Bob Babisch is the name most associated with talent buying at Summerfest. He's been the head honcho there for years and books all the prominent positions at the Big Gig.

But no one man can book 11 days of music on roughly a dozen stages alone. That's where the likes of Vic Thomas, Scott Ziel and others come in. As the whole city gears up for the 41st edition of the event that bills itself, "The World's Biggest Music Festival," we talked to Thomas, who is himself nearly a 35-year veteran of Summerfest.

We asked Thomas about himself and his work helping to create the one week every year when there's more music in Milwaukee than at any other time. Enjoy this Milwaukee Talks.

OMC: Let's start by talking about you. Did you grow up in Milwaukee?

VT: Yes, I did. Born and raised here in Milwaukee. I first attended Summerfest in when I was in the 9th grade, 1971. Later had my first "date" at Summerfest. I was attracted to Summerfest from the start. I started working at the Fest in 1974, as a nice summer job. Attended College at Oberlin, from '74 to'78, was in the USAF from 1979 to 1983, a salesman with Abbott Labs in California from '83 to '85 and then returned to Milwaukee in 1986. During this time I continued to work at Summerfest as much as I could, on military leaves, summer vacations, etc. Whatever it took to continue my relationship with Summerfest.

OMC: A job as talent buyer at Summerfest is presumably not an easy job to get.

VT: I worked my way up the food chain at Summerfest. (I) started on the grounds crew in 1974. A lucky break occurred and I started working backstage as an aide / go-fer. In those days, everybody did everything -- security, ticket-taking, grounds crew, food and beverage, etc.

For years I handled the backstage -- Main Stage -- hospitality. As matter a fact, I always thought that I should be a stage manager, not the food dog. What I realize now is that I could never have gotten all the experience that I have now if I was only a stage manager.

OMC: What makes buying for the festival different than, say, a theater or club?

VT: I think the difference with a festival buyer versus other buyers is that you have to be aware of the all the things that make up a festival. From port-a-potties to crowd control, beer per caps, weather, grounds layouts, design, great soft ticket bands, what's happening at other festivals, etc.

OMC: How long have you been doing it?

VT: I have been buying acts, since the late '80s. I started on the full-time staff as of 1990.

OMC: Are you a musician, too?

VT: I went to Oberlin College and had hopes of becoming a studio / symphonic percussionist. Alas, my ambition was greater than my talent. After college I didn't play at all for 20 years. Then someone invited me to sit in and I realized that I loved being on stage and performing. So, I try to play for fun now in the off season, October to February.

OMC: Let's talk Big Gig. What's the best part of the job?

VT: Number one, the people that I work with. No. 2, the fact that I can say that I work at the World's Largest Music Festival year-round. No. 3, that I get paid to do this!

OMC: The next question is obvious: what's the worst part of the job?

VT: Saying NO to some great bands and artists! Most people don't understand that it is not personal, but usually due to financial and / or schedule constraints that we can't book your band. Also, the fact that most bands don't understand that playing at Summerfest once is not a lifetime pass to play at Summerfest.

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