Professional

Writing Portfolio
Joseph Kathmann
Contact Information:
Joseph Kathmann
Communications Major
Music and Music Industry Minor
James Madison University 2015
Kathmajp@dukes.jmu.edu
513.375.6323
Website: Kathmannjp.weebly.com

[EXECUTIVE SUMMARY]
This portfolio contains a variety of documents and writing styles pertaining to any situation that may
arise in a professional writing atmosphere. Each document is written in a different style, as the author
attempts to write the document from a variety of perspectives. For example, the media release is
written from the perspective of a concert venue and is written under the assumption that those
reading it do not know anything about a venue. However, the television public service announcement
is written from the perspective of the CDC and is written under the assumption that those seeing the
ad do not know anything about the particulars of the Ebola outbreak. The writing portfolio ends with a
media kit for the concert venue Bogarts Music Club. A backgrounder of the club is included in the
writing portfolio.

[TABLE OF CONTENTS]

Executive Summary
Media Release
Media Alert
Radio Script (PSA)
Television Script
Feature Story
Memorandum
LTE
RLTE
Op-Ed
Media Kit
Backgrounder
Company Sketch-Karen Foley
Biographical Sketch-Mark Cathell
FAQ Sheet
FACT Sheet

1 November 2014
Laura Trujillo
Managing Editor
The Cincinnati Enquirer
312 Elm Street
Cincinnati, OH 45202
ltrujillo@cincinnati.com
513.768.8378
FOR IMMEDIATE RELEASE
Michael Fin Walter Becomes Bogarts New General Manager
Michael Fin Walter took over the role of head of operations at Bogarts Music Club today. The past
few days have moved very quickly for Fin and the rest of the Bogarts staff after the sudden promotion
of the previous manager, Karen Foley, however they are very excited about what the future holds at
the venue. Aaron Gizara, Bogarts Production Manager of over 25 years, said, We couldnt be more
excited to welcome Fin and his ideas to the club. Bogarts is in good hands.
The news of the promotion of former General Manager, Karen Foley, to another club in California came
very suddenly for many at Bogarts. Karen had been the manager of Bogarts Music Club for over 4
years. During that time the club has transformed into a very prominent venue in the Cincinnati music
scene. Erica Turer, Head of Marketing at Bogarts, said, Karen is the best boss Ive ever had. She will
be missed.
Fin has spent the last 20 years in the radio business, most recently as the DJ Fin Rock at 96 Rock in
Cincinnati. However before that he made a name for himself as an employee of Bogarts Music Club
under Aaron Gizara and others. This combination of experience will further the already stellar
reputation of the venue established by Karen. One thing is certain, though: Bogarts Music Club is in
good hands under the management of Michael Fin Walter.
-ENDFor further information contact:
Joseph Kathmann
Bogarts Music Club
2621 Vine Street, Cincinnati, OH 45219
Office number: 513.872.8801
Website: www.bogarts.com
Twitter: @Bogartsshows

R. Cort Kirkwood, Managing Editor

Daily News Record
Harrisonburg, VA 22801
Kirkwood@dnronline.com
FOR RELEASE January 15, 2015
Major Change in Tuition Policy Coming to JMU
President Alger of James Madison University will hold a media conference on Thursday, January
22 at 11 AM announcing a major shift in policy concerning rising tuition rates at the university.
Who: President Alger of James Madison University
What: President Alger will announce a major shift in the campus tuition policy
Where: Inside the Convocation Center
When: January 22, 2015. President Alger will take the podium at 11 AM
*Past presidents Carrier and Rose will be in attendance. This event is open to the media and the
general public. All interested parties are invited to attend. President Alger and Linda Combs, Director of
the University Business Office, will be available for questions after the announcement.
-ENDFor further information contact:
Joseph Kathmann
Public Relations Coordinator, James Madison University
800 S. Main Street, Harrisonburg, VA 22807
Kathmajp@jmu.edu
513.375.6323

Dave Thomas, Program Director

WQPO 100.7 Q101
1820 Heritage Center Way
Harrisonburg, VA 22801
dthomas@valleyradio.com
60-second radio PSA with accompanying sound bites

FOR IMMEDIATE RELEASE

PowerUp Ethiopia Today

Elapsed Air Time

Accompanying Sound Bite

10 seconds

Sounds of turning on a light, closing

a refrigerator and oven door

10 seconds

Silence

10 seconds

Construction sound in the

background

10 seconds

Sounds of people talking in a

conversation with an authoritative
tone

10 seconds

Inspirational music

10 seconds

Inspirational music continues

-END-

Contact Information:
Joseph Kathmann
Public Relations Coordinator for ConcordiaHumana.org
1695 Lindenhall Dr.
Loveland, OH 45140
info@concordiahumana.org
513.549.124

Audio TEXT
IMAGINE LIVING IN A WORLD
WHERE THE ABILITY TO TURN ON A
LIGHT, POWER YOUR
REFRIGERATOR, OR HEAT YOUR
OVEN WAS NONEXISTENT
MANY ETHIOPIANS LIVE IN THIS
HARSH WORLD AT THIS VERY
MOMENT
HOWEVER THERE IS AN
ORGANIZATION OUT THERE RIGHT
NOW MAKING A DIFFERENCE
POWERUP ETHIOPIA IS DEVOTED
TO PROVIDING SOLAR POWER TO
THOUSANDS OF ETHIOPIANS
LIVING WITHOUT ELECTRICITY
WITH YOUR HELP, A SIMPLE
DONATION TO POWERUP ETHIOPIA
WOULD MAKE A MAJOR
DIFFERENCE
SO DONATE TODAY AT
CONCORDIAHUMANA.ORG AND
HELP BRING LIGHT TO THE
DARKEST PARTS OF THE WORLD.
THANK YOU.

Kay Norred

WHSV Harrisonburg Channel 3

50 North Main Street
Harrisonburg, VA 22801
knorred@whsv.com
60-second television PSA with accompanying visual effects
TO BE RELEASED AFTER OCTOBER 15TH
Ebola: Vital Information You Need to Know

VISUAL EFFECT

SCRIPT
10 seconds

Announcer: ON SEPTEMBER
TH
29 2014, THOMAS ERIC
DUNCAN WAS ADMITTED TO
DALLAS TEXAS HEALTH
PRESBYTERIAN HOSPITAL FOR
AN EBOLA INFECTION. HE DIED
TEN DAYS LATER.

10 seconds

Reporter: THE FIRST

DIAGNOSIS HAS RESULTED IN
AN ADDITIONAL INFECTION OF
A NURSE CARING FOR ERIC
DUNCAN. THE NURSE HAD
EXTENDED CONTACT WITH
THE PATIENT, BUT THERE WAS
AN UNIDENTIFIED BREACH IN
PROTOCOL.
Reporter: THE CENTER FOR
DISEASE CONTROL HAS BEGUN
SCREENING PRACTICES FOR
EBOLA AT MAJOR AIRPORTS
GLOBALLY

5 seconds

5 seconds

Reporter: THE FIRST SIGNS OF

AN EBOLA INFECTION INCLUDE
HIGH FEVER, FATIGUE,
MUSCLE PAIN AND SORE
THROAT

10 seconds

Reporter: ANYONE WHO HAS

BEEN IN CONTACT WITH AN
INFECTED PERSON, AND IS
EXPERIENCING THESE
SYMPTOMS SHOULD SEEK
HELP AND ISOLATION
IMMEDIETLY TO CONTAIN THE
VIRUS

10 seconds

Reporter: THE VIRUS CAN

ONLY BE SPREAD THROUGH
CONTACT OF BODILY FLUID,
SO THOSE CARING FOR EBOLA
STRICKEN PEOPLE SHOULD
TAKE ALL NECESSARY
PRECAUTIONS TO LIMIT THE
SPREAD OF THE INFECTION

5 seconds

Reporter: THE KEY TO

FIGHTING EBOLA IS TO STAY
ALERT, TAKE THE SYMPTOMS
SERIOUSLY, AND RECEIVE HELP
IMMEDIATELY

5 seconds

Reporter: THIS IS NOT JUST A

WEST AFRICAN PROBLEM,
THIS IS A GLOBAL ISSUE THAT
CAN ONLY BE STOPPED BY
TAKING THE PROPER
PRECAUTIONS AND BEING
PROACTIVE AT THE FIRST SIGN
OF EBOLA SYMPTOMS.

-END-

Contact Information:
Joseph Kathmann
CDC Public Relations Specialist
1600 Clifton Road
Atlanta, GA 30329
CDCpublicrelations@CDC.gov
404.981.3815

Joseph Kathmann
Rolling Stone Magazine Feature Story
Billboard Adds Streaming to the Billboard 200

For years, the Billboard 200 has been the industry standard for tracking the music consumers purchase
at any given time. To be at the top of the Billboard 200 is a mark of pride and accomplishment for any
artist. However, until recently the Billboard 200 has been lagging behind the rest of the music industry.
By: Joseph Kathmann | December 3, 2014
Billboard has never incorporated streaming into their 200. Despite the popularity of services
such as Spotify and Pandora, and the overall popularity of music streaming services, the Billboard 200
has never incorporated these streams into their list. Until now. For years, Billboard has been trying to
understand how to track the popularity of music after the point of purchase. In the 90s, if you went to
a music store and bought Chumbawumbas Tubthumper and Foo Fighters The Colour and the Shape at
the same time, those purchases would immediately be tallied into the Billboard 200. However if, say,
three months later you are wearing Foo Fighters The Colour and the Shape out and Tubthumper is
sitting on your desk being an effective coaster, Billboard has no way to track this. There has been no
way to track the long-term consumption of an album after you buy it. Until now.
With the introduction of streaming services, the music industry now has a way of tracking the
music that consumers play on a daily basis. Many companies have already incorporated streaming into
their business models, and Billboard does have a top-streaming chart currently, but the industry has
been pressing Billboard to include music streams in their coveted Billboard 200 chart. This week,
Billboard announced that a major change is coming for its primary chart. Billboard is calling it the
biggest upgrade in 23 years. Starting December 4, 2014, Billboard will incorporate streaming music
into its weekly update of the Top 200. Billboard will also incorporate single downloads into the chart.
According to Billboard, they will adopt the industry norm for downloads and streams on the 200, with
10 downloads of a song equaling one album purchase and 1,500 streams equaling one album purchase.
While this method will allow album sales to still comprise the bulk of the Billboard 200, adding

streaming and downloading will allow Billboard and the industry as a whole to track the long-term
consumption of music, something that simply was not possible when CDs and vinyl ruled the music
world. "Adding streaming information makes the chart a better representation of music consumption
activity," says Silvio Pietroluongo, VP of charts and data development at Billboard. "While an extremely
valuable measurement, album sales would mostly capture the initial impulse only, without indicating
the depth of consumption thereafter. Someone could listen to the album just once, or listen to one
track or a number of tracks 100 times. We are now able to incorporate those plays as part of an album
consumption ranking throughout one's possession of an album, extending beyond the initial purchase
or listen."
Throughout the introduction of digital downloads in the 2000s, the music industry has seen a
slow but steady decline in album sales, as the consumer began to adopt the idea introduced by iTunes
of every song on an album being a single. Fortunately for the record industry, these declines were only
in the single digits. However since the introduction of streaming services in 2011, this decline has
increased dramatically. In 2014, album sales have declined roughly 13% from where they were at this
time in 2013 alone. Billboard has always been hesitant with incorporating streaming and downloads
into their 200, but it has become obvious that there is a major shift occurring in the industry in favor of
music streaming that is not going anywhere anytime soon. Dave Bakula, Nielsen's senior vice president
of industry insights, said the industry's rapidly shifting business model made the new chart imperative.
"When you see traditional album sales continuing to decline and even digital sales declining, while
audio stream[s] are up year over year, you realize this is the segment that's going to continue to grow,"
he says. "This new chart is going to change the way success is measured and, because of that, change
the way business is done."
The incorporation of music streaming is a huge win for
the streaming services, who have been coming under
heavy fire recently for their miniscule royalty payments
made out to the artists on these services. Spotify has
received the blunt of this criticism, and currently major
artists like Taylor Swift and The Black Keys have removed
their catalogs off Spotify in response to these royalty
payments. However because streaming is now being incorporated into the Billboard 200, the pressure
is on these artists and off Spotify to change their streaming-banning strategy. With the incorporation of
streams into the Billboard 200, it is impossible to deny the importance of music streaming on the
industry as a whole. Unfortunately, though, the industry still has a long way to go in figuring out how to
adequately compensate the artists on these streaming services. Only time will tell if the record industry
can survive the onslaught of streaming services, but with its incorporation into the Billboard 200, one
thing is for sure: its going to have to, because streaming services are here to stay.
-EndContact Information:
Joseph Kathmann
Associate Editor, Rolling Stone Magazine
513.375.6323
Twitter: @Kathmajp

Date: 29 August 2014

To: Dr. John Stone, Ph.D.
From: Joseph Kathmann
Subject: Reasons for Taking SCOM 261
As a general SCOM major, I am not required to take SCOM 261. I plan on entering the music industry
when I graduate from James Madison University this spring. The entry-level job I would be searching
for would be the marketing coordinator of a venue. In my opinion, as well as the opinion of the general
manager of the venue I worked for in the summer, some public relations courses would prove to be
supremely beneficial for my future work. In particular, written techniques would prove invaluable to
me as a marketing coordinator, as well as in a general manager position, which is where I hope my
career eventually leads. SCOM 261 will help me develop those skills.
I especially want to learn how to create effective social media releases in addition to a broadcast and
printed news release. Additionally, I hope to learn how to market effectively from a public relations
perspective.
Thank you for the opportunity to learn these job skills in SCOM 261 and I look forward to a fun and
educational semester.

-END-

To:

Sean Cassidy, Editor

The Breeze
MSC 6805, 821 South Main Street, Harrisonburg, VA 22807
breezeeditor@gmail.com
9 September 2014
Letter to the Editor
FOR IMMEDIATE RELEASE
Roger Goodell Should Be Fired
This past week has been one of the darkest in the history of the NFL. When the egregious Ray
Rice video first surfaced at the beginning of the week, the NFL reacted appropriately by suspending
him indefinitely. Additionally, the Ravens responded in a somewhat positive manner by cutting him
from the roster and offering full refunds to anyone who owns a Ray Rice jersey. However, this was
interpreted by some as a cover up. After all its very difficult to believe that the NFL first saw the video
when it was released by TMZ. Well, as the week progressed, law enforcement officials claimed to have
delivered the video to the NFL back when the initial investigation took place. This brings the cover up
into the limelight, and has many people calling for Goodell to resign. It is appalling that he hasnt
stepped down yet.
At best, the NFL and Roger Goodell were incompetent throughout the handling of the Rice
investigation. When that is the best-case scenario in any situation, then the situation cant get much
worse. Many players and even some owners are already calling for Goodells resignation, as well as
many fans. Goodells blatant abuse of power has gone unchecked long enough. It is time for him to
resign.

-END-

Joseph P. Kathmann
James Madison University, 2015
Harrisonburg, VA 22801
513.375.6323

To:

Sean Cassidy, Editor

The Breeze
MSC 6805, 821 South Main Street, Harrisonburg, VA 22807
breezeeditor@gmail.com
19 September 2014
Response Letter to the Editor
FOR IMMEDIATE RELEASE
In Response to Laura McWhorter
As a current student of James Madison University, I too am disgusted with the actions taken by
the university in defending Sarah Butters. They are the actions of a university that does not give the
female student body the respect it deserves. I believe in and fully support the actions you are taking
against this university in response to the lack of justice in this incident.
While it does not give Sarah Butters any true consolation, I find it a positive that in the following
weeks and months the student body has come together and expressed unanimous outrage over the
issue. I hope the outrage continues over the upcoming months, and I hope the university comes to its
senses and further punishes the disgusting perpetrators of this hideous act.

-END-

Joseph Kathmann
James Madison University, 2015
Harrisonburg, VA 22801
513.375.6323

[Original LTE written by Laura McWhorter]

JMU owes support to sexual assault victims
Posted: Monday, June 30, 2014 12:30 am | Updated: 1:16 pm, Mon Jun 30, 2014.
Laura McWhorter | Class of 2008
Until today, I was proud to say I was an alumna of JMU.
After graduation, I went on to start a career in advertising that has allowed me to work on the biggest
brands at the most creatively-awarded agencies in the world. The work I produce is probably on in the
background as you read this. Many of the students of SCOM or SMAD will one day cross my desk
should they ever want to work in advertising in NYC. I'm an alumni success story.
I should be joined in my success by Sarah Butters not her attackers.
You see, the men who allegedly attacked Sarah Butters will maybe get to do some of the things I
mentioned above. Sarah might not. The men who attacked Sarah Butters are getting the same degree
that I hold. Sarah is not. The men who attacked Sarah Butters sleep soundly at night. Sarah does not.
The men who attacked Sarah Butters were protected by their university. Sarah was not.
And it is for that reason that I no longer consider myself an alumna. I'm removing it from my resume,
my reel and my life. I will not be making contributions. And starting tomorrow I'll be launching a
massive campaign to make sure as many other alumni as I can reach do the same until you take away
these mens degrees.
Your female student body demands and deserves action.
Shame on you, James Madison. Shame on you.
Laura McWhorter
JMU alumna, class of 2008
New York City, N.Y.
Retrieved from: http://www.breezejmu.org/opinion/article_0a855cb2-006c-11e4-b6dd0017a43b2370.html

To:

Jessica Letkemann, Managing Editor

Billboard Magazine
5055 Wilshire Blvd, Los Angeles, CA 90036
Jessica.letkemann@billboard.com
4 December 2014
Op-Ed
The Record Industry is Dying
Just 20 years ago, the record industry was the only way to break into the music industry. As an
artist, you had no chance of achieving any success in the music industry without obtaining a record
deal. The record companies reigned supreme in the music world, but not anymore. In the 1980s it was
easy for an album to go platinum, or sell a million units. However to this point in 2014, exactly one
album has gone platinum (Taylor Swifts 1989) and record sales are down 13% from where they were
at this point last year alone. This is the sign of a dying industry. This is an industry that has yet to come
up with a proper response to the streaming music services, and the marvel that is Garage Band and
Pro-Tools, which brings the record studio that an artist needs to make an album right to their
computers. Its a true shame, but the days of a band going to a record studio to record their latest
album are numbered.
Its amazing how quickly things change. Just as late as 2000 the record industry was a $15
billion industry. However, when Napster came along the idea of downloading music for free entered
the mind of the consumer, and ever since then the industry has seen a steady decline from $15 billion
in 2000 to around $7.5 billion total in revenue in 2013. To make matters worse, retailers have begun to
take even more business away from the record label. Recently, Wal-Mart signed classic rocks acts the
Eagles and Journey on an in-house label. These artists will sell all memorabilia and CDs at Wal-Mart per
Wal-Marts directive, in exchange for a very hands-off approach from the retailer during the recording
process. Princes latest album is a Target-only exclusive, under mostly the same terms. These artists are
not alone, as many other artists have signed record deals with retailers as well. With record labels
being cut out left and right, its only a matter of time until other record companies follow in the
footsteps of EMI (the once powerful EMI went under in just the past two years and has been split up
and sold to various music organizations) and go under. Next up on this list is likely to be Warner
Brothers. The smallest of big three, Warner Brothers Music is beginning to struggle to keep up with
powerhouses Sony Music and Universal Music. So, what happens when the record industry does
formally die? Will Garage Band and Pro-Tools become the only way that artists can record their music?
Only time will tell.
Fortunately, the music industry as a whole will survive. It has already become apparent to the
artist that the money of this great business lies in the touring, not the album. Thus the formula for an
artist has already become apparent: make an album however you can, and then spend two to three
years promoting it on the road. Just because the record industry is dying does not mean that the artist
will go with them. One can only hope that the artist adapts and survives in a post-label music industry.
-EndJoseph Kathmann
James Madison University, 2015
Harrisonburg, VA 22801
513.375.6323

Media Kit

For further information contact:

Joseph Kathmann
Bogarts Music Club
2621 Vine Street
Cincinnati, OH 45219
Office number: 513.872.8801
Website: www.bogarts.com
Twitter: @Bogartsshows

Joseph Kathmann
Public Information Officer
Bogarts Music Club
20 October 2014

Name of Organization: Bogarts Music Club

Currently owned by Live Nation Entertainment
Primary purpose is a music venue with a bar attached that is open during musical performances
Venue style: Bogarts is a club-style music venue with a capacity of 1,464
Venue has a balcony that is open for shows that sell over 1,000 tickets before the day of show
Live Nation owns Bogarts Music Club with a small crew of 4 people at the venue full-time.
They are Karen Foley, the General Manager, Mark Cathell, the Box Office/Bar Manager, Aaron
Gizara, Production Manager, and Erica Turer, Marketing Coordinator.

A Brief History of Bogarts Music Club

Bogarts was built in 1890 under the name Nordland Plaza Nickelodeon as a vaudeville theater.
The venue remained opened acting as a vaudeville theater until 1955 when television put it out
of business.
The venue was later reopened in 1960 screening German films, however this endeavor lasted
only a few years, as the venue was transformed into a restaurant and entertainment venue
called Inner Circle.
The venue underwent extensive remodeling in 1980 and was reopened as Bogarts Music Club
that same year.
In 1997 Nederlander Concerts assumed management of Bogarts Music Club and when SFX
(later renamed Live Nation) bought Nederlander Concerts in 1999 they assumed management
of the venue.
The venue underwent extensive remodeling in 2009, bringing the venue into the 21st century by
adding many electrical capabilities that modern venues are now expected to have, as well as
creating a much larger bar area.
Notable artists to travel through Bogarts Music Club
Red Hot Chili Peppers and Pearl Jam both give Bogarts Music Club credit for helping get their
careers off the ground. Their early shows at the venue are some of the brightest in its rich
history.
Some of the biggest names of the 70s and 80s passed through Bogarts, including Paul
McCartney and Wings, Duran Duran, Boston, Styx, and Poison.
More recently Bogarts has played a major role in the early career of metal bands, with bands
like Testament and Slayer both laying the groundwork for their successful careers at the
theater.
Now Bogarts features the Live Nation up-and-coming artists series. Zedd, St. Vincent, MKTO,
and New Politics have all come through Bogarts in the past year.

More information about the venue

The venue is located one block off of the campus of the University of Cincinnati.
The venue maintains a positive image in the Clifton neighborhood of Cincinnati it resides in,
taking a prominent role in helping out the local businesses surrounding the venue.
The venue takes part in Cliftons annual 4th of July parade, and also helps participate in many
Cincinnati festivals, including the annual Taste of Cincinnati that occurs every Memorial Day
weekend.
The companys earnings vary month to month and depend entirely on the quality of the
performers traveling through Bogarts that month. The venue is owned by Live Nation
Entertainment, and Bogarts reported a three month revenue of $1,665,785 on June 30, 2014.
Future plans for Bogarts Music Club
Karen Foley, the companys general manager, has expressed interest in clearing the lot adjacent
to the club and opening a small outdoor venue. In July 2014, a construction crew began the
process of clearing the area to construct this venue, which Karen hopes will be open in the
spring of 2015. This venue will house small shows as well as outdoor movies.
The club itself currently has no plans to remodel, but due to the fact that the club was recently
transformed, this is not a priority. However, the club did recently purchase a lot across the
street to expand its office space.
Public opinion of Bogarts Music Club
The publics opinion of the venue has become increasingly positive since Karen Foley became
the general manager in 2010.
Lytyvya at CitySearch said, We had a great time at Bogarts.
Jim G. at Yelp.com said, They have done some fantastic renovations to the bathrooms and
added an outdoor space and all that is grand.
Sandra F. at Yelp.com said, I love the intimate setting and the up-close experience.
-ENDFor further information contact:
Bogarts Music Club
2621 Vine Street, Cincinnati, OH 45219
Office number: 513.872.8801
Website: www.bogarts.com
Twitter: @BogartsShows

Joseph Kathmann
Biographical Sketch
3 November 2014
Karen Foley, General Manager
Until recently, Karen Foley was the General Manager at Bogarts
Music Club, which included the overall manager of operations at the
venue. She now manages Riverside Live in Riverside, CA. Karen was
born on November 21, 1969 in Phoenix, Arizona. She graduated from
Mesa Community College in Mesa, Arizona in 1992. From there she
began her journey through the ranks of what would become Live
Nation Entertainment. Beginning in 1993, as a security guard at a
local Phoenix music venue, she eventually worked her way up to
becoming an Account Manager/Security Supervisor at Total Events
and Management in Phoenix. Her primary goals in this position were
to work closely with local, state, and federal law enforcement
agencies to ensure that proper policies and procedures were
implemented by the company to reduce company and venue liability at events. Her role in this position
was also to create and implement procedures and policies for new accounts to include information on
crowd control, guest safety, and deployment of personnel at the various venues owned by Total Events
and Management.
Karen worked in this position for 7 years and 8 months from September 1993 until April 2001. At this
time, Clear Channel purchased Total Events and Management and Karen, as well as many other
employees, were absorbed into the company. Karen became a Production Assistant for the Clear
Channel Southwest Region. Karen traveled with the promoter of the area to assist in all manners of
production and event management. Things began to move quickly for Karen around this time, as she
only spent 3 years and 5 months in this position from April 2001 to August 2004. With the knowledge
she gained as a Security Supervisor and later as a Production Assistant, Karen was ready to move into
the venue operations. She was promoted to Production Manager for NRG Southwest Glendale Arena.
In this position, she was responsible for the production budget of all show-related expenses for the
arena. She also prepped building and distribution notes for all upcoming shows for the arena. Her final
major role as the Production Manager was to supervise load-in and load-out at all shows occurring at
the venue.
In 2005 Clear Channel was split into separate companies; Live Nation Entertainment was one of those
companies. Karen continued her journey to General Manager at Bogarts under this company. After
working in this position for 2 years and 5 months from August 2004 until December 2006, Karen was
once again promoted to Event Manager for Comerica Theatre in Phoenix Arizona. She only stayed in
this position for 1 year 3 months from February 2007 until April 2008. In April 2008, Karen received the
promotion she had been waiting for. She was promoted to General Manager of Comerica Theatre and
stayed in this position for 3 years and 5 months from April 2008 until October 2011.

While she was the General Manager of Comerica Theatre, the venue experienced some of the best
years of its existence. Revenue increased 69% from the 2009 to 2010, and production expenses were
reduced by an average of 29% per year. Additionally, operational costs were reduced by 26% and
variable expenses were reduced by 17%. Combined, these actions allowed Comerica Theatre to be
ranked in the top 3 for revenue and contributed margin for Live Nation owned and operated venues.
In October of 2011, Karen Foley was promoted to General Manager of Live Nations venue in
Cincinnati, Ohio, called Bogarts Music Club. Karen immediately requested renovations from Live
Nation and began to positively improve the mentality of the workers thanks to her infectious
personality. What resulted was a transformation at Bogarts Music Club, both internally and externally.
As the venue underwent renovations to modernize its appearance, Karen brought the employees
together and changed the mentality of the venue for the better.
Over the next 3 years and 2 months, Karen effectively turned Bogarts around. With the venues
updated appearance, as well as the positive attitude among the employees, Bogarts Music Club began
to host better quality names. Recognizable names such as Dropkick Murphys, Steel Panther, Jimmy Eat
World 30 Seconds to Mars, and Zedd all have played at Bogarts Music Club in just the last two years.
With the better artists, the crowds have begun to come back as well. All artists mentioned above
played to sold-out crowds. This has helped generate buzz for the venue as well, and the reviews on
sites such as Yelp and Live Nation itself have improved dramatically for the venue over the past 2 years.
In the past few months, Live Nation has once again asked Karen to transform another venue. On
October 24, 2014, Karen celebrated her last show as General Manager of Bogarts Music Club. Live
Nation promoted her to General Manager of the Fox Performing Arts Center and Riverside Municipal
Auditorium in Riverside, California, effective October 29, 2014. These venues are currently
experiencing problems similar to the ones Bogarts Music Club experienced 3 years ago. Only time will
tell if Karen can turn this venue around, but if her past experience is any indication, Karens ideas and
personality will once again turn around a struggling venue.
-ENDFor further information contact:
Bogarts Music Club
2621 Vine Street, Cincinnati, OH 45219
Office number: 513.872.8801
Website: www.bogarts.com
Twitter: @BogartsShows

Joseph Kathmann
Biographical Sketch
3 November 2014
Mark Cathell, Income Manager
Mark Cathell is the current Box Office manager at Bogarts Music Club in
Cincinnati, OH. Before working at Bogarts Music Club, he worked several
jobs at Tickets.com, a privately held subsidiary of Major League Baseball
Advanced Media, LP for 7 years and 9 months. He is also the accountant for
Bogarts Music Club, as he spends a significant amount of time managing
payroll and operating funds. Additionally, Mark is the Bar Manager at
Bogarts Music Club. He is expected to keep the bars stocked and is
responsible for creating specials tailored to the likes of a crowd at specific
shows. For example, shots of tequila may be on sale when a mariachi band
comes to Bogarts Music Club. These decisions are made at Marks discretion.
Mark graduated in 2001 from George Mason University. He immediately went to work for Tickets.com
as an Inbound Phone Center Trainer. He stayed in this position for 1 year from August 2001-July 2002.
In this position, he interviewed and hired phone center representatives for inbound sales calls. He was
also expected to train new agents for customer service and system functions.
After 1 year in this position, Mark became a Client Service Representative for Tickets.com. He spent 6
years in this position, working here from July 2002-June 2008. While in this position, Mark was
responsible for setup, build, and maintenance of all ticketed events on multiple client sites. He created
reports for general ledger accounting of funds relating to events, including ticketing revenues, facility
fees, and service charge revenue shares. Additionally he worked with clients to increase product
awareness and usage, including automation of season seat renewals and high-value presale
opportunities. His ideas led to a $50,000 profit in a single day for Tickets.com.
Eventually, Mark was promoted to Product Analyst at Tickets.com in October 2007. In this position
Mark was responsible for product planning, installation, and go-live access control and kiosk systems
for Tickets.com. However, Mark did not enjoy this position as much as he thought he would, and only
stayed in the position for 9 months from October 2007-June 2008. At this point, Mark decided to leave
Tickets.com and search for employment elsewhere.
In December 2008, Mark found a job as an IS Support and Special Projects Coordinator at Service
Solutions Group. In this position Marks responsibilities were to manage the day-to-day support of up
to 145 technicians using in-house applications and the Oracle database. He created, updated, and
supported client-side Oracle queries and stored procedures. He also interviewed end users, acted as a
liaison between business and software developers, and defined project requirements for
improvements of system functionality. While in this position, he helped reduce billed support hours by
23% versus a same size sister facility.

Mark has always loved music. His heart has always been in the music industry, and so when Live Nation
approached him with an opportunity to work at Bogarts Music Club, he didnt hesitate to answer with
a resounding yes. In April 2010, Mark came to Bogarts Music Club and became the Income Manager.
The decisions he has made since coming to Bogarts Music Club has benefited the venue tremendously.
With the help of Karen Foley, the venues General Manager, Bogarts Music Club had a 27% increase in
annualized profits from the 2010 fiscal year to the 2011 fiscal year. Marks purchasing decisions played
a pivotal role in this increase of profits. Mark is also responsible for the interview, hiring, and training
of the bar staff personnel at the venue. Additionally, Mark has become the accountant of the venue, as
he is responsible for a daily audit of all cash received, dispersed, and all vault transactions. Under
Marks leadership, the venue has prospered and is experiencing some of the best financial years it has
seen. Mark has been working at Bogarts Music Club for 4 years and 8 months. He hopes to continue
working at the venue for the foreseeable future.
-ENDFor further information contact:
Bogarts Music Club
2621 Vine Street, Cincinnati, OH 45219
Office number: 513.872.8801
Website: www.bogarts.com
Twitter: @BogartsShows

Joseph Kathmann
FAQ Sheet
3 November 2014
Bogarts Music Club FAQ Sheet
Q: Is Bogarts Music Clubs bar open year round?
A: No. Bogarts Music Clubs bar is only open whenever an artist is performing.
Q: When do doors open for a show?
A: This varies from show to show. The show times on www.bogarts.com specify when the doors
open for the show.
Q: Where are the restrooms located in the venue?
A: Restrooms are located at either the top of the steps in the balcony or past the stage and
down the steps.
Q: Is there an ATM in the venue?
A: Yes. There is an ATM located by the main bar.
Q: Is smoking allowed in the venue?
A: No. However a designated smoking area is available past the stage and down the steps.
Q: Are there assigned seats in the venue?
A: No. The venue is a general admission venue. However there is a VIP seating area available for
upgrade in the balcony.
Q: How do I upgrade my ticket to the VIP seating?
A: Upgrades are available to purchase in the venue on the day of the show at the seating area.
A credit card reader is provided.
Q: Where do I purchase tickets?
A: You can purchase tickets either online at www.bogarts.com or at the venues box office.
Q: When is the box office open?
A: During the summer, the box office is open from 12 pm-4 pm Monday-Friday. In the winter,
the box office is open from 12 pm-5 pm Monday-Friday. If a show is occurring on a weekday, the box
office will remain open until the headliner takes the stage. If a show is occurring on a weekend, the box
office will be open 2 hours prior to the scheduled door time.
Q: Is there parking on-site and included in the ticket price?
A: No. However there is parking available in the areas immediately surrounding Bogarts Music
Club. Per city regulations, street parking becomes free after 7 pm on weekdays and is free all day on
weekends. Additionally, there are parking lots surrounding the venue that range in price from $5-$10.

Q: Is Bogarts Music Club wheelchair accessible?

A: Yes. Bogarts Music Club has a ramped entrance that leads to an ADA-approved area for
seating on the ground floor.
Q: Are cameras permitted at shows?
A: This depends on the artist. Bogarts Music Club will adhere to the artists preference on
cameras.
Q: Can I check a coat or a bag at Bogarts Music Club?
A: Bogarts Music Club does offer a seasonal coat/bag check area located just inside the main
entrance. There is a $3 fee per item.
Q: Is there re-entry once inside the venue for a show?
A: No. Once inside the venue re-entry is not allowed.
-ENDFor further information contact:
Bogarts Music Club
2621 Vine Street, Cincinnati, OH 45219
Office number: 513.872.8801
Website: www.bogarts.com
Twitter: @BogartsShows

Joseph Kathmann
FACT Sheet
3 November 2014

Bogarts Music Club Facts

Built in 1890 as the Nordland Plaza Nickelodeon in Cincinati, OH
Initially a vaudeville theater until 1955
Opened as Bogarts Music Club in 1980
Independently owned and operated from 1980-1997
Bought by Nederlander Concerts in 1997
Became a Live Nation venue in 2006
Club-style indoor venue
Three bars on ground level, one bar in the balcony
Capacity of venue is 1,464
There is no smoking in the facility, however there is a smoking patio behind the venue that is
free to all patrons
Two main bathroom facilities, with one on the ground floor and the other in the balcony
Bogarts is run by four full-time employees
General Manager is Michael Fin Walter, effective November 1, 2014
Production Manager is Aaron Gizara
Aaron Gizara is Bogarts Music Clubs longest tenured employee. He has worked for the venue
for over 25 years.
Income Manager is Mark Cathell
Marketing Coordinator is Erica Turer
There is an American Disabilities Association approved seating area on the ground floor
Balcony has a seating area available for upgrade at most shows
Bogarts Music Club is located one block from the University of Cincinnati
Best months for the club are September, October, March, and April

Notable acts to come through Bogarts Music Club include the following
Paul McCartney and Wings
Billy Joel
B-52s
Duran Duran
Styx
Boston
Foo Fighters
Red Hot Chili Peppers
Pearl Jam
Testament
Halestorm
Slayer

Zedd
Dropkick Murphys
Flogging Molly
St. Vincent
Jimmy Eat World
30 Seconds to Mars
Chevelle
Tesla
Steel Panther
MKTO
New Politics
Walk the Moon
-END-

For further information contact:

Bogarts Music Club
2621 Vine Street, Cincinnati, OH 45219
Office number: 513.872.8801
Website: www.bogarts.com
Twitter: @BogartsShows