoga class in Central Park (above right).
SAN DIEGO While weather was a concern for
planners, the event, held in Balboa Park on
April 29, had blue skies throughout the day.
MIAMI A 24-foot-tall rock wall provided by R.E.A.D. Amusements, which traveled to all four cities, went up in Lummus
Park on May 6.
CHICAGO On May 20, thousands of women
came out to Lincoln Park to participate in
Crunch Fitness courses.
bizbash.com/newyork
august/september 2006
53
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4:39 PM
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P 55 REP_LA_DaVinci.jb.FINAL.RVSD
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LOS ANGELES EVENT REPORT
A blowup of a relief sculpture decorated the bar area.
At Sony’s party for The Da Vinci Code, a 40-foot truss pyramid
and two 20-foot truss pyramids mimicked the Louvre.
Gold-framed art hung in a mock gallery.
Da Vinci ’s U.S. Party Has
Euro Inspiration
PHOTOS: LINE 8 PHOTOGRAPHY
Massive trusses on a Sony soundstage gave the
space a Louvre-like look.
WITH ALL THE HYPE SURROUNDING THE DA VINCI CODE ,
there was only one official party related to the film held in the United States
(The movie premiered at the Cannes Film Festival two days before its
worldwide release.) Craig Waldman of 15/40 Productions, working with
Craig Smith of Sony, transformed a soundstage at Sony for a Europeaninspired party for 1,300 guests. The event was a part of L.A. Screenings, a
weeklong, multistudio, industry-wide series of gatherings for television
network executives from around the world to view television shows and
movies to purchase for broadcast.
One 40-foot-tall and two 20-foot-tall pyramid-shaped trusses mimicked
the Louvre, and one 40-foot-tall and four 24-foot-tall screens rotated through
scenes of Paris, London, and Rome as well as scenes from the movie. Elevated lounges looked out over the space,
SONY PICTURES
where 12-foot-tall fountains sat under the
TELEVISION
pyramid structures.
INTERNATIONAL’S PARTY
By the way, the soundstage wasn’t the
FOR THE DA VINCI CODE
venue originally intended for the party. It had
Sony Pictures Studios
soundstage
been planned and largely set up by crane in a
Monday, 05.22.06,
30,000-square-foot space outside, but the
9:30 PM onward
threat of rain made organizers disassemble
Catering Wolfgang Puck
the trusses again by crane and move them to
Catering
the 17,000-square-foot indoor space on SaturEvent Production
day afternoon before the Monday event. (The
15/40 Productions
Flowers Collage Floral Design weather on event night? Clear.)
—Alesandra Dubin
and Events
Lounge seating accommodated guests inside
after the original choice of an outdoor space
got nixed on account of a threat of rain.
bizbash.com/newyork
august/september 2006
55
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7/5/06
3:57 PM
Page 56
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P 57-60 EventIntelligence.si.FINAL
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EVENTIntelligence
S M A R T S T R AT E G I E S
How to Score Hard-to-Get
Reservations
A top exec, client, or salesperson wants to go to a hot new
restaurant—but it’s booked. Here’s what to do.
MAKE A GOOD FIRST IMPRESSION When you speak to a reservationist, be polite on
the phone. Consider your tone—it should be friendly and respectful—and be patient.
“Speak slowly and be more conversational as opposed to robotic and monosyllabic,” says
Stephen Starr, the owner of the popular new Manhattan restaurants Morimoto and
Buddakan, plus a string of successful spots in Philadelphia.
Chances are, at busy new restaurants, the reservationists have been bombarded by
anxious, pushy callers, and sometimes just being sympathetic and understanding is
enough to make them want to help you. “Nice manners really go a long way,” says Richie
Notar, a managing partner for the Nobu restaurants. “Those people who say, ‘Do you
know who I am? I’m friends with this one, or that one’—they were those kids who used to
hold their breath and stomp their feet to get what they wanted. Being a bully is not going
to get you your way. I figure people who are mean to the reservationist are going to be
mean to the maitre d’ and their waiter too. I try to reward people that are nice to us. We
actually make a note on their reservation if they were mean or nice.”
ASK FOR A MANAGER You can also try asking for a supervisor; sometimes announcing that the matter is important and needs to be handled by a higher-up emboldens the
reservationists to approve the request without having to check. Of course, it helps to have a
special occasion or V.I.P. guest to mention if you get challenged, but sometimes the suggestion that the reservationist isn’t senior enough to handle your request is enough to
make that person want to handle it personally. “Better yet,” Starr says, “go to the restaurant
in person and give the manager or reservationist eye contact.”
DO YOUR HOMEWORK Educate yourself about how restaurants book their tables.
Tables are like real estate—the general goal is to turn the room and have an early and late
seating. Understand that a 7:30 PM reservation can mean a restaurant misses out on a second seating later on, so it is less likely to offer that time. Also—although it might not help
when someone calls with a request for dinner tomorrow—it can help to find out how far
in advance a restaurant accepts reservations. Then call early and book a table for a future
date. You can always choose your guest later.
TRY TO WAIT IT OUT If the restaurant doesn’t have anything open when you call, ask if
PHOTO: DAN HALLMAN FOR BIZBASH
the reservationist keeps a waiting list. Some restaurants do, and since many high-end
restaurants require a credit card to hold the table—especially for large groups—your fellow
diners are more likely to call to cancel if they’re not coming. The restaurant’s goal, after all,
is to fill as many seats in a night as efficiently as possible, so the staff will want to replace
cancellations. Joe Bastianich, owner of the wildly popular Babbo (with Mario Batali),
says, “Find out what time restaurants confirm their reservations. If it’s 3 PM, make a note
to call back at that time and you might get lucky.” Likewise, Nobu calls to reconfirm all
reservations, so if someone cancels, you might get the table. “If you call us at 12 or 1 PM
the day of, that’s when we get our cancellations,” Notar says.
Bastianich also suggests a riskier option: “My favorite is just show up with your best
smile on and be willing to wait a little. That’s what I do.” (Granted, he’s a well-known
restaurateur, which brings us to our next point.)
BECOME A REGULAR As in most business relationships, there is much to be said for
becoming a frequent customer. Restaurants often try to take care of guests who come in regularly—at least a couple of times a month—which can help those diners get into an owner’s
next project when it’s new and harder to book. “We use an internal proprietary system that
allows us to recognize new and regular guests instantly with their phone number,” says
Stephen Hanson, the founder of B.R. Guest, which owns Blue Water Grill, Barça 18, and
other restaurants, and was one of the first companies to keep a comprehensive database of
their frequent diners. “As our restaurants expand into new cities, it’s important to us to
know that a guest that eats frequently at one or more of our New York restaurants will
To nab a reservation at the popular new restaurant Buddakan, owner Stephen Starr suggests
being friendly and personable to the reservationist—in person if necessary.
receive the same star treatment at one of our Chicago restaurants.” Restaurants that use the
Open Table online reservation system also keep a database of guests and log their visits.
One of the best-kept secrets in the business is that restaurants often extend one
another industry courtesies. So asking the manager or maitre d’ at your regular spot to
call on your behalf to introduce you as a good customer might help you get an in with
their counterparts at a new place.
ADJUST YOUR APPROACH In today’s ever evolving market, restaurants are now serving food at the bar, in the lounge, in the lobby, or at communal tables. While these setups
aren’t appropriate for all occasions, sometimes—for a client who’s dying to get into a new
place—they can be a great way to try a new restaurant, or get a foot in the door. You might
also consider going for lunch, which is often easier to book than dinner.
FLASH YOUR CREDENTIALS Being an event planner is a perfect excuse to ask a maitre
d’ or manager to see the private room, or inquire about catering, which can work as a conversation starter that leads to a relationship with one of the restaurant’s gatekeepers.
CALL A PRO If you are a frequent guest of a hotel, or do regular business with one, ask
for help from the concierge. Similarly, if you have a premium credit card, belong to a private club, or live in a full-service building, most of these have concierge services for their
members. Or you can opt to subscribe to a professional concierge service, although different services have different levels of special access. (One new service: Pascal Riffaud, president of Personal Concierge International, started a division called Sorted that specializes
in hard-to-get New York restaurant reservations.)
THANK YOUR HELPER Obviously, top-notch restaurants would never sell access to a
table, but showing appreciation for a good table, or help with a last-minute reservation, is
certainly appropriate. Tip the maitre d’ directly, as the gratuity on your check at the end of
the night goes to the waiter or into the pool. Twenty dollars or more is customary, and can
be give on your way out. It is sure to be remembered, and definitely will be appreciated.
BUT DON’T LIE Every restaurant has tales of the pathetic caller who exaggerated his or
her relationship with the owner or chef, or told a dramatic tale (“My doctor says I only
have six months to live…”), or completely fabricated a story about a celebrity needing a
table. Invariably, you will be discovered, and some restaurants keep records of such things,
so you could be blacklisted for good. —Caryl Chinn
bizbash.com/newyork
august/september 2006
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Intelligence
EVENT
IT HAPPENED TO ME
The Courier Didn’t
Deliver
5 Tips From Nonprofits
for Cutting Costs
To get good ideas for working within a tight budget, we asked some people who
should know—planners who must focus more on raising money than on spending it.
1. Ask About Overstock
Emma Angevine, director of individual giving and special events at the Lower East Side Tenement Museum, always asks
printers to compare her choices of paper or cardstock with any overstock they have on hand. (Sometimes printers end up
buying more paper than they need to fill another order, so they offer it at a substantial discount.) Angevine recently saved
20 percent off her paper costs when her printer had an overrun from a previous job that closely resembled her original
cardstock choice. The color, texture, and weight were close enough to Angevine’s selection that she was able to forgo her
original choice in favor of the less expensive alternative—a switch her guests would never notice or suspect.
2. Hit the Gift Shop
Holding an event at a museum or other venue that has a gift shop on-site? Don’t overlook it as a source for unique decor
elements. For the recent opening of “Concrete Kingdom: Sculptures by Nek Chand,” an exhibit at the American Folk Art
Museum featuring the work of an Indian artist, the museum’s special events manager, Katie Hush, played off the exhibit’s
theme by using Indian items for sale in the gift shop. Hush used rugs as wall hangings and tucked pillows into seating
nooks to add some vibrant colors to the room. She has also used carved wooden folk art tchotchkes in lieu of flowers or
candles as centerpieces. Hush says museums are often amenable to this practice because it gets their merchandise in front
of prospective buyers. “Leave the price tags on them so people know they’re for sale,” she says. Or—for guests who might
not appreciate a tag sale at the center of the table—purchase the items to give out at the end of the night, so you save
money by getting both decor and gifts for one price.
3. Get Competitive
To procure art for the invitations
for Amfar’s annual Amfar Rocks
benefit at Tavern on the Green,
Andy Boose, president of event
firm AAB Productions, which produces the event, hit on an inventive,
no-cost idea: turning the invitation
design process into a contest. For the
past three years, Amfar has gotten
fresh, original art that doesn’t cost a
Amfar got free invitation
design by holding a contest
dime. Boose gets the word out
among art students.
through Amfar’s event committee and
provides a detailed spec sheet, right down to the weight of paper required. Art students at local institutions submit their
best efforts, and the winner has his or her name featured on the invitation and is mentioned in event materials. Boose
says appealing to artists’ competitive as well as creative spirits has yielded a great response to the contest.
4. Go Ethnic
Working with New York’s many ethnic restaurants can be rewarding for the wallet as well as the palate. For the recent
opening of “Let There Be Light,” an exhibition of ancient oil lamps at the Museum of Biblical Art, the museum’s membership and marketing manager, Idyl Mohallim, had a local Turkish restaurant handle the catering. Platters of mezes and
crudités with hummus added a dash of the exotic to guests’ noshing. “That had a great feel,” she says. “It worked really
well with the theme, and it was a lot less expensive.”
5. Ask for Goodies
If you need a little something extra that won’t cost a vendor much to fulfill, use your request for proposals to ask for a nominal freebie. It won’t cost you anything, and you’re likely to find that suppliers will take the request in stride. When the Folk
Art Museum’s Hush puts out RFPs for catering, she throws in a request for gratis gift bag treats. “I ask for desserts like a
brownie to donate to our goodie bags, and they can include their card for a little bit of publicity,” she says. While some
caterers do decline, Hush says that putting the request right in the RFP gives her a good indication of which caterers are
willing to work within her constraints—knowledge that’s far more valuable than a few dozen cookies. —Martha C. White
58
bizbash.com/newyork
august/september 2006
When designer Lily Holt’s goods didn’t arrive at her
launch event, she improvised with the help of the
models on hand—and foot.
Even with all the technological bonuses that go along with
life in the 21st century, certain basics of event planning,
such as getting things from place A to place B, can still
get buggered up. That’s what happened to sandal and
jewelry designer Lily Holt of Palm Beach, Florida, when
she made her first foray into Los Angeles on May 10.
Working with Allison Kavanaugh, her company’s
vice president of sales and marketing, and publicist and
event planner Merritt Loughran, president of Venicebased MML Inc., Holt threw a press event at the
Beverly Hills Hotel to lay the groundwork for a planned
store opening in Los Angeles in early 2008. (After all,
Southern California and South Florida share at least one
thing in common—they’re both warm enough for sandals year round.) Holt embellishes her sandals with semiprecious stones, pearls, and beading, which coordinates
with her line of jewelry. There was just one problem the
day of the event—the parcel carrier didn’t get the jewelry
to the Beverly Hills Hotel on time.
So Holt and company improvised. They’d planned
to display the shoes around the perimeter of a large
square platform in the middle of the hotel’s Sunset
Room and then place the jewelry in the center. Instead,
one of the shoe models donned a white bikini and silver
tie up sandals with tassels and wore fanciful, metallic
makeup around her eyes, resembling a Mardi Gras
mask. The model reclined stylishly in the center of the
platform while press people examined the sandals
around her.
As publicist Alice Slater observed of Holt’s sensuous
centerpiece, “She has on tassels, which are very sexy,
especially when you’re wearing a white bikini and lying
on a table.” —Irene Lacher
A bikini-clad
model was the
stand-in for
the caught-intransit jewelry.
QuickTip:Waiters & Wine
“Servers like to refill glasses that are still
half full so that the host will have to
reorder faster, which increases the bill and
the tip. So get into the habit of telling
your waiter to fill the wine glasses only
one third full and, importantly, to ask each
person at the table if they want wine
before pouring or refilling their glass.”
Christine Ansbacher , author of Secrets from the
Wine Diva: Tips on Buying, Ordering & Enjoying
Wine (Sterling Publishing, September 2006)
059
7/5/06
4:04 PM
Page 59
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Intelligence
EVENT
TECH QUESTIONS
Should You Podcast Your Events?
Making content available to people on demand is revolutionizing the music and television industries—
so why not events? Here’s a primer on the latest digital communication trend.
What exactly is a podcast?
But podcasting is too complicated. I can’t
manage yet another piece of technology!
A podcast is a digital audio or video file that
can be distributed over the Internet. While
podcasts can be listened to or viewed on a
desktop or laptop computer, they are changing the way we communicate because they
can be downloaded on demand to a portable
device. Podcast creators, or podcasters, can
also employ the Web to set up subscriptions
to podcast feeds, whereby users can sign up
to automatically receive new podcasts as soon
as they become available.
Events professionals have just recently
caught on to the power of podcasts. They are
deploying these messages via the Web in the
hopes of creating stronger, more profitable
connections by both marketing their events
and distributing event content to a wider
audience. “A lot of events and companies are
using these to build communities among
customers and suppliers,” says Tim Scannell,
principle at Shoreline Research, a technology
consulting firm in Needham, Massachusetts.
If you have ever used the video editing software
on a home computer, you can probably handle
editing an audio podcast. “It’s not brain surgery,
but it can get tricky,” Scannell says. While a large
company may be able to entice in-house IT staff
to take a crack at podcasting, a smaller company
may want to invest in audio editing software and
a dedicated computer and server to manage all
the files. In a pinch, event managers can even
outsource podcast editing.
The thorniest challenge, however, may not be
technology related. The primary problems most
podcasters face are capturing quality audio and producing podcasts that are lively and entertaining.
What’s the next step beyond podcasting?
So what does this have to do with
my iPod?
Technophiles coined the word podcast in
2004 as Apple’s iPod portable device surged
in popularity. (Analysts predict that by the
end of this year, Apple will have shipped
some 85 million iPods since they were introduced in 2001.) But the term is something of
a misnomer. Almost all podcasts can be
downloaded and played on any device that
supports the nearly ubiquitous formats such
as MP3 (audio) or MPEG (video).
IMG Media produced vodcasts of Olympus Fashion
Week in New York and Mercedes-Benz Fashion Week
in Los Angeles and made them available on the Web.
Vodcasting (also known as video podcasting or
vidcasting) is the next frontier. IMG Media produced cutting-edge vodcasts for Olympus Fashion
Week in New York and Mercedes-Benz Fashion
Week in Los Angeles earlier this year. Both vodcasts ran 22 minutes and mimicked the highglam style of behind-the-scenes shows on MTV or
E! In fact, don’t even think of vodcasting badly lit
or poorly produced video of your event to a discerning audience.
“This allows people to get content that may
not fit on their TV schedule, so quality matters,”
says Russell Quy, an IMG executive producer who
booked fashion editor Kelly Killoren Bensimon to
host the vodcasts. “Three years ago people were
using sped-up slide shows. Now you have to [work
with] people that specialize in not only production,
but people who can tell a story.”
Can I just convert the conference audio I record now?
So how much is this going to cost me?
You can, but it may not get you very far. Few podcast listeners will endure
recordings of 50-minute keynote sessions or long sales pitches. Content
should be sliced and diced for this new, portable medium. Focus on shorter
formats and one-on-one interviews. Some companies produce podcasts in
the months and weeks leading up to an event that feature previews to market the live conference. “Most companies think they are making an audiotape, but you really need a broadcast perspective,” Scannell explains. “It’s
like creating a radio show.” The best podcasters are adept at writing scripts
for the ear and have the interview skills and sonorous voices that work best
in this medium. If your company does not have someone who possesses
these talents, consider hiring an experienced podcaster for your event.
If you already make high-quality audio- or videotapes of your events, that’s
a start. You will probably need to pay someone—perhaps the audiovisual
company that handles your tapes—to edit and convert your content to a
downloadable format. If you need to hire a freelancer, expect to pay at least
$60 per hour for a consulting podcaster, or as much as $350 per hour for a
professional editor—and that’s for audio. Vodcasts can be much more
expensive, as they usually require high-end equipment, significant editing,
and skilled producers and editors.
Bourquin brought his podcast production in-house for less than you
might think. He invested about $2,600 on hardware and software and
hired his brother, a software engineer, to produce the podcasts.
Won’t podcasting my conference eat away at attendee revenue?
Tim Bourquin, who produces the annual Podcast and Portable Media
Expo in Southern California as well as podcasts focused on business
So this is just another tech fad that I can ignore, right?
trends in this market, scoffs at this idea. “It’s an urban legend. Nothing
replaces the face-to-face encounter,” he says. Bourquin will podcast all 44
sessions of his September event, after producing 36 in 2005. Live attendees will enjoy free access to the podcast when they pay to attend, but he
also plans to sell podcast-only registration for those who cannot be onsite—for nearly as much as live attendees pay. “It won’t cannibalize attendance, but it could add extra revenue,” Bourquin says.
60
bizbash.com/newyork
august/september 2006
Worldwide sales of portable digital audio players hit 140 million units in
2005, up from 35 million in 2004, according to market research firm
InStat. The company predicts shipments will reach 286 million by 2010.
Moreover, some 7.5 million portable media players will be providing consumers video-on-the-go by 2009. While Bourquin, who boasts 263,000
podcast downloads from his Web site since last November, admits that
podcasting is not yet a requirement for event executives, “it’s like email
was a few years ago,” he says, “and now everyone has email tools.”
—Matt Purdue
Original Casts
Events both large and small
are now integrating podcasts
into their audience marketing
strategies. Here is a sampling
of some notable podcasters:
INTERNATIONAL
CONSUMER
ELECTRONICS SHOW
The show features 16 vodcasts
from its 2006 incarnation.
Offerings range from short,
rather amateurish interviews
on today’s “hot” technologies
to full keynote sessions that
run more than an hour.
www.cesweb.org/podcasts/
default.asp
NATIONAL
ASSOCIATION OF
BROADCASTERS
The association provides, naturally, a plethora of vodcasts
from its annual show.
Highlights packaged from
each of the event’s four days
lead the way. As any NAB
denizen might expect, the
vodcasts are slickly produced.
www.nabshow.com/
highlights.asp
REBOOT8 Only the most
dedicated technophile will be
intrigued by the content of this
event based in Copenhagen.
But the show’s approach
applies to any prospective
podcaster. Leading up to the
event, conference organizers
conducted some 10 interviews
with speakers to juice interest
in Reboot8. Interviews range
from 15 to 36 minutes in
length.
www.bloxpert.com/
reboot-podcast.php
CATO INSTITUTE The
famous libertarian think tank
presents MP3 files of its live
events, a mix of traditional
luncheons, briefings, and
book discussions.
www.cato.org/podcasts/
PODCAST AND
PORTABLE MEDIA EXPO
The self-styled Podcast
Brothers, Emile and Tim
Bourquin, produce regular
podcasts to promote their
annual event. Their Web site
also offers such items as a
podcasters legal guide and
podcast advertising contracts.
www.portablemediaexpo.com
/audio.htm
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