Welcome to the Entertainment Booking and Production Blog

This booking entertainment blog is hosted and administered by American Entertainement.

Since 1965, Don Podolor’s American Entertainment has provided complete and professional corporate event production, professional concert production, entertainment booking and event management for companies worldwide. We feature flawless planning and production with an event management team that delivers and executes the highest quality event production programs to fit each of our Client’s specific needs. Our 40 plus years as a talent buyers network and entertainment booking agency we have built strong professional relationships with the biggest artists and agencies in the entertainment world. Our international concert management team will partner with you on bringing major acts overseas and overseeing the management of your event.

Talent Acquisition Entertainment Booking
We are not a typical entertainment booking agency. We do not believe in the “Buy Sell” performance contract. As a network of talent buyers, we work with venues, casinos and festivals to acquire top name talent, acting as the “Buyers Agent” to negotiate the best artist rate for our clients directly with the artist or their agent or management. In addition to the performing artists we represent, and through our association with all major entertainment agencies, we can provide virtually ANY major name act, band or performer for your venue. Since 1965, we have commanded the respect of the entertainment community, and we have the purchasing power to negotiate the best price for your concert event.

Las Vegas Event Production and Management
Our home office and event production management center is located in Las Vegas, Nevada. With our strong local relationships in the Las Vegas hospitality and Las Vegas entertainment industry, we can provide full corporate event production services from the smallest of Las Vegas VIP parties to a sit down dinner for 10,000. We have access to any size venue from the small intimate Clubs to the largest arena’s. We can also augment your existing event plan with food and beverage services, stage, sound and lighting, Las Vegas Entertainment including local bands, major Las Vegas A-List headliners and celebrity look a likes. Our Corporate Travel Unit can also book large room blocks at Las Vegas hotels, flight reservations, transportation and other concierge services including group tours and Las Vegas VIP parties.

Concert Production and Management
If you have not actually managed a concert before or just don’t want the hassle, the talent will be cautious in contracting for your concert event. We will oversee the entire concert production from providing the Stage, Sound and Lighting to acquiring security, catering, transportation, backline and working directly with the artist as a liaison for all other performance rider needs. We are not a concert promoter but will advise on concert marketing strategy, choosing the right artist for your demographic, concert ticket scaling, sponsorships and other services to ensure a successful concert.

Event Stage, Sound and Lighting Design and Management
We are a full service concert and event entertainment production company with a complete inventory of sound reinforcement and staging equipment. Specializing in concert tours, trade shows, corporate, and other special events, we are well known for creating events that reach their maximum potential. From innovative concepts and designs through coordinating every stage of production, we provide our clients the tools to communicate effectively with their audience. Our event production team combines its dedicated, motivated, and highly experienced employees with the finest entertainment equipment available to achieve unparalleled success for our clients.

Corporate Event Planning
We provide complete corporate event planning and corporate event management for companies worldwide. We feature flawless planning and production with a professional corporate event management team that delivers and executes the highest quality event production programs to fit each of our Corporate Client’s specific needs. Our pro-active, not re-active approach to detail ensures a successful, exciting and fulfilling corporate event for our clients and their attendees. Our Corporate Event Producers provide the corporate event planning, corporate event management & event production.

Killing Itself To Live: How the Record Industry Conceived It’s Own Demise

Killing Itself To Live: How the Record Industry Conceived It’s Own Demise

WORLD WIDE WEB (Hypebot) – Throwaway culture, while, perhaps, not limited to commercialized music, appears to stem from highly and quickly popularized songs that are file-shared and listened to for a short period of time. And are, then, later deleted or ‘disposed of’ from the listener’s computer or MP3 player, typically, once the song starts to fade into obscurity or has grown tiresome to the user, due to circumstances such as novelty, over-exposure, or a ‘change of taste.’

As I’ve argued previously, this can be partially attributed to what file-sharing changed about a music fan’s dynamic relationship with the culture that they consume and the numerous paradoxes of choice that are encountered within the realm of the Internet. Most predominately, file-sharing has allowed fans simulate decisions not yet made, or economically ‘committed to’ rather, and has, in turn, caused them to become ever-more passive about their deletion.

“tastes which quickly increase in popularity die out faster.”

Yet, up until this point, what has largely remained a mystery is why things become unpopular and what affect adoption speed has on the abandonment of cultural tastes. Throughout their research of over 100 years of data on first-name adoption trends, Jonah Berger from the University of Pennsylvania and Gaël Le Mens from Stanford University and Pompeu Fabra University in Barcelona found that tastes which quickly increase in popularity die out faster.

More interesting still, the researchers also noted that similar outcomes have been observed in the music industry, wherein, artists who shoot to the top of the charts may be perceived negatively and realize overall lower sales in comparison to those who’ve made a more gradual climb. Simply put, people may avoid buying music from an artist that they see as being short-lived, because the attractiveness of the music has decreased and lost its uniqueness.

“This seemingly counterintuitive finding,” they wrote, “has important implications. It suggests that faster adoption is not only linked to faster death but may also hurt overall success.” How these findings relate to the ten years proceeding and following the rise of Napster and file-sharing is where the big picture becomes clearer and new insight is added into what Steve Knopper deemed ‘The Spectacular Crash of the Record Industry in the Digital Age.’

2. Music as a Unit

During the CD Boom, which lasted from 1984-2000, music became increasingly pressured and scrutinized, because executives started to demand that it act like every other unit. This mindset became one of the many catalysts that caused the Record Industry to change from the savvy executives who nurtured talent and developed careers to the corporate types who relied primarily on the infrastructure established through MTV, big-box retail, and commercial radio.

By the late 1990’s, Greg Kot argues in Ripped that the acts dominating the charts were marketing triumphs more than creative ones. And, with these numerous successes, ranging from Britney Spears, ‘N Sync, the Back Street Boys, and Ricky Martin, the major labels began to abandon organic growth, their long-range, career-building view, in favor of the mass-mediated, commercial music, which could provide stronger quarterly growth and profits.

“cast a divide between themselves and a wired generation of fans far more subtle and sophisticated than anything they could’ve ever imagined.”

However, what the hit-factories couldn’t create is loyalty and their practices would go onto cast a divide between themselves and a wired generation of fans far more subtle and sophisticated than anything they could’ve ever imagined. Every time the labels used commercial radio and MTV to spike an artist’s popularity, they had risked, as the researchers noted, realizing lower overall sales, because fans may avoid investing an artist if they perceive them as a fad.

Consequentially, once the teen pop bubble burst in 2001 and the performers that had become the Record Industry’s godsend could no longer sustain their success, the labels began the wake up to the harsh realities that file-sharing seemingly induced. But, no one could forewarn them about the vicious cycle that would be created as a result of their drastic misconceptions and how the very convoluted system they spent years supporting would spiral out of control.

The mass-marketing practices that the Record Industry adopted and mastered in correlation with file-sharing’s rise into predominance may have, in turn, created the ultimate paradox. Wherein the more the major labels focused on producing music that could be highly and quickly popularized, the more expecting fans perceived these artists negatively, perhaps, avoided buying their albums, and preceded to file-share their potentially ‘short-lived’ songs instead.

3.

But, the more the music fans file-shared, the more the major labels were almost forced to produce lowest-common-denominator music, which fed into ever-more vicious cycle. With every new release, every hot new artist that they used their marketing muscle to spike in popularity, it could be said that the Record Industry was killing itself to live. Achieving sustainability and profits the only way these music executives knew how. There simply was no turning back.

The CD-Release Complex, the backbone of the modern Record Industry, built around the idea that fans discover music through the same mediums that major labels use to promote new music, had become engrained into very fabric of their business that without it, they would be lost. Still, they were blind to the fact that the very abstract system they created and used to commercialize culture and bring music to the masses had since become their mental prison.

“the allotted time table for an artist to be deemed successful shortened and expectations were heightened.”

Previously, artists were established through word of mouth and constant touring, which gradually built a following and allowed an artist develop their creativity and hone their craft. Yet, every year, for the last twenty years, the allotted time table for an artist to be deemed successful shortened and expectations were heightened. With advent of file-sharing and the advances in the Internet, that window of time has considerably shrunk to almost nothing.

On the contrary, digital culture has proved to be as unforgiving as the media landscape that preceded it. Due to the instantaneous nature of the Internet and how it amplifies word of mouth, the growth curve for an artist has compressed from a few years to a few weeks. “Now,” as Jordan Kurland, manger of Death Cab for Cutie and Feist, commented in Ripped, “you run into this phenomenon with people propping things up that shouldn’t be propped up quite so soon.”

“It is a society of instant gratification now, and bands are built up and torn down before they’ve had a chance to create a body of work that represents who they are or what they can do.” In other words, what we’re seeing within every spectrum of the Music Industry, from the top-down corporate media of major labels to bottom-up participatory culture of the Internet: artists that quickly increase in popularity die faster. And, within a climate that supports disposability, the file-sharing community will only continue to thrive and feed on the throwaway culture that is created as a result of it. — Kyle Bylin, Associate Editor (Hypebot)

Rochester Jazz Fest Crowds Increase Again

Rochester Jazz Fest Crowds Increase Again

ROCHESTER, NY (AP) – Another year, another attendance record for the Rochester International Jazz Festival.

The eighth annual event ended its 9-day run over the weekend and organizers say about 133,000 people attended. That’s up from 125,000 last year.

It’s the seventh straight year attendance has increased. Fans continued to turn out despite rain during Saturday night’s final performances.

The festival is held at various venues in downtown Rochester. This year’s performers included Smokey Robinson, Michael McDonald and Dave Brubeck.

Ed McMahon Dies

‘Tonight’ Sidekick Ed McMahon Dies In LA At 86
Posted: Tue., Jun. 23, 2009 07:18:19 AM MST

LOS ANGELES (AP) — Ed McMahon, the loyal “Tonight Show” sidekick who bolstered boss Johnny Carson with guffaws and a resounding “H-e-e-e-e-e-ere’s Johnny!” for 30 years, died early Tuesday. He was 86.

McMahon died shortly after midnight at Ronald Reagan UCLA Medical Center surrounded by his wife, Pam, and other family members, said his publicist, Howard Bragman.

Bragman didn’t give a cause of death, saying only that McMahon had a “multitude of health problems the last few months.”

McMahon had bone cancer, among other illnesses, according to a person close to the entertainer, and had been hospitalized for several weeks. The person spoke on condition of anonymity because he wasn’t authorized to release the information.

McMahon broke his neck in a fall in March 2007, and battled a series of financial problems as his injuries preventing him from working.

McMahon and Carson had worked together for nearly five years on the game show “Who Do You Trust?” when Carson took over NBC’s late-night show from Jack Paar in October 1962. McMahon played second banana on “Tonight” until Carson retired in 1992.

“You can’t imagine hooking up with a guy like Carson,” McMahon said an interview with The Associated Press in 1993. “There’s the old phrase, hook your wagon to a star. I hitched my wagon to a great star.”

McMahon, who never failed to laugh at his Carson’s quips, kept his supporting role in perspective.

“It’s like a pitcher who has a favorite catcher,” he said. “The pitcher gets a little help from the catcher, but the pitcher’s got to throw the ball. Well, Johnny Carson had to throw the ball, but I could give him a little help.”

Concert Stage Collapse in Russia

Stage Collapse Puts Kibosh On Siberian Metal

NOVOSIBIRSK, Russia (CelebrityAccess MediaWire) — Russian news agency Interfax is reporting that a stage collapse forced the cancellation of the June 20th stop of the Scorpions tour in the Siberian city of Novosibirsk.

The collapse reportedly occurred mere hours before the start of the sold-out festival that was set to feature a lineup that included the aforementioned Scorpions along with Alice Cooper, Rasmus and Kingdom Come.

“The bulky musical and lighting equipment that all the participants have brought along must have been too heavy, and the metallic support beams just gave way,” a member of the production crew told Interfax.

While there were no injuries reported during the collapse, the damage to the stage and rig was significant, with a cost estimated by the promoter to be almost $650,000, Interfax said.

Tickets to the show, which ran from one to eight thousand rubles ($32.00 to $256.00) will be reimbursed. The tour will continue to another Siberian city Krasnoyarsk before heading to Murmansk and Volgograd before a final June 28 Moscow show. – CelebrityAccess Staff Writers

Lil Wayne/ Young Jeezy Tour Dates Announced

Lil Wayne/ Young Jeezy Tour Dates Announced

Soulja Boy Tell’em, Drake will also be on America’s Most Wanted Music Festival.

It’s not a tour, it’s a “music festival”!

As we reported earlier this month, Lil Wayne is going back on the road this summer, and he’ll be joined by Young Jeezy, Soulja Boy Tell’em and Drake. The outing was officially announced on Monday morning (June 15) and dubbed Young Money Presents: America’s Most Wanted Music Festival. The tour starts July 27 at the Toyota Pavilion at Scranton, Pennsylvania, and ends on August 23 in Dallas.

According to the tour’s reps, Weezy will headline, after Jeezy, Soulja Boy and Drake go on in front of him. All parties are currently working on new LPs. Lil Wayne’s Rebirth is due in August, while Jeezy’s Thug Motivation 103, Soulja Boy’s The DeAndre Way and Drake’s Thank Me Later do not have dates yet; Drake has not even signed with a label yet.

Over the weekend, Drake talked with MTV News about the tour. “It’s definitely moving along well,” he said. “I think it will be an exciting night for each city that we go to. You got two young guys [and] two guys that have been killing the game for a minute, so I think it will be a dope tour.”

»7/27 Scranton, PA @ Toyota Pavilion
»7/29 Saratoga, NY @ Performing Arts Center
»7/30 Pittsburgh, PA @ Post Gazette Pavilion
»7/31 Philadelphia @ Susquehanna Bank Center
»8/1 Wantagh, NY @ Jones Beach Theater
»8/2 Virginia Beach @ Verizon Wireless Amphitheater
»8/4 Toronto @ Molson Amphitheater
»8/5 Montreal @ Bell Centre
»8/6 Cleveland @ Blossom Pavilion
»8/7 Washington, D.C. @ Nissan Pavilion
»8/8 Raleigh, NC @ Walnut Creek Amphitheater
»8/9 Atlanta @ Lakewood Amphitheater
»8/8 Raleigh, NC @ Walnut Creek Amphitheater
»8/12 Phoenix @ Cricket Wireless Amphitheater
»8/13 Los Angeles @ TBD
»8/14 Irvine, CA @ Verizon Wireless Amphitheater
»8/15 Concord, CA @ Sleep Train Pavilion
»8/17 Vancouver @ GM Place
»8/18 Edmonton, AB @ Rexall Place
»8/20 Denver @ Fiddler’s Green Amphitheatre
»8/22 Houston @ Cynthia Woods Mitchell Pavilion
»8/23 Dallas @ Superpages.com Center

Mass Concerts Partners With Funtime In Buffalo At Town Ballroom

Mass Concerts Partners With Funtime In Buffalo At Town Ballroom

BUFFALO, NY (CelebrityAccess MediaWire) — John Peter’s Mass Concerts continues to expand in the northeast, after partnering with 2009 Artie Kwitchoff and Donny Kutzbach’s Funtime Presents to purchase the 1,000 capacity Town Ballroom in downtown Buffalo.

Originally named for the mid-20th century hot spot, The Town Casino, the venue has become a major stop for touring artists in the Northeast and since opening in 2005, the club has hosted concerts by The Goo Goo Dolls and moe., as well as Tragically Hip, Ryan Adams, Megadeth, Social Distortion, and The Jonas Brothers.

Kwitchoff has long experience in the industry, starting to book shows while in high school during the mid-1980s and then as an indie promoter, growing Funtime Presents into a regional presence while managing the career of The Goo Goo Dolls. Kwitchoff then joined Clear Channel and spent more than half a decade there before re-launching Funtime Presents with his business partner Donny Kutzbach.

John Peter’s Mass Concerts, originally founded in 1994 has been expanding in the Northeast as well and recently acquired the Webster Theatre in Hartford, CT. In addition to the Town Ballroom and The Webster, Mass Concerts also manages the 2160 cap. Palladium in Worcester Mass. – CelebrityAccess Staff Writers

Another Incredible Year For Bonnaroo Music And Arts Festival

Another Incredible Year For Bonnaroo Music And Arts Festival

MANCHESTER, TN (CelebrityAccess MediaWire) –Superfly Presents and A.C. Entertainment are proud to announce that the 2009 Bonnaroo Music and Arts Festival has completed another fantastic weekend that was just shy of a sellout. With Bonnaroo as the traditional rite of passage to the rest of their summer, nearly 80,000 fans experienced an incident-free weekend with over 140 bands performing more than 200 shows, 21 comedians, exclusive film premieres and so much more. Media from TV to print to blog were on hand to report on what has become the elite summer festival of every year.

The Wall Street Journal called Bonnaroo “one of rock’s best festivals,” continuing to hail that the 2009 lineup “fairly bursts with some of the most gifted acts in rock and pop.” Entertainment Weekly called it “the best of all sonic worlds,” while the New York Times said, “Bonnaroo’s very loose mandate – and a wise one for any festival – is to choose performers who deliver in a live performance, with current hits and studio expertise as lower priorities. One of the pleasures of the festival is that it defies narrowcasting: It’s not an Americana festival, an indie-rock festival, a gathering of 2008-9 hitmakers or anything but what its producers and, presumably, ticket-buyers are happy to hear.”

With ticket sales up from last year, festival producers are also very pleased. “Considering the current economic situation, we feel incredibly fortunate to be in this position,” said Superfly’s Rick Farman. “We don’t take anything for granted.”

The weekend was full of so many incredible highlights. Notable ones included epic performances by Bruce Springsteen and the E Street Band for his one-and-only North American festival performance, as well as two by Phish, for their only 2009 North American festival performances. As Bonnaroo is the pioneer and leader in terms of stretching the notion of diverse festival programming, great performances this year came from all over the world and from various musical genres. From Femi Kuti to Girl Talk to Public Enemy to TV on the Radio to David Byrne and the stage he curated to Merle Haggard to Wilco to the Yeah Yeah Yeahs to Snoop Dogg to St. Vincent, Dirty Projectors, Coheed and Cambria, Bon Iver, Lucinda Williams and more.

Year in and year out Bonnaroo has a grand tradition of inspiring new and unique collaborations as well as bringing together old friends who don’t get to see each other too often. This year was no different. Among the many wonderful moments the fans were treated to were: Bruce Springsteen performed three songs with Phish, Nas did a song with the Beastie Boys, Erikah Badu sang with Snoop Dogg, Allen Toussaint and Jenny Lewis played with Elvis Costello, David Byrne sat in with the Dirty Projectors, Triumph the Insult Comic Dog joined Neko Case during her set and Justin Vernon of Bon Iver sang with Elvis Perkins.

The largest and most revered music and camping event in the country, Bonnaroo has elevated the American rock festival to an unprecedented level. As the only round-the-clock major U.S. music festival, Bonnaroo packs an unparalleled amount of entertainment options into its four days. The event has offered its attendees the amenities and community spirit of a small city, with 24 hours of activities including a comedy theater, cinema festival, silent disco, arcade, internet cafés, restaurants, yoga classes and hundreds of high quality craft vendors. Since its inception, Bonnaroo swiftly earned its status as the country’s premier music and arts event. –by CelebrityAccess Staff Writers

Six Flags Concert Series

Six Flags Hits High Note With Their Summer Concert Series

NEW YORK (CelebrityAccess MediaWire) — Six Flags, Inc., announced June 16th the expansion of their popular summer concert events with more shows than ever before featuring some of the music industry’s most popular acts. This season, Six Flags parks will collectively host 120 shows incorporating a mix of musical genres from Pop and R&B to Country and Christian. Jesse Mccartney, Drake Bell, Boys Like Girls, The Veronicas, Flo Rida And Soulja Boy will headline 120 show lineup.

“Six Flags is an entertainment platform that attracts some of the biggest and best artists in the music industry and we are excited to offer these concerts at no additional cost to our guests,” said Dan Weinberg, Vice President of Entertainment for Six Flags. “Our concert offerings are just one more way we are expanding our entertainment package to provide families with an affordable, close to home, value-packed experience.”

The concert collection breaks out as follows:

The annual STARBURST(R) Summer Concert Series presented by T-Mobile(R) is returning with an unparalleled lineup of today’s hottest teen and tween acts. Past performances in this series have featured The Jonas Brothers, Daughtry, Demi Lovato, Natasha Bedingfield and Ne-Yo. This summer, the parks will continue to provide a value-packed music experience with concerts by Jesse McCartney, Drake Bell, Boys Like Girls, The Veronicas, Flo Rida, Soulja Boy, Gym Class Heroes, Mitchel Musso, Colbie Caillat, Metro Station, Plain White T’s, Never Shout Never, The Academy Is, Raven-Symone, Sean Kingston, Augustana, Honor Society and Pretty Reckless. Six Flags and mtvU, MTV’s 24-hour college network, are joining forces for the third consecutive summer to bring some of the hottest acts on the college music scene with the mtvU Video Music Awards Tour. Since the launch of the series in 2007, top artists such as Plain White T’s, Secondhand Serenade, Boys Like Girls, Metro Station and Katy Perry have graced the stage, providing a one-of-a-kind concert event for fans of all ages who like to be on the cutting-edge of new music. Artists performing this season include All Time Low and White Tie Affair. Select parks will provide an eclectic offering of today’s most popular Christian, Gospel, Country, Classic Rock and Rap acts. Scheduled concerts include: Gospel performers – Kirk Franklin, CeCe Winans, Hezekiah Walker, Kurt Carr and Kim Burrell; Christian artists – MercyMe, tobyMac, newsboys, Michael W. Smith, NEEDTOBREATHE, Run Kid Run, Red, Family Force 5, Hawk Nelson, Pillar, KJ-52, Kutless, Stellar Kart, Planetshakers, Falling Up, Jeremy Camp, David Crowder Band, Superchick, The Afters and Addison Road; Country sensations – LeAnn Rimes, Billy Ray Cyrus and Lee Greenwood; and classic performances by music legends Peter Frampton, Asia, Yes, The Charlie Daniels Band, A Flock of Seagulls, When in Rome and Everclear. Guests at all Six Flags locations this summer also will have the opportunity to experience the sounds of some of the area’s hottest up-and-coming acts with the national Live & Local and Live & Local Unplugged events. Both series will feature homegrown artists looking to showcase their talents within their local communities. Live and Local Unplugged will focus solely on the unique sounds of acoustic-style music.

Fleet Foxes Thank Piracy For Success, Pledge To Stay Indie

Fleet Foxes Thank Piracy For Success, Pledge To Stay Indie

SEATTLE (Hypebot) – One of the breakout indie bands of 2008 was Sub Pop’s Fleet Foxes, and the band openly credits online piracy for providing both inspiration and a promotional boost for its 200K+ selling debut album.

As much music as musicians can hear, that will only make music richer as an art form,” singer Robin Pecknold told the BBC. “I think we’re seeing that now with tons of new bands that are amazing, and are doing way better music now than was being made pre-Napster.”

“I’ve downloaded hundreds and hundreds of records – why would I care if somebody downloads ours? That’s such a petty thing to care about,” says Pecknold. “I mean, how much money does one person need? I think it’s disgusting when people complain about that, personally.”

On recent rumors that the band was signing to Virgin, Pecknold wrote in a blog post:

“Fleet Foxes will never, ever, under no circumstances, from now until the world chokes on gas fumes, sign to a major label. This includes all subsidiaries or permutations thereunder. Till we die.”

“I just don’t see the point. Most major labels seem anti-music. We’ve pursued no such deal with Virgin (or been pursued to my knowledge, I think it was just a bit of news they reported) and would be idiots to be unhappy with our fam of label folks. It is true though that all copies of the CD LP will now include a free copy of the EP (like it is currently with the vinyl), but that’s not a ’special limited edition,’ it’ll be that way in perpetuity, no extra cost or packaging change.”

CMT Award Winners And List Of Winners Taylor Swift

CMT Award Winners And List Of Winners

NASHVILLE, TN (AP) — Taylor Swift opened Tuesday’s Country Music Television awards with a skit about living out her dreams. The 19-year-old country and pop sensation went a long way toward doing just that by winning video of the year and female video of the year for “Love Story” and by performing with one of her favorite rock bands.

“I want to thank Shania Twain for always making such theatrical videos, and Garth Brooks for always putting the fans first. I take my cues from you,” Swift said in accepting video of the year honors. “I thank the fans for giving me video of the year when my whole family is here watching.”

Swift won the fan-voted award over Brad Paisley’s “Waitin’ On a Woman,” Trace Adkins‘ “You’re Gonna Miss This,” Carrie Underwood’s “Just a Dream” and Sugarland’s “All I Want to Do.” Swift won video of the year and female video of the year for “Our Song” last year.

Her “Love Story” video is an elaborate production with period costumes that echoes the story of Romeo and Juliet.

“This is for everybody who still believes in love stories, because I do,” Swift said earlier in winning female video.

She closed the awards show by performing “Pour Some Sugar On Me” with the British rock band Def Leppard.

Brad Paisley was the night’s other big winner, taking home awards for male video (“Waitin’ On a Woman”), collaborative video (“Start a Band” with Keith Urban) and performance of the year (Alan Jackson’s “Country Boy” with Jackson, George Strait and Dierks Bentley).

“Start a Band” features two youngsters playing the Rock Band music video game. Paisley and Urban accepted the award together and urged young viewers to really learn to play.

“Learn guitar kids — the real thing,” Urban said.

“Rock Band never got anybody a date — never,” Paisley added.

In his acceptance speech for male video, Paisley thanked TV legend Andy Griffith, who passes on some wisdom to a younger man in the video.

“He has changed my life in so many ways, and to be on film with him you can imagine what that would be like,” Paisley said of Griffith, who was not at the show.

Rascal Flatts won group video of the year for “Every Day.” The band’s bassist Jay DeMarcus called country fans “the greatest fans on the entire planet.”

In accepting the award for performance of the year, Jackson said he signed his record deal 20 years ago this week.

“I’ve made I think about 45 country music videos in that time,” Jackson said. “CMT and the fans have been with me ever since.”

Earlier, Sugarland won duo of the year for their island-themed video “All I Want to Do,” and the Zac Brown Band won breakthrough video for “Chicken Fried,” their snappy song about life’s simple pleasures.

“Thank you for following us wherever we’ve been going,” Sugarland’s Kristian Bush said of the soulful song and video, which features singer Jennifer Nettles on a surfboard.

In accepting the award, Nettles said Urban leaned over to her as the nominees were being announced and told her, “I like your odds.”

Kid Rock won wide open country video for “All Summer Long,” which samples Lynyrd Skynyrd’s “Sweet Home Alabama” and Warren Zevon’s “Werewolves of London.” The video, set on a lake in northern Michigan, features bikini-clad dancers on a pontoon boat.

“I think this was based on creativity, this award, because what’s more creative than a strip pole on a pontoon boat?” said Kid Rock, who hugged Sheryl Crow as he walked up to accept the award. A few years ago, Kid Rock and Crow teamed for the hit “Picture.”

The show kicked off with a skit featuring Swift and host Bill Engvall that had Swift rapping with T-Pain, appearing in a “Star Trek” movie and playing for the NFL’s Tennessee Titans.

In his opening remarks, Engvall poked fun at Jessica Simpson’s lackluster country career, saying T-Pain doesn’t wear boots or a cowboy hat “and is still more embraced by country fans than Jessica Simpson.”

The comedian also had a few cracks for John Rich of the duo Big & Rich. Rich was recently charged with misdemeanor assault charges. The singer recently told Larry King that he may run for governor of Tennessee next year.

“It’s not that he likes politics that much. He just thinks it might be easier asking for a pardon,” Engvall said.

Of Swift’s video performance with Def Leppard, Engvall found humor in a “girl young enough to be my daughter with a band I was listening to when I conceived my daughter.”

There were other lighthearted moments. Dierks Bentley got a big kiss on the lips from actress Melissa Peterman. “I thought that was supposed to be on the cheek. You got me on that one,” Bentley told Peterman.

There were also some unusual combinations with the presenters. Ted Nugent teamed with Alison Krauss, Kid Rock joined model Karolina Kurkova, and Naomi Judd paired with Bill O’Reilly.

“I try to live in the No Spin Zone all the time,” Judd told O’Reilly.

Musical performances were a big part of the show. Brad Paisley punctuated his hit “Then” with bluesy guitar solos. Swift brought out a stage full of cheerleaders for “You Belong With Me.” Keith Urban ran up into the stands during “Sweet Thing” and also joined Jason Aldean for the thumping rocker “She’s Country.”

The topper, though, may have been Sugarland bringing out fellow Georgia greats the B-52’s for a performance of “Love Shack.”

Sugarland led all the nominees for the fan-voted awards with five, followed by Paisley and Swift with four each.

Viewers cast more than 2.5 million votes to decide the four finalists in most categories.

The video of the year competition was done a little differently. Fans could vote for their favorites throughout the show.

List of winners at Country Music Television awards

Video of the year: Taylor Swift, “Love Story.” Male video: Brad Paisley, “Waitin’ on a Woman.” Female video: Taylor Swift, “Love Story.” Group video: Rascal Flatts, “Every Day.” Duo video: Sugarland, “All I Want to Do.” Breakthrough video: Zac Brown Band, “Chicken Fried.” Collaborative video: Brad Paisley with Keith Urban, “Start a Band.” Performance of the year: Alan Jackson, George Strait, Dierks Bentley and Brad Paisley, “Country Boy.” Wide open country video: Kid Rock, “All Summer Long.” Video director of the year: Trey Fanjoy for Taylor Swift’s “Love Story.”