ie: the business of international events - Summer 2013

the business of international events

IFEA Award Programs Summer Severe Weather Can You Handle the Pressure?

Managing Interruptions

Some Ideas Rise Above the Rest FTS Prepaid Card Cash Management Services FTS (Festival Transaction Services) lowers costs, offers new revenue opportunities and reduces risk for fairs, festivals and events.

With partners Visa and BAMS (Bank America Merchant Services), FTS introduces the first and only national credit, debit and prepaid card processing platform exclusively for community events.

Increase your revenue. With prepaid cards as tickets or ticket companions, your visitors have more fun, greater convenience, and buy more than using cash. Prepaid cards offer new sponsor ideas, too. Ask us.

Cut costs. FTS processing rates are competitive and “flat”: no increases for

online, affinity or loyalty cards; no signup, statement or termination fees. FTS devices are free to you and your vendors.

Reduce risk. FTS monitors sales every 5 minutes by transaction device; “auto-Magically” deposits sales commissions into your event’s account and net sales into your vendors’ accounts.

Free your event from cash. FTS captures all sales and settles automatically. No more tokens; no more tickets. No cash sitting on site all weekend.

Check out FTS. Go to www.festbiz.com, our new site exclusively for FTS. See our launch video. Sign up for a free webinar. You’ll be glad you did.

CONTACT US NOW FOR A COMPLETE PRESENTATION

Festival Transaction Services • 2033 Sixth Avenue, Ste 810 • Seattle, WA 98121 +1-206-381-5202• jshanklin@festivals.com

CREATE YOUR POINT!

INTRODUCING POINTSMAP ® FOR YOUR EVENT! You may have already discovered the IFEA’s PointsMap - a dedicated map showing you festivals, events, vendors, suppliers, event planners, universities, parks & recreation and more – all over the world. But did you know you can create a PointsMap – specifically for your Event?

It can take you to the streets of your city and show where the food vendors are during your festival and what’s being served – where the entertainment stages are and who’s playing on them – where the merchandise booths are and what’s for sale!

Similar to IFEA’s PointsMap where it lists all the details for IFEA Members – your very own PointsMap has the potential to list anything and everything about Your Event, Your City, Your Organization, Your Venue…Your Whatever!

Not only this, but it can all be accessed through smart phones in “real-time” during your event! You can create and modify as many points as you want on your own PointsMap and even use a custom map of your event in addition to Google maps!

Don’t Delay Any Longer – Create Your Own PointsMap for Your Event Today!

Learn more about PointsMap here.

IFEA MEMBER DISCOUNTS PointsMap is excited to bring this valuable resource to the Festivals & Events industry and in doing so has not only partnered with the IFEA to bring us our very own IFEA PointsMap, but they would also like to provide special discounted packages when creating your own PointsMap for your event.

the business of international events

F E ATU R E S

IFEA Award Programs Summer Severe Weather Can You Handle the Pressure?

Managing Interruptions

On the Cover: Carnaval de Jour (Carnival Day), Tuesday, February 19, 2013, Nice, France. Site of an upcoming IFEA Europe Behind the Scenes. Photo by Frederic Santos.

30

Summer Severe Weather Can You Handle the Pressure?

by Wayne Mahar

32

Managing Interruptions Be Polite, Be Honest & Get To It

by Steve McClatchy

34

What Does Big Data Mean for Festivals?

by Will Payne

DEPARTMENTS 8 President’s Letter 12 In the Board Room 14 The Sponsor Doc 16 The A to Zambelli of Fireworks

Displays 18 The Un-comfort Zone 20 English 101 22 Turnstiles: Marketing for Event Managers

36

24 What Keeps You Up at Night 43 IFEA Pinnacle Awards 2013

Call for Entries 63 IFEA World Festival & Event City Award Program

38

74 IFEA Webinar Series 2013 76 Foundation 84 Marketplace

Summer 2013 Volume 24, Issue 2 “ie” is published quarterly by the International Festivals & Events Association, 2603 W. Eastover Terrace, Boise, ID 83706, USA. Permission to quote from material herein is granted provided proper credit is given to IFEA. Subscriptions are available for $50 per year.

Starting from Scratch: Bringing a Brand New Event to Life

by Gil Cunningham Personal Branding Perception is Reality

by Rebecca Knapp LeBlanc

40

The Greyhounds are Loose!

Dot your I’s, Cross your T’s and Get your ZZZ’s

by Gail Lowney Alofsin

42

Apps on Parade

by Florence May and Kathryn May

Simple. Social. Scalable.

Integrated social ticketing platform sells more tickets, saves time, and saves money.

We take care of the technology.

You take care of the fans.

Sign up today for a demo and learn more at ticketfly.com/IFEA.

PRESIDENT’S LETTER Industry Strong I will always regret when I have to use this column to reflect upon or address a senseless tragedy like the bombings that we witnessed during the Boston Marathon on April 15th, 2013. We are an industry of celebration; an industry that has brought more people(s) together – peacefully – than any other in history. We are an industry that encourages and succeeds at getting people around the world to safely lower their personal barriers; to explore new cultures, foods, languages, customs and experiences; and to participate actively in events that bring our communities, cities and countries closer together. We are an industry that represents who we are at our best, which makes it seem so much more out-of-place when such a diametrically opposite concept like the Boston Marathon bombings is inserted into that reality.

Following the attacks of 9/11 we all understood that the world around us had changed for everyone. Our events were given the label of ‘soft targets,’ operating in public spaces and venues, with high media visibility, and limited abilities to control all of the people and elements that had/have always been at the core of the energy created by the live festival and event experience. At the same time, our events provided the logical outlets for people to continue gathering to show their support for those affected by global tragedies and to underline our continuation of ‘normalcy’ that we will not allow anyone to take away.

While we have all certainly changed many of our planning/operating processes and raised our awareness levels over the last twelve years, we have been very fortunate that there have not been any successful terrorism efforts aimed specifically at events. While we knew the possibility existed, we have also been somewhat lulled by time into a false sense of security…until April 15th, 2013.

Watching that day as live coverage streamed onto every computer in our office, we did our best to grasp what was occurring. Like planes flying into the World Trade Center in New York City, the concept of someone purposely doing harm to innocent people, at such a community-bonding event, seemed unimaginable. But as we watched the tragic images unfold, we were also watching the positive results of past lessons learned.

Event team, law enforcement, and medical personnel quickly began working their risk management plans,

8

setting aside hopes that they would never have to be deployed beyond table-top exercises in operational meetings.

Government officials and media began broad communication efforts, ranging from reaction on-site to prevention of further incidents elsewhere until more details could be confirmed as to what was occurring. The Department of Homeland Security reached out to the IFEA as the Sector Specific Agency whose industry had just been targeted and, together with our Association Alliance Partners (an Alliance formed following the attacks of 9/11when we realized our mutual need to communicate quickly and clearly with one another following such events), we were able to quickly disseminate tools, resources and information (many which had also been created as part of our common response to 9/11) to industry leaders across the country and around the world, who were, in-turn, able to respond appropriately and quickly with their own event teams, in their own communities.

Law enforcement investigators used past lessons learned and new tools and resources of their own to piece together and kill or capture those responsible for the bombings in less than five days…a remarkable accomplishment by any standard…giving everyone a little more peace of mind and likely preventing further attacks.

Under unimaginable circumstances, all systems and past lessons learned seemed to have worked, and that can be counted a success. We now know, however unfortunately tested, that all of our planning was not for naught and we have been awakened once again to the stark realities of our new

IFEA’s ie: the business of international events

Summer 2013

world, where the same instant communications and technology that allowed us to respond so effectively, also provided detailed instructions for constructing the IED’s used by the bombers.

Without taking away events altogether, we will never be able to control every possible scenario. There will always be risk. But we will learn still more lessons from this incident; we will engage in more dialogue, more planning, more training, and in creating still more resources and tools to help us aim for that elusive 100% prevention goal. We will work more closely with all of our participants and attendees to make them part of our efforts to build ‘safe havens’ where we can all come together to celebrate who we are at our best.

To pay tribute to those who lost their lives; who lost family or friends; who were harmed or injured in the bombings; and who bravely stepped forward at so many levels to help; we must recommit ourselves to further strengthening our own events, risk management plans, training and communications systems, and partnerships. The IFEA will play our role in that commitment to help ‘raise all boats’ and to ensure that we are there to support when you need us the most.

If we commit ourselves to these things, taking a page from those who have declared themselves, rightfully and proudly so, as “Boston Strong”, we can ensure that we are, together, “Industry Strong.”

I wish you all a season of safe and uneventful events.

30TH ANNUAL SPONSORSHIP CONFERENCE APRIL 14 – 17, 2013, CHICAGO

WWW.IEG2013.COM

über sponsorship BREAK THE MOLD AND SHAPE THE FUTURE

Join 1,200 marketers from around the globe April 14-17, 2013 in Chicago What differentiates IEG from every other industry conference:

World-class speakers include:

• the actionable brand insights you will receive • the people you will meet—executives from sponsors and rightsholders • the conversations you will have • and the partnerships that will grow out of them

Register now: visit www.IEG2013.com +1.312.944.1727

Your Event Has

IMPACT…

SHOW IT!

Commission Your IFEA Economic Impact Study Today

In uncertain times, we must often remind those whose support we depend upon, of the important economic and social value that our festivals and events bring to the communities we serve. Having a credible and current economic impact study can do just this, in addition to increasing credibility with stakeholders, providing quantified data to sponsors, presenting reliable data to base future marketing and programming decisions upon and much, much more.

Unfortunately, this critical resource, especially with credible credentials, is often financially out of reach for most events even in a good economic environment. Recognizing this, the IFEA has created a cost effective, industry credible program to provide Economic Impact Studies at a budget-accessible investment. Call us today to learn more.

GETTING STARTED For more information about this valuable IFEA program, please contact one of our Business Development Directors: Steve Schmader, CFEE • 208-433-0950 Ext: *818 • schmader@ifea.com Ira Rosen, CFEE • 732-701-9323 • ira@ifea.com Penny Reeh, CFEE • 830-456-3829 • penny@ktc.com

helping you protect those whose leadership you depend on… …for the best price in the industry.

IFEA Member Directors’ and Officers’ Insurance

P.O. Box 17225 • San Antonio, Texas 78217 210-829-7634 • Fax: 210-829-7636 • Web: www.kaliff.com

2603 W Eastover Terrace • Boise, Idaho 83706 208-433-0950 • Fax: 208-433-9812

By Mitch Dorger

In the Board Room

What Is Total Program Costing?

And Why Should I Care?

The band festival was just concluding.

The last band had marched out of the performance area and was enjoying hamburgers before boarding the bus for the drive to their hotel. The full stands were emptying out, and the event committee members were ecstatic, patting each other on the back and giving each other high fives. They had nailed the event! Everything went off like clockwork, and all three shows were sellouts or near sellouts.

Fabulous, right? Well actually, although no one knew it at the time, the event had just lost the host organization $75,000.

How could this be?

The problem was that the organization (at the time) did not use total program costing and, as a result, they really did not understand and appreciate all the costs that went into their event. The organization in question was structured into a series of committees. Some of the committees were event committees and some were support committees which provided logistical support for multiple event committees. The organization’s accounting system, like many smaller organization accounting systems -- both in the for-profit and nonprofit arenas -- was good only at tracking specific line items within the budget. So at the end of the year, the system would tell the committee chair how well he or she had done against the total assigned budget and how much in total had been spent in the aggregate on particular line items, but it did not break down the line item costs 12

on an event-by-event basis. Moreover, it had no way of combining the expenses of several different committees into one event budget.

The result in this real life case was that the event committee and the organization’s leadership were oblivious to the costs absorbed by the support committee, and the accounting system was unable to assemble all of the costs associated with the band festival. When the organization finally developed the capability to do total program costing, the leadership was stunned to find that this event and several other events which had been considered cash cows were actually losing money.

Just because your organization doesn’t do committee based budgeting doesn’t mean you don’t need to watch out for the problems related to total program cost.

The typical accounting system used by nonprofits consists of a chart of accounts (line items). As expenses are incurred, they are coded against these line items.

The system tracks these line item expens-

es over time, and at the end of the year you get the total expenses in that area.

But unless you recognize the need for total program costing, you may not have expenses coded against specific events or programs. Let’s take a look at another case, this time hypothetical, where this could adversely affect your organization.

Let’s say your organization runs an annual gala fund raising event. At the end of the event the organizing committee presents the executive director with a bill for the event that includes facility rental, food, drinks, and decorations. The event looks like a huge success on paper. But let’s take a closer look.

How about the money in the public relations budget that is used to advertise the event? How about the money in the technology budget that was used to send out electronic invitations, take sign ups and send out day of event information?

How about the special insurance in the risk management budget needed for that particular event? How about the permit fees, security costs and health inspector costs that are hidden in the payment made annually to the city? How about the money in the legal services budget for the review of contracts related to the event? How about the salary of the staff member who spends more than half of their working hours each year on the event (and don’t forget to add in the 25% of his or her salary that pays for taxes and benefits). I could go on and on, but hopefully the point is made. The total program costs of an event are not always just the obvious ones that the organizing committee deals with. There are often hidden event costs contained in other line items in the accounting system. To really understand what a program or event costs, you have to do total program

Figure 1. Total Program Costs ($000) Line Items Item 1 - Food

Program A $1

Program B $5

Program C $9

Line Item Total $15

Item 2 - Equipment Rentals

$2

$6

$0

$8

Item 3 - Contract Services

$3

$7

$1

$11

Item 4 - Supplies

$4

$8

$2

$14

$10

$26

$12

$48 Grand Total

Program Total

IFEA’s ie: the business of international events

Summer 2013

IFEA VISION

A globally united industry that touches lives in a positive way through celebration.

Publisher & Editor Steven Wood Schmader, CFEE, President & CEO Assistant Editor Nia Hovde, Vice President/Director of Marketing Advertising Sylvia Allen, Director of Partnership Marketing Advertising Sales & Expo Booking Art Director Craig Sarton, Creative Director Contributing Writers Gail Lowney Alofsin, Peter Ashwin, Gil Cunningham, Mitch Dorger, Jeff English, Bruce Erley, Sean King, Rebecca Knapp LeBlanc, Cindy Lerick, Wayne Mahar, Florence May, Kathryn May, Steve McClatchy, Will Payne, Doug Taylor, Robert Wilson Photography Rick Diamond, Andrew Rafkind, Frederic Santos

With respect to interactions with members/customers or those applying to be members/customers, the IFEA will not cause or allow conditions, procedures, or decisions which are unsafe, undignified, unnecessarily intrusive, or which fail to provide appropriate confidentiality or privacy. If you believe that you have not been accorded a reasonable interpretation of your rights under this policy, please contact the IFEA office at +1-208-433-0950 ext. 18.

costing. And it is this total cost that must be compared to the revenues from the event to determine how much the event is benefitting the organization or whether you really have a money loser on your hands that no one really knows about.

OK, you say, I’m convinced, but I still have the same accounting system that was described earlier. How can I make that work for me? The simple answer is you need to determine just what the capabilities of your system are, and you need to build a new chart of accounts that allows you to not only code line item costs, but also allows you to track that same line item expense as a component of an event.

In essence, you need a new accounting code that allows the same expense to be tracked in different ways. If your system won’t allow you do this this, you need to find a new accounting system.

The chart below illustrates what I am trying to describe. The typical accounting system wants to horizontally track line items like food, equipment rentals, etc., over time as shown below. The system

For association or publication information: IFEA World Headquarters 2603 W. Eastover Terrace • Boise, ID 83706, U.S.A. +1.208.433.0950 Fax +1.208.433.9812 http://www.ifea.com

needs to be reconfigured with new accounting codes so that each expense entry will not only show up in the horizontal rows, but will also show up in a vertical program column as well.

Making this change will cost some money and time for your accounting department, and it will involve some training on the part of your event and budget managers to make sure the new codes get implemented, but trust me, the results will be worth it!

As a manager, you may have to make tradeoffs based on program worth, and you may even need to eliminate programs that are less beneficial than others.

Until you have the tools provided by total program costing, you are making decisions without all the relevant facts.

Given the choice, you would never do that if you could avoid it. Don’t let the existing shortcomings in your accounting system blind you to the data you need for rationale decision making. Get the system to work for you, not against you.

Summer 2013

Mitch Dorger brings more than 40 years of work experience including 20 years as a chief executive officer (most recently with the Pasadena Tournament of Roses) to his Consulting Practice. His experience as a CEO was consistently characterized by successful performance improvement programs and high employee morale and achievement. He believes the fundamental goal of leadership is to inspire teamwork and the spirit of continuous improvement. He has recent expertise in the world of non-profit organizations and is well versed in corporate governance, volunteer management, financial planning and management, government relations, and large event management. As a public speaker he has lectured on non-profit organizational management, strategic planning, change management and leadership.

He has also served as a keynote speaker for four different festival and event association conventions.

Mitch Dorger, Principal Dorger Executive Consulting Pasadena, California mitch@dorger.com

IFEA’s ie: the business of international events

13

THE SPONSOR DOC

With Bruce L. Erley, APR, CFEE

Knowing Your Value Dear Sponsor Doc: Part of my job as an event director is to sell sponsorship. I don’t mind calling people and telling them about my great festival, but I have absolutely no idea if the price I am asking for is worth it! Can you provide some insights on determining the fee of a sponsorship? E.D. Florida Dear E.D.: Well that literally is the $20,000 question isn’t it? Determining the correct value for a sponsorship proposal is essential. Not only will the sponsorship decision-maker see though a wild guess, but you will be more confident knowing that you have a fairly-priced sponsorship opportunity that you can defend.

The first thing to know is that the price you set for a sponsorship package is not based upon how much you need to raise, nor what something costs you. Many event managers make the mistake of determining a sponsor fee by adding up the cost of a festival asset, say a children’s stage, and setting the sponsor fee to recoup those costs.

Rather, the fee of a sponsorship is based upon the opportunity you are providing the sponsor and the package of accompanying rights and benefits. The good news is that by determining a value of sponsorship in this manner, the appropriate fee is almost always far greater than the cost of the asset or activation.

There are three factors that go into setting a sponsorship fee.

• Tangible Value • Intangible Value • Market Value The Tangible Value is the quantifiable value of any and all measurable benefits that you are providing to the sponsor. Typical quantifiable benefits include hospitality, (sponsor receives 20 tickets with a face value of $10 each is worth $200); sponsor 14 14

recognition in advertising (generally 10% of the retail value of the ad rate); exhibit space (what is the fee you charge for a commercial exhibitor?); signage, program ads, etc.

The Intangible Value reflects the qualitative value of being associated with the event. Sometimes known as the “halo effect,” this valuation factor looks at the benefit the sponsor receives by being linked to your event and is based upon such factors as the prestige of the property, your reputation, public recognition and perception of the event’s brand, the historic media coverage or “buzz” your event will likely garner, the display of community involvement their sponsorship will create, and a number of other factors.

The Market Value takes into account what companies are willing to pay you in your specific community to be a sponsor of an event. This will vary widely from market to market and unfortunately is impacted by how sophisticated other events are in your community in their production and in their pricing.

To determine what fee to price a sponsorship at, I add together the dollar value of all the tangible benefits a company will receive at a given level of sponsorship, magnify that by the intangible value of association with my event and then factor in any local market pressures either up or down in setting the fee.

I know that this is a rather superficial description of setting a sponsor fee, but now you at least have a general idea of what to consider and what not to

IFEA’s IFEA’s ie: ie: the the business business of of international international events events

Summer Summer 2013 2013

consider in setting your fee. Happy hunting!

Do you have questions of your own for The Sponsor Doc? Send them to bruce@ sponsordoc.com and I’ll contact you to discuss your specific situation. Then we’ll publish the findings in this column.

With more than three decades in sponsorship sales and consultation, Bruce L. Erley is the President and CEO of the Creative Strategies Group, a full-service sponsorship and event marketing agency based in Denver, Colorado he founded in 1995. Accredited in Public Relations (APR) by the Public Relations Society of America and a Certified Festival & Events Executive (CFEE) by the International Festivals and Events Association, Erley is a highly-regarded speaker on event marketing and sponsorship having spoken on the topic around the world in such places as Dubai, Vienna, Beijing, Toronto and New York.

Contact Info: Bruce L. Erley, APR, CFEE President & CEO Creative Strategies Group Phone: +1-303-558-8181 Business Email: berley@csg-sponsorship.com Column Enquiries Email: bruce@sponsordoc.com

IFEA

C AR E E R N E T WOR K

The Power of Bringing Great People Together with Great Careers Looking for an experienced employee to fill that vital job position? Interested in a career or wanting to advance yourself in the festivals and events field? Want to be sure that you target the top people in the festivals and events industry and ensure that your organization doesn't miss the most qualified candidate available? IFEA's Career Network can help.

Now with a new partnership through online job board and applicant tracking system, TeamWork Online, your search base for positions and your reach to find qualified candidates has grown exponentially within the live festivals & events industry. With a reach of over 1.25 million potential candidates and educators interested in sports and live event positions, this new partnership between IFEA and TeamWork Online not only brings increased qualified candidates to your employment position,

but also increased employment positions to those candidates looking for employment!

Positions range from top management positions such as CEO, Presidents and Executive Director to Special Events Coordinator, Volunteer Coordinator, Sponsorship Sales and more. Even internship and volunteer positions can be posted! Even better, if there’s not a position posted in an area or company you’re interested in, the TeamWork Online system can notify you when something becomes available! It’s an ever expansive employment network that is constantly talking and working on your behalf!

If you are currently in search of a candidate, or are someone in search of employment, get started in your search today through IFEA Partner, TeamWork Online.

Got www.ifea.com and look under Resources Summer 2013

IFEA’s ie: the business of international events 15

By Doug Taylor

Zambelli Requires Third Party Testing of Display Fireworks And So Should You! Goal of Testing: Ensure pyrotechnic products meet rigorous standards of safety and quality for use in the U.S. market.

Pre-2012 Reality: Manufacturers produced product for use in the U.S. without any legitimate third party oversight. Though the better manufacturers were probably adhering to strict regulations and industry guidelines, no one knew for sure. As in any industry, there are companies that are less stringent about safety and quality than others.

2012 - 2013: In 2012, a group of the premier fireworks companies in the U.S. joined forces with the American Fireworks Standards Laboratory (“AFSL”), an organization that has provided third party testing for consumer fireworks for a number of years. The task at hand was to design and implement a rigorous program of third party inspection. Today, sixteen U.S. display companies have signed on to the program. Twenty-two Chinese factories have passed the annual audits, with additional factories submitting to the process.

Zambelli Fireworks requires that its manufacturers participate in the third party testing program and that 100% of our product is tested.

In 2012, approximately 25,000 cases of professional display products were inspected prior to delivery to companies in the U.S. From January through March of 2013, 37,900 cases have been inspected. It is expected that for the full year of 16 16

2013, the number of cases of inspected product should reach 150,000. Though the amount of inspected product has increased significantly in the second year of inspections, the inspected product will only represent about 25 - 30% of display product imported into the U.S. The Future: In the years to come, more in-depth testing will be implemented. It is the hope of the participating companies that more companies join AFSL and help ensure that product quality and safety meets or exceeds the requirements of the U.S. market.

As a customer of fireworks display companies, you should inquire about testing on the product that is used at your display. It is the one large step towards the safety and quality that we should all demand.

IFEA’s IFEA’s ie: ie: the the business business of of international international events events

Summer Summer 2013 2013

Proudly known as the “First Family of Fireworks,” Zambelli is one of the oldest and largest American fireworks companies. Today, the family name is synonymous with quality, creativity and safety.

Zambelli Fireworks is an IFEA Association Partner in addition to the sponsor of the IFEA/Zambelli Fireworks Volunteer of the Year Award recognizing outstanding volunteers whose unselfish and dedicated service has made a significant difference in their community. Visit them at www.zambellifireworks.com.

If you have fireworks questions you would like us to address in our column, please email me, Doug Taylor, President/ CEO Zambelli Fireworks at dougtaylor@ zambellifireworks.com.

Is Your Online Marketing

PLUGGED IN? Let the IFEA Take a Look with our New Online Marketing Audit Program

If you are like most events/organizations, your on-line marketing presence and visibility is really just a summation of non-related, often outdated, components and links and access to miscellaneous tools/ toys that someone in a seminar somewhere said that you should be using, with no real ‘plan’ to it at all. You may not even be sure anymore just what you have or what it should do, let alone having a plan for strengthening / upgrading it. If this sounds like you, it’s probably time for an online tune-up.

We’ll make sure your Online Marketing is Plugged In! Working with some of the most experienced professionals in the field, IFEA is pleased to offer our new “IFEA Online Marketing Audit.”

The Audit includes a formal evaluation of a festival/ event’s online visibility by an expert team from Edgeworks Group that includes web developers, social media consultants and online marketers. This broad assessment – a starting point for defining both a short-and-long term roadmap for creating a powerful online presence covers your event/ organization’s: • Online reputation • Social and mobile integrations • Search optimization • Website usability • Social media efforts.

• Installation of tracking tools • Updates and customizations to existing tracking programs • Verification of Webmaster tools for both Bing and Google

To learn more about the IFEA’s Online Marketing Audit, please contact: Nia Hovde, Vice President & Director of Marketing & Communications at nia@ifea.com or +1-208-433-0950 ext: 3 or Click Here

THE UN-COMFORT ZONE

With Robert Wilson

Good Habit Questionable Motive I would like to share with you a story about my mom, a woman who was very insecure about her background. She grew up in a blue collar family where neither her mother nor father finished eighth grade. Mom completed high school, but only with tutoring by my father. She would frequently say to me, “I was born on the wrong side of the tracks.”

At age 19, she married my father, the handsome son from a wealthy family.

Her beauty and charm trumped all the debutantes in town, and swept Dad off his feet. She thought she had it made and that all her fears would go away. Money and position, however, would not erase her feelings of inferiority. Those feelings were intensified instead. The contrast between her education and her in-laws with professional degrees was intimidating.

Mom wanted to fit in, join the discussions, be an authority in her own right.

In short, she wanted to feel important in her new family, and she realized that she needed more knowledge. Determined to find a way to reduce her education deficit, Mom threw herself into reading.

Any subject appealed to her at first, and over time she found her favorites and pursued them to excellence. One thing she had no time for was fiction.

It was a habit that served her well, and in 1960 paid off in a big way. That year my dad was diagnosed with kidney failure and given less than a year to live. There was no cure, and my parents were advised to start planning for the day he would die.

Three years old at the time, my recollections are that my strong Daddy could no longer pick me up and carry me. That he did not go to work very often, and spent his days in bed. I noticed Mom took over all the driving and occasionally 18 18

pulled off the road so Dad could vomit.

Mom and Dad sold their house and used the proceeds to buy a four-unit apartment house with the plan that Mom, my sister and I would live in one unit and live off the rents of the other three. The plan was for my mother to work part time until my sister and I were old enough for school, then she would work full time. Until Dad’s illness, she had been a stay home Mom. After high school, Mom trained as an x-ray technician, but had not worked in years. She began to take temp jobs to beef up her skills and to develop a network of potential employers when the inevitable day arrived.

At one of those early temp jobs, the x-ray machine broke. An extended period of down time ensued, and Mom went to the magazine rack in the doctor’s lobby for something to read. She passed over the popular magazines of the day after finding an out of date medical journal.

“This looks like something good for my mind!” she thought.

In an article about physicians in Boston conducting experimental surgery, she learned of the world’s first kidney transplants. At the time of the writing, the doctors were looking for volunteers.

Her pulse quickened. As she read on, she discovered there was a prerequisite. The volunteers had to have an identical twin.

IFEA’s IFEA’s ie: ie: the the business business of of international international events events

Summer Summer 2013 2013

Dad happened to have an identical twin.

At that point Mom ran to the nearest phone and dialed Boston until she got one of those doctors on the line. “Yes,” he replied, “we are still looking for volunteers. Send me your husband and his brother.” That night they went to visit my Uncle Ralph, who said, “To save your life, absolutely! Yes, you may have one of my kidneys.”

I share this story because Mom developed a lifelong habit of reading non-fiction because she wanted to impress her in-laws and other people who intimidated her. In the end, her habit saved my dad’s life. He became the 12th person in the world to have a kidney transplant and live. And, I got Dad for 18 more years.

My mom may have been motivated by her fears, but it is a fact of life that when you expose yourself to new things you will recognize opportunities that others will miss. So, pick up a book, take a class, or visit a new place and see what exciting things open up for you.

Robert Evans Wilson, Jr. is an author, speaker and humorist. He works with companies that want to be more competitive and with people who want to think like innovators. For more information on Robert, please visit www.jumpstartyourmeeting.com.

In Times of Uncertainty, Leadership and Vision are Priceless “Fund for the Future” A three-year, $500,000 campaign using the current market environment and changing times as an opportunity to strengthen association programs and to ensure that the IFEA will continue to lead, serve and support our industry, especially through challenging times, for many years to come. The “Fund for the Future” campaign will provide reserves against current and future economic realities; allow the organization to keep pace with new technologies, bringing our global industry closer together; and allow us to expand our services, resources and programming reach around the world.

Make a Pledge Today.

Contact any IFEA Foundation Board, IFEA World Board, or IFEA Staff Member for more information.

Individual and Organizational Contributions are welcomed and encouraged.

All contributions are tax-deductible in the United States.

For more information go to www.ifea.com.

ENGLISH 101

By Jeff English

Praise the Lord and Pass the Ammunition It’s never boring around here. I walked into the office with a song in my heart and not mad at a soul thinking it’s going to be a productive day. Contracts to approve, calls to make, e-mails to return, and best of all – no meetings!

OK, we don’t need Nostradamus to predict where this is going. On my desk lands a letter with a legal brief explaining why a certain religious organization has the Constitutional right to bring a 10 ft. cross and a megaphone to Thunder Over Louisville and proselytize against all “sinners.” After doing a quick internet search of the group, I discover that our friends are loud and unafraid of confrontation. Not wanting to turn Thunder Over Louisville into one big happy smack-down revival, I did some research and consulted with the Louisville Metro Police Department about what could be done to ensure the safety of everyone in attendance. What I found surprised me.

If the protestors stay on a public sidewalk, the Kentucky Derby Festival owes a duty of care to protect them and ensure their safety.

Their 1st Amendment right to free speech trumps our right to host an event without religious interruption. Ok, so what if the crowd gets restless? KDF must ensure that local police officers are stationed nearby to keep any confrontation at bay.

Thunder Over Louisville arrived and sure enough, so did a giant cross and a guy with a megaphone. Police and Sheriff Officers were stationed on both sides of the protestor to ensure his safety. Well, at least they tried to make sure he was safe. The protestor stayed on the sidewalk, drew a crowd, told them they were all going to hell, and got punched in the mouth. The woman who hit him (yes, woman) was put in the back of a police car, but so was the protestor for his own “protection.” No lawsuits were filed against KDF because we followed our obligation to the letter of the law. We allowed the protestor to say his peace and provided him a venue with protection.

20 20

The fact that he got decked did not place liability on KDF. That would fall to the civil arena to decide between the protestor and his assailant. She was never sued.

The other issue that has come up is whether citizens have the right to openly carry a gun onto a KDF venue. KDF was confronted with this question after an advocate of the 2nd Amendment noticed on www.kdf.org that guns are not allowed on the Thunder Over Louisville venue. No way was he going to stand for that! KDF received an e-mail telling us that “city law” allows a citizen to carry a gun onto public parks and venues. Come to find out, he was right! After consulting with the city attorney, KDF was told that any citizen is allowed to openly carry a gun onto the venue. However, I’ll allow an e-mail from Lt. Curtis Flaherty explain the Police Department’s stance on the issue: Mr. Perkins, You do have the right to open carry in Kentucky on public property and on private property with the consent of the property owner. Unfortunately, the Louisville Metro Police have an obligation to investigate any complaints of a “man with a gun.” Once we receive a complaint of this nature, the age and criminal background (making sure he is not a felon) of the object of the complaint has to be verified. Obviously, many citizens will feel threatened by someone openly displaying a weapon at a public venue.

LMPD officers are required to keep their weapons concealed while off duty, so as not to cause undue alarm. I hope you reconsider carrying your weapon openly at any public venue. You do have a right

IFEA’s IFEA’s ie: ie: the the business business of of international international events events

Summer Summer 2013 2013

to carry your weapon openly. However, LMPD has a greater obligation to ensure the safety of those attending Thunder.

Sincerely, Lieutenant Curtis R. Flaherty Louisville Metro Police Special Events Section As you can see, while Mr. Perkins certainly had the right to carry his gun, the Louisville Metro Police Department was not going to compromise public safety at the event.

When faced with the potential of a protestor or public safety issue, the best thing your festival can do is have an open dialogue with your public agencies. The Police, Fire & EMS departments are your best resources to manage these situations. They also carry the responsibility of making the call on whether protecting 1st or 2nd Amendment Rights might compromise public safety. If a government agency intervenes and removes a protestor from a venue, or confiscates a weapon, the lawsuits for violating Constitutional rights will be directed at them and not your festival.

Jeff English is the Sr. Vice President of Administration/General Counsel of the Kentucky Derby Festival. After graduating from Washburn University School of Law (Topeka, KS) in 2004, Jeff worked in politics and practiced law before joining the KDF staff. As General Counsel for KDF, he is charged with overseeing all of the Festival’s legal issues, along with serving as its risk management officer.

ASSOCIATION PARTNER

ASSOCIATION PARTNER ASSOCIATION PARTNER

Turnstiles: Marketing for Event Managers

By Sean King

Turnstiles: Five Fabulous Failures to Learn From If you’ve been in events long enough, you have made more than your fair share of errors. Chances are that if you’re reading this article, you have achieved a good deal of success, but also have the scars to show for those battle plans that didn’t work out too well. What actually makes you the leader you are today are some of the poor choices you made in your past, and the desire to work hard to never experience them again.

No-one willingly enters into a project with the goal of failing, but nevertheless, everyone winds up with cringe-worthy decisions that would discourage or demoralize a lesser person. We, on the other hand, celebrate these semi-catastrophic moments when good intentions go awry and try to use these instances in order to learn, share and teach.

Here are Five Fabulous Failures we have made in the course of our time in marketing, and the lessons we took away from these brushes with disaster. We’ve changed the names to protect the innocent, but hope you can use our experiences to avoid the same sort of less than stellar outcomes we did.

Failed to Understand the Market My single biggest failure (to date) came from a colossal blunder believing we could bring an event to an audience that we didn’t understand.

We had done this type of event hundreds of times before. We lined up heavy-hitter media along with ground level coverage necessary to deliver the key demographics of the core audience.

22 22

Fast forward to show day and an empty box office. Presales were weak, but with an outdoor event, we anticipated a large walk-up. But few folks ever appeared.

The lesson learned from this debacle in the middle of a city of 6 million people was that cultural communication runs deep and it takes a thorough knowledge of the audience to gain support for an event. Media and advertising alone cannot deliver success and most of us simply do not have budgets big enough to create demand. You must understand all facets of how to engage your prospective target online and off, or run the risk of failure.

The flip side of this lesson is a fact that many of organizations struggle with as well: the programming of events must resonate with the community who will make your event a participatory, if not financial, success.

Too many marketing and programming teams spend their time in their comfort zones instead of delivering events the community wants. It is easy to create events that appeal to those who you know and members of an “ideal” audience, but great work can happen when

IFEA’s IFEA’s ie: ie: the the business business of of international international events events

Summer Summer 2013 2013

you serve an underserved audience.

What is the pay-off when targeting the community at-large? I would answer if we can’t achieve success by paid attendance or sales receipts, then sponsorship remains a viable revenue stream alternative.

And with sponsorship activation comes the opportunity of increased engagement, better overall guest experience and a financial payoff from entities who want to reach your audience.

What better way to make a success out of a failure!

Failed to go “all-in” Commitment It’s an all too common word, but so very difficult to incorporate into all we do. When you go all-in it’s a risk. It’s a gamble that pushes your personal boundaries, but when works, it pays tremendous dividends.

If there’s a failure I’ve made the most, it is by not going all-in. Not because I don’t believe in the cause or my team doesn’t know how. But more times than not, reluctance is a result of being tasked with so many priorities that it is difficult

to commit the resources necessary for breakthrough results.

So how do you go all-in marketing-wise, when most people believe it’s best to stay conservative and not get too engaged? After all, there’s always a way out when you’re not all-in.

The fact is, being totally committed is simple! Find the space where your team feels least comfortable and push them towards it. Make a splash. Run a promotion too crazy to work. Push the boundaries with shocking images or copy. Make a difference. The times where the greatest investments of time, resources and creativity are engaged bring with them the most dynamic outcomes.

Don’t make the mistake of allowing the team to fail before they try. If they see an opportunity and decide to take the easy way out, they may find a moderate level of success – but never reaching the highest heights of achievement. Going all-in more times than not will deliver business results which are far beyond your wildest expectations while helping to build morale and bolster the team for the next challenge.

Failed to say “NO” We marketing folks are natural born optimists. How else could we wake up every day and go to work to fill the never ending buckets with the results necessary to move our organizations and events forward?

But with this glass half full mentality brings the challenge that everything sounds like a good idea. I’ve never met a successful marketer who didn’t believe any project just needs the right amount of attention, proper messaging and efficient use of media to become successful.

But experience tells us that is not exactly true.

If your organization is like most, there is a limited pipeline to distribute your messaging. When you already have core programming and promotions ongoing, there’s very little room to add any more messaging of value. In the end, you begin to pull attention away from the very important – and replacing it with tangentially important and in turn, everything suffers.

Sometimes marketing folks need to say “no.” Other times it takes senior management to say no to the marketing’s latest and greatest ideas. Together, saying “no” can advance the cause, even though it seems to be counter-intuitive at the time.

With ambition comes responsibility.

The responsibility is to not try and do everything, but rather to focus your energies on doing a few things extremely well.

Your guests, your fans and your team will applaud you for it.

With this strategy, your brand will continue to grow and strengthen, and in the long run be able to provide you with the necessary resources to accomplish your most aggressive objectives.

Say “no” and you’ll be surprised how many “yes’s” start to come your way.

Failed to Work with Urgency Failing to work with a sense of urgency is an epidemic. If you’re not working every day with a clock ticking in the back of your head, then you are most likely waiting for things to happen for you, rather than making them happen on your own terms.

You are not alone, as sleepwalking through projects is something all shops, from the largest to the smallest, have to fight. The results manifest themselves in projects failing to reach their full potential, haphazard or weak execution and usually a rush to finish a task or set of tasks at the last possible moment.

Working without a sense of urgency, can also be mistaken for another malady: waiting for perfect conditions to occur before work can begin. This scenario is commonplace in many organizations because it allows for rationalization of the number one workplace danger, which is procrastination.

When you work with a sense of urgency, there is a desire to accomplish the current task and move on to the next as quickly as possible. Progress is not just a result of productivity, but it is a way to measure the desire and creativity and drive of the staff.

When you wait, a little piece of the project dies a little. Opportunities missed.

Connections lost. In events, many times the delays mount due to items and issues out of our control, but a wasted day or week or month, makes it that much harder to ever realize what the true potential of the idea was to be.

And for that, we should be a little sad.

Lost opportunity to achieve greatness may be the greatest failure of all.

Failed to Understand the Politics The grandest of ideas, the ones that have the power and potential to change the world, rarely see the light of day.

This isn’t due to a lack of passion or indifference by the parties involved. Rarely, these failures have little to do with the active and aggressive work against an idea or concept. But rather, the failure of these ideas to gain traction and build the momentum necessary to come to fruition, is due to a lack of knowledge of all of the politics at work.

Strategic marketing partnerships of the most noble of causes grind to a halt Summer Summer 2013 2013

because one party or the other begins thinking about all of the reasons why not to, or “what happens if,” rather than collaboratively working together on solutions for a better future.

One of the biggest failures of my career, as measured by the scale of the impact which could’ve been realized, was a byproduct of failed negotiations due to the politics and the agendas of the leaders and organizations involved.

Sure, evaluating all possible outcomes for the purpose of due diligence and risk aversion is necessary, especially when the project is large in scope. But understanding the politics of what drives the individuals and organizations before they reach the table is a great way to pre-determine the outcome and eliminate one barrier toward success.

One always wonders what may have been of ideas that had great promise, but due to conditions and relationships beyond our control doomed the project from the very beginning.

While these Five Fabulous Failures create the most prolific portions of my treasured Failure Portfolio, there are many, many more where these come from. These five are only a sample of the obstacles and experiences I’ve encountered along the way and I thank you for the opportunity to share them. Hopefully, you’ll be able to avoid some of the same errors I’ve made, and if I save only one project from wasted energy or poor outcome, than I consider my work complete!

Every day I rise to see what new challenge is before me and what failure I can learn from in the day ahead. I encourage you to make a few mistakes, test new ideas and learn from them. Along the way, please consider sharing your favorite failures with me at www.artsmarketingblog.com or @sking.aspire. Together, I hope we can help each other and the next generation of event marketers to overcome the challenges facing them and keep the Turnstiles spinning!

Sean King has been consulting with small businesses and non-profits organizations for over 20 years. Currently, Sean is the Director of Marketing & Communications for Youth Education in the Arts (YEA!), a non-profit organization based in Allentown, PA which teaches life lessons through music. He also blogs regularly at www.artsmarketingblog.org. You can follow Sean on Twitter @skingaspire or contact him at: sking@yea.org

IFEA’s IFEA’s ie: ie: the the business business of of international international events events

23 23

What Keeps You Up At Night?

With Peter Ashwin

Risk Management and Security for Events The recent tragic events in Boston, Massachusetts on April 15, 2013 are a stark reminder of the challenges that we face as special event organizers in today’s ever changing security environment. Many of the lessons coming out of Boston aren’t new within the international context; although it’s changed our context for domestic events here in the USA. The day after the incident, Steve Schmader, CFEE, President and CEO at IFEA World and I started trading emails on what was going to be the impact to the industry, drawing upon best practices I had seen and implemented from my experience over six Olympic Games. Within 24 hours of our initial conversation, the Department of Homeland Security issued “Improvised Explosive Device (IED) Awareness Guidelines and Protective Measures for Mass Gatherings,” a pragmatic approach to enhancing security for special events.

The DHS IED guidance was timely and appropriate but I know it will be very challenging to implement many of these measures without considerable support and resources from local Law Enforcement, Public Safety Agencies and Federal Government security agencies. From my discussions with other IFEA members at the 2012 IFEA Annual Convention and Expo in Denver, CO, one of the key questions was “who pays for what” in regards to policing and security? The policy for cost recovery for policing and other public safety agencies varies city by city and state by state; this poses a significant “risk” to event budgets in an already uncertain environment.

Over the past few weeks, I have been reading and responding to blogs on what should be “best practices” after Boston. An issue that I have highlighted is that many of my security colleagues have lost sight of the fact that we are putting on “events with a security overlay (appropriate to risk)” not a “security event with an event overlay.”

This has always been a challenge for us in the Olympic Games environment. After working with Law Enforcement and Government security agencies in six countries, I have learned that the key to success is ensuring that the security agencies are “part of the journey.” Integrating our security 24 24

partners throughout the event planning process and sharing our business objectives and critical success factors will help keep us all focused on the desired outcomes. We all know that our long term sustainability is often determined by the attendee / spectator experience.

So where do we go from here? As event organizers we must continue to plan within a dynamic and ever-changing operating environment; we must continue to anticipate and innovate. We must ensure that our operational plans evolve in response to the changing risk environment; be it security related like Boston, severe weather resulting in temporary infrastructure failure (stages and seating) or an increasing financial loss exposure due to the downturn in the economy (loss of sponsors, ticket sales etc.).

What does this mean? It means building a strong foundation for planning and operations through an effective Risk Management Plan. Your Risk Management Plan (which I hope you already have) not only represents a compliance tool, but also a quantitative process which supports prioritization of resources (human and financial capital) during planning and operational delivery.

Most importantly, as event professionals, a robust risk management process ensures that: 1.) the health, safety and wellbeing of employees (staff and volunteers) and the public is not compromised; 2.) financial performance of the event is protected; and 3.) the reputation of the event is strengthened in the eyes of local communities, sponsors and other stakeholders.

On a positive note to wrap up, we should not lose sight that each year thousands of special events are hosted safely and successfully by our global IFEA members - from small community events with hundreds of attendees to “Thunder Over Louisville®” at the Kentucky Derby Festival with 600,000+ attendees. Having said that, it is important that we continue to seek out best practices and other innovative processes, which create safe havens for our events.

Note: Peter Ashwin will be speaking at the IFEA’s 58th Annual Convention & Expo in Pittsburgh, PA, U.S.A., September 16-18, 2013 on Risk Management and

IFEA’s IFEA’s ie: ie: the the business business of of international international events events

Summer Summer 2013 2013

the lasting impact following the Boston Marathon bombings.

Peter Ashwin is the Managing Partner for Exelar Consulting; a small consulting company specializing in master security planning, risk management and operational readiness for major events.

Peter is recognized as a leader in major event security planning and implementing integration strategies to “bridge the gap” between Organizing Committees and Public Safety / Security agencies.

Peter’s diverse range of skills have been developed through 13 years of major event security planning and operational management including six Olympic Games, the 2010 G8/G20 Summit (Toronto), His Holiness, the Dalai Lama visit to Idaho (2005) and 12 years of military protective security operations.

Peter has led and managed multinational project teams in seven countries including USA, Russia, Qatar, Greece, Italy, Canada and the UK. An accomplished technical security writer, Peter has authored the security chapter of “Bid Books” for two successful bids - Sochi 2014 Olympic Winter Games and the Russia 2018 FIFA World Cup. Other Bids have included the Rome 2020 Olympic Games Bid, the Doha 2016 Olympic Games Bid, and the Hambantota (Sri Lanka) 2018 Commonwealth Games Bid. As the Head of Integrated Planning (Security & Resilience, London 2012 Olympic Games), Peter was responsible for the delivery of a programme budget of £160 million across six workstreams - C3, Intelligence, Protective Security Systems, Search & Screening, Security Coordination and Logistics Security.

As a former Australian Army Special Forces officer, Peter led highly trained and specialized military personnel in support of Australian national security objectives.

Peter is based out of Boise, Idaho but he still calls Australia “home”.

Boston Marathon Tragedy and DHS/ IFEA Industry Preparedness Document

April 15, 2013 To IFEA Members and Other Event Industry Professionals: I am sure that most of you have been following the tragic explosions near the Boston Marathon finish line today with a mix of shock, sadness and concern for how to prevent something similar from ever happening at your own events. Let me begin by expressing our sincere concern and sympathies for all those directly and indirectly impacted by these senseless acts. Unfortunately, we live in a new world where we must think differently, plan differently and take proactive steps to protect against all possibilities to the best of our abilities, in an attempt to ensure that the events that we produce are ‘safe havens’ for those attending.

As a Sector Specific Agency for our industry, we have been in regular communications with the Department of Homeland Security (DHS) in the hours since the explosions took place. While there are many questions to be answered, that may take days/weeks/ months to decipher, we will continue to work with our contacts at DHS to keep you upto-date and aware as we have useable and factual information.

In the interim, we are including a link with this email to a copy of the Protective Measures Guide for the U.S. Outdoor Venues Industry that we worked together with the DHS to produce in June of 2011, and encourage you to re-familiarize yourself with the information and protective measures in that guide. The best steps that we can take against further tragedies include ensuring that we, and all those that we work with, are as educated and prepared as we can be. There will no doubt be new lessons learned in the coming weeks and we will do our best to provide both information and training opportunities to bring those to each of you.

I know that all of you will join with us as we reach out to those at the Boston Marathon to offer any help/support that we can as an industry of professional peers. I thank you for your own professional preparedness and for continuing to provide to each of your communities the positive and important events that you are responsible for.

Best regards, Steven Wood Schmader, CFEE President & CEO International Festivals & Events Association (IFEA) World Headquarters

26

IFEA’s ie: the business of international events

Summer 2013

IFEA Boston Marathon Response - Additional 'Quick Reference' Safety & Security Information

April 16, 2013 To IFEA Members and Other Event Industry Professionals: As investigations and coverage of the tragic explosions at yesterday’s Boston Marathon continue, it is a good case study of just how fast rumors and misinformation can spread in an unexpected and quickly unfolding situation, especially in today’s highly connected world. While we await more detailed information from Boston, our partners at the Department of Homeland Security (DHS) have put together a wide variety of ‘Quick Reference’ resource information for us to share with everyone.

Especially for those with quickly approaching events of your own, we encourage you to make use of these resources (as applicable) and to share them with your planning, operations and community partners as appropriate. The best steps that we can all take for now are to revisit our events and make sure that we have covered/addressed each of the areas that may make us vulnerable. We would also encourage you to communicate with those who may be attending, working and/or supplying your event to ask that they simply be aware of their surroundings and report anything that may seem ‘out of place’ (Note: make sure that they clearly know who and where to report concerns to). Many of your vendors, suppliers, and volunteers know your event so well that something out of place will stand out to them quickly. And while the topic may seem counter to the fun events that you are working to produce, your attendees will feel more comfortable knowing that you are involving them in the process and doing everything that you can to ensure that they, their friends and their families are safe.

In addition to the information links provided below from the Department of Homeland Security, we are also including here a link to a Kentucky Derby Festival press conference held yesterday and organized to help alleviate any concerns prior to their own event which opens this coming weekend. It is a good example for proactively addressing the situation.

Safety and Security ‘Quick Reference’ Information: • The Evolving Threat: What You Can Do • Pertinent Guides • Safeguarding Hotels from the Threat of ❍ Protective Measures Guide for the U.S. Terrorism Outdoor Events Industry • Risk Self-Assessment Tool: What’s In It ❍ Protective Measures Guide for U.S. Sports for You? Leagues • Recommended Relevant FEMA Independent ❍ Evacuation Planning Guide for Stadiums Study Training: ❍ Mass Evacuation Plan Appendices 1-4 ❍ IS-914 Surveillance Awareness: What You ❍ Risk Assessment Tool Fact Sheet Can Do ❍ Bag Search Guide ❍ IS-906 Workplace Security Awareness ❍ IS-907 Active Shooter: What You Can Do • Review Videos and Webinar Topics as listed below: ❍ Videos: • The Risk Self-Assessment Tool (see Risk assess• Suspicious Activity Videos ment Tool Fact Sheet above) ❍ Modules for Hotels; Amusement/Theme (No Reservations: Suspicious Behavior in Hotels and What’s in Store; Ordinary Parks; Convention Centers; Race Tracks; People/Extraordinary Events) Stadiums & Arenas; Shopping Centers; and • Bag Search Video Performing Arts Centers (Check it! What’s in the Bag) • Other Valuable References ❍ Webinars: ❍ BIPS 06/FEMA 426: Reference Manual to • Improvised Explosive Device Threat Mitigate Potential Terrorist Attacks against Awareness and Detection Buildings, 2nd Edition (download) ❍ BIPS 09: The Urban Blast Tool (UBT) • Surveillance Detection Awareness on the Job Thank you for helping us to ensure a safe event experience for everyone.

Best regards, Steven Wood Schmader, CFEE President & CEO International Festivals & Events Association (IFEA) World Headquarters

Summer 2013

IFEA’s ie: the business of international events

27

IFEA Boston Marathon Response - NEW IED Awareness Guidelines and Protective Measures for Mass Gatherings

April 17, 2013 To IFEA Members and Other Event Industry Professionals: As progress continues to be made by law enforcement and other government agencies who are investigating the Boston Marathon bombings, the IFEA continues to work with our partners at the Department of Homeland Security to provide those in our industry with resources and tools that you can use for both long and near term protection at your own events. Especially with the heavy spring and summer festival and event seasons approaching, we are including here a link to a new, brief, but comprehensive Pre-Event and Day-of-Event checklist for you to reference when working with your local authorities, law enforcement, security and operations teams. The Improvised Explosive Device (IED) Awareness and Protective Measures for Mass Gatherings document will serve as a guideline for implementing recommended protective measures for mass gathering events, which includes most everyone in our industry sector.

It is certainly not our goal to overload you with information, but rather to respond to current realities as resources are created, updated and made available for us to share. It is our hope that these resources will help you to better respond and prepare for questions and scenarios within your own event markets.

Also, please be sure to watch for our weekly IFEA Event Insider tomorrow, which will focus heavily on the responses and impact following this week’s tragedy in Boston.

Best regards, Steven Wood Schmader, CFEE President & CEO International Festivals & Events Association (IFEA) World Headquarters

28

IFEA’s ie: the business of international events

Summer 2013

Good

Great

CFEE

Maybe it’s Time to be Recognized for What You Bring to the Table.

As a professional in the Festivals & Events Industry, you know the difference between Good and Great. You’ve dedicated yourself to the “whatever it takes” approach that has become your hallmark. You understand the importance and value of continuing to hone your skills, growing your knowledge base, expanding your professional network, and surrounding yourself with others who have reached the top levels of their careers as well.

CFEE (Certified Festival & Event Executive), the IFEA’s professional certification program, provides the essential difference between good and great among professionals in our industry. It signifies the highest level of achievement. Attainment of your CFEE certification provides recognition of your commitment to excellence, experience, and to your career, placing you in an elite group of the top festival and event professionals in your field. It’s a statement of quality that you bring to the table.

For more information about the IFEA’s professional certification program, and our 2011 CFEE FastTrack® Program, contact Bette Montieth at bette@ifea.com or call +1-208-433-0950.

The CFEE Professional Certification Program is Sponsored by

Can You Handle the Pressure?

M M e u SSe ERer V e W A heR T

By Wayne Mahar

30 30

IFEA’s IFEA’s ie: ie: the the business business of of international international events events

Summer Summer 2013 2013

Over the past 18 months, I’ve written two articles for IFEA, spoken at the IFEA and FEO conventions, provided many large events site specific forecasting, and even met with top officials of New York City, all in an effort to make outdoor events better prepared for severe summer weather. What I found is many outdoor event organizers and cities “think” they are prepared for severe weather, but really aren’t. When storms moved in, many couldn’t handle the pressure.

The Indiana State Fair, Ottawa Bluesfest, Whitby, Ontario Ribfest and Pukkelpop Concert in Belgium…each got hit with severe weather over the past two years, some with deadly results. It doesn’t happen often, but it does happen, and if it happens at your event, from a safety and liability standpoint, you want to be sure you are ready.

Admittedly, there will be times when there was just nothing you could do.

More often however, more could have been done, the event could have been better prepared. Key severe weather safety elements were either ignored, forgotten or were never even discussed.

With prime summer fair, festival and concert season fast approaching, I thought this would be a good time to review severe weather safety for your event. #1. WHAT’S YOUR PLAN? First and foremost, you need a Severe Weather Plan. A proper severe weather safety plan should begin with long range planning, meeting weeks and even months in advance with all key people and discussing all possible severe weather scenarios. This includes everything from different types of “weather events” to short and long “lead times” for sending people home or sending them to predetermined locations. #2. KEY PEOPLE Who are your “key people”? Law enforcement and security; Emergency Medical; your Public Relations personnel; your managers; the “Voice of your event”; the Announcer who is in constant contact with your guests; and your front office personnel. I can imagine for some of these folks, you are saying to yourself “Why would I have them at the meeting?”

The answer will become clear later. #3. PLAN OF ACTION You will want to discuss types of severe weather and decide what your “Plan of Action” is for each. There should be a difference in your planning between what to do when a tornado threatens vs. simple heavy rains causing localized flooding of the grounds. Decide which “types” of weather will require people moving, and by people I mean everyone from patrons to vendors. If the weather is that bad,

where do you direct them to go? Designate buildings and shelters ahead of time. #4. THE WEATHER Deciding on types of severe weather and contingency plans is generally the easy part.

Now it gets tougher. For instance, WHERE are you getting your weather information from? WHO is responsible for monitoring all the latest weather, storm movements, watches and warnings? Did you hire your own private meteorologist to work just for you and your event, someone you can call 24/7 with questions and concerns, even just to call and say “I’m a little concerned, the sky seems to be getting dark to our west.” A private weather company you hire works for YOU and is concerned about YOU and YOUR event. Government weather services might, or might not be available to help you out when you call them. That’s not their job, they don’t have a commitment to you, or a stake in your event.

Whoever is in charge of monitoring weather, are they constantly monitoring for sudden changes, or just occasionally?

Assuming these issues are set, lets now deal with the potential for “increased danger!” What I’m talking about is actual severe weather approaching or hitting your venue at the same time you have 15,000 people watching your afternoon or evening concert at the grandstand. A ton of rowdy concert goers packed like sardines into the concert area and a severe thunderstorm warning or even tornado warning is issued for your area. Think Indiana State Fair, or more recently, last summer, the Rogers Sarnia Bayfest in Sarnia, Ontario Canada.

Precision Weather Service monitored Doppler Radar and was on the phone continuously with the Festival Director tracking the severe storm movement minute-by- minute, which by the way came within five miles of the venue. #5. KEY PERSON BEWARE! Do not mistake this for #2.

WHO is THE key person at your event?

Who is THE decision maker? In fast breaking weather with large crowds, you don’t have time to find your managers, call a meeting and vote on what to do.

You MUST have someone, in the know with the latest information who can make critical decisions right now. More so, all your key people, from Law Enforcement to the main office must know this individual as THE key decision maker so there are no questions or second guessing taking place in the midst of severe weather warnings. Many fairs, festivals and concerts do not have ONE key person in place, and this can be a real issue!

Take the Indiana State Fair. Seven lives were lost, and even to this day the argument continues between Fair officials, Summer 2013

Law Enforcement and the band itself, Sugarland, as to WHO had final say on “calling the concert.” Nobody made the call before the severe weather hit and after the fact, everyone points fingers at the other. Designate THE key person well ahead of time and make sure everyone knows who it is, and that key individual MUST have direct and immediate access to the latest information to make these key decisions.

When signing contracts with the bands, promoters, private security, vendors or anybody on your grounds, make sure they know ahead of time WHO the real KEY decision maker is if push comes to shove. #6. KEEP THE MAIN OFFICE INFORMED! If bad weather develops miles away, chances are fair officials and concert goers will hear about it. It will begin with a watch being issued, meaning the chance of severe weather, then could be upgraded to a warning, meaning severe weather is likely. Maybe there has already been damage an hour west of you. As patrons, vendors and even the bands themselves hear of this, they begin wondering and want to know more, and in most instances, they call your main office. Keep your office personnel in the know. Everyone from vendors to the band should be clear and reminded when they check in that any emergency decisions of any type come through your main office, possibly coordinated with Law Enforcement! If you have one or two key office personnel to field inquiries, all the better! #7. SPREADING THE WORD If and when the time comes and a critical decision is made to move fair goers, vendors and workers, how do you spread the word? For your managers, your handful of key people, cell phone is typically the quickest. For most everyone else, this is where your Public Address Announcer becomes very important and the reason they should have been in on your initial severe weather plan meetings. They can help spread the word in an informed and clear way if THEY already understand the procedures. Let them help you and help everyone with clear and concise information over the loud speakers. #8. EMERGENCY PERSONNEL Make sure you, your managers, Law Enforcement/Security on the grounds and main office all have cell phone and/ or two way radio contact with Emergency personnel. If there is a medical emergency, in severe weather or not, chances are it will come through Security or the Main Office.

Continued on page 78

IFEA’s ie: the business of international events

31

MANAGING INTERRUPTIONS Be Polite, Be Honest & Get To It

By Steve McClatchy

Do you ever have days that can be described as “putting out fires” all day or accomplishing more of other people’s work than your own? The actual amount of time during the workday that you spend doing productive and focused work, may be less than you’d like to admit. Your ability to remain productive, in the face of interruptions, has a great impact on your success and the success of your organization. How can you train yourself to stay on task and be productive throughout a day plagued with unpredictable interruptions?

To help you manage these interruptions, here are a few rules and tips that are easy to master and promise to give you better control over your valuable work time and your productivity.

32

1. Keep a Two Minute Interruption to Two Minutes When someone sees you in person, or reaches you on the phone with a seemingly brief issue, the best way to set the tone for sticking to business is to tell the other person exactly what you are doing and ask a pointed question about the nature of the interruption. For example: “Hey Mike, great to see you, I was just reading through my emails, is this something quick or do you want to schedule some time together?”

Even a short directive like “how can I help you?”, or, my favorite for phone calls, “what had you thinking of me?” can quickly steer toward, what I call, the work of the interruption and away from small talk, when you don’t have the time for it.

IFEA’s ie: the business of international events

Summer 2013

Work that comes from interruptions falls into one of three categories: the interruption is either 1) a task that someone wants you to complete, 2) an appointment they want you to schedule, or 3) an exchange of information. If the work of the interruption is a task on your to do list (“call Sam with the revenue figure”) or an appointment on your calendar (“meeting with Bob at 2 p.m.”), then by asking a pointed question you will be able to keep these interruptions to just a minute or two. An interruption that requires an exchange of information, however, could take much longer and may wind up rearranging your afternoon.

With each information exchange the other person is either looking for data, facts and figures or background, context

and opinion. For example, someone stops in your office asking about the outcome of a sales call. If you simply convey the facts of whom you met, if the sale was a success and the amount of a contract sold, then this interruption should take no longer than two minutes. The background, context or opinion, however, may include how you were referred to this client, why the client chose your product over a competitor, details of the contract, etc. If an interruption heads in the direction of background, context or opinion it should be turned into a scheduled appointment because this information takes longer to communicate. An unplanned interruption is not the setting for this type of exchange. Suggesting a meeting at a more appropriate time ensures your discussion of the sale gets the time and attention it needs and that you can get back to the work you have committed for the day.

Sometimes despite your best efforts a brief interruption can lose direction. You can often see this coming by observing a colleague’s non-verbal communication or body language. They may be light on work and have time to waste. If current events, the weather or other unrelated topics come up in discussion, a polite way to refocus the conversation without making your colleague feel slighted is to interrupt yourself (instead of them) in mid-sentence. When it is your turn to talk or make a comment, stop, state your time constraint and revisit the original work of the interruption.

For example: “I know, it’s the middle of December and it feels like May. We were outside as well this weekend and…, ooh I’m sorry, I have to get back to this contract I’m working on. I will send you an email with the sales figures you asked for by the end of the day. It was great chatting with you.” This can close your conversation and politely let your colleague know that you do not have time to chat today.

2. Communicate and Set Expectations for Completion of the Work Involved If your work is interrupted by someone with a task request, a timeframe for completion of the task must be set. Usually “as soon as possible” is the answer you will get when you ask when something needs to be done. Here’s a good rule of thumb, if completing this task will take under two minutes, do it now. Execute the work and move on so you can get back to what you were doing. If it will take longer, then dropping everything to work on it immediately may not be the most realistic or efficient way to handle it. To avoid misunderstanding and set expectations, always ask for the drop dead date or time for completion, so you can work it into your plan. If the deadline is not achievable because of your schedule or workload, now is the time to have that

conversation. Being realistic about your time constraints can help you both to prioritize what is most important, and in what order future work should be completed.

3. Recover Quickly Once an Interruption is Finished Once an interruption distracts you from a project or your work, getting back to where you left off can sometimes take longer than the interruption itself. The best way to stay on task throughout your day is to keep a written daily plan. One of the many benefits of having a written daily plan, that outlines your goals for the day, is that you can return to productive work more quickly after an interruption, just by consulting your plan.

Having a plan to consult can also help prevent you from using an interruption to procrastinate by giving you a clear reminder of what you intended to accomplish today.

4. Work Interruptions into Your Schedule If you are plagued with interruptions throughout your day, schedule a block of time when visits from your colleagues are welcome, for example, an “open door” time from 1:00 - 2:00 p.m. Conversely, you could schedule some time occasionally when you are simply unavailable. Yes, unavailable. Not being available may include letting calls go through to voice mail, not checking email every five minutes, moving to a location where no one can reach you or simply putting a sign on your door or cubicle that says “I will be unavailable until after 11:00 a.m.”

If your organization has a networked calendaring system like Outlook, Lotus Notes or GroupWise be sure to block off this time as unavailable. This will ensure that people checking your calendar electronically will know that you are unavailable at that time.

Whether it’s twenty minutes, two hours or an entire day, in order to follow through on the commitments you’ve made you will have to be unavailable at some point. You can wait for the deadlines of these commitments to make you unavailable or you can schedule the time that makes the most sense. By scheduling the time that makes the most sense you remove the worry of not finishing on time and reduce a lot of stress.

5. Remember to Return the Favor How about when you are the person doing the interrupting? Remember the rules: ask right up front for the appropriate amount of time, get right to the work of the interruption, and clearly communicate your expectations for completion. If the interruption will take longer, negotiate a time that works best for the both of you.

When you are finished with your request or information exchange, thank them for their time and conclude with something like “thanks for your help, I know you’re Summer 2013

busy, I’ll let you get back to your work.”

Being direct and brief can give your colleague the confidence to know that they don’t have to hide the next time they see you coming down the hall.

6. Avoid an In Person Interruption by Sending an Email or Voice Mail If you know someone is busy working on a specific project, and your request is not time-sensitive, consider leaving a voicemail or email instead of interrupting their work.

Your message should include what you need and when you need it and not just “call me back.” This allows the person you are contacting to leave you the pertinent information in the same manner and avoids ongoing phone tag. Furthermore, if the situation allows, let the recipient of your message know if no reply is necessary. This tip works great when confirming an appointment, agenda, selections or the like.

7. Be Polite and Honest Being polite and honest means being respectful of the other person and telling them the truth. Telling the other person you’re busy, you have a call coming in, or that you’re in a meeting when you’re not, is lying. Ignoring the other person, not looking them in the eye, talking over them or cutting them off is disrespectful.

It is also unnecessary to stand up, walk to their office to get them out of yours, look at your watch or start working while they are talking. These are all non-verbal ways of communicating that you don’t have time right now. You don’t have to do any of these things to manage an interruption effectively.

If you look the other person in the eye, are genuinely happy to see them, tell them what you’re doing at the moment they interrupt you and ask a pointed question you will save more time than all these other techniques put together. You will also be able to keep your relationships strong and productive for the long term.

There are days and seasons when you have more time for interruptions than others. When you don’t have time, these short rules and tips can help you to get some time back and regain control of your day.

Steve McClatchy is the president of Alleer Training & Consulting a provider of training, consulting and speaking services in the areas of Consultative Selling, Time Management and Leadership. If you would like to learn more about the ways Alleer can be a resource to your organization email Steve.McClatchy@ Alleer.com, call 1-800-860-1171 or visit www.alleer.com.

IFEA’s ie: the business of international events

33

What Does

Mean for Festivals?

By Will Payne If you stay informed about technology and business these days, certain key words and phrases stick out again and again.

From “crossplatform” to “app” to “game mechanics,” many of these terms are just buzzwords and trends that may or may not be important, or even make sense, a few years down the road. Do you remember the big fuss over “multimedia” CD-ROMs? Today, there is one major trend affecting just about every industry, known as “Big Data.” As a festival promoter, this is a development that you can’t afford to ignore.

First off, what does “Big Data” even mean? Put simply, Big Data refers to a proliferation of information made available by computer systems and networks.

The amount of accessible information is so staggering that old-school analytic techniques, like Excel workbooks and databases, struggle to keep up. In order to make sense of all this data, to find the signal hidden in all the inevitable noise, savvy technology companies and organizations are adapting to be able to visualize, analyze, and sort through this data with powerful new methods. These techniques have been used by governments to predict currency fluctuations, insurance companies to get closer to understanding the evolving risks of natural disasters in an era marked 34

by global climate change and extreme weather events, advertisers seeking to target their online media more precisely to the ideal target consumer, and online stores to get a better understanding of their customers tastes and shopping habits.

While Big Data may sound like something that is easily measured or defined in a textbook, the truth is that the concept applies differently to different scales of organizations. The availability of data can be overwhelming relative to their historic practices and needs. If you work at the National Weather Service or a major investment bank, you may need to process many terabytes of data or more on a daily basis. A terabyte is equivalent to over one thousand gigabytes or hundreds of iPhones worth of data. For many small businesses and consumers, Big Data is any complex data set that can be analyzed over time, since few laypeople have the training or the inclination to pore through the statistics that doing business online opens up to them.

What does this all mean for you when putting on a festival or event? What data is going to be most meaningful to you to ensure success? At Ticketfly, we are continuously working to get a better understanding of these questions and to help event promoters use data in an actionable way. If your festi-

IFEA’s ie: the business of international events

Summer 2013

val is only held once or a few times per year, it may seem like there would be less work to do to understand your business. However, any advantage in this regard is balanced out by the fact that with so few chances to experiment with different approaches, it becomes vital to make sure that your interpretation of the data is correct and that you are following up with the right responses.

There are three main areas where Big Data can bring the most insight and success to festival promoters. First is the fundamental problem of knowing who your customers are, or demographics. The second key is being able to gauge the effectiveness of your marketing efforts (both on- and offline) in real time. And third, it’s becoming increasingly important to maintain an online conversation with your audience to keep people interested and engaged.

Understanding how people are interacting with your brand through digital platforms, or online engagement, is paramount.

Customer demographics are the most fundamental pieces of data you can access.

Demographics affect everything from when and where your event takes place, to the talent and attractions you produce, to the places and media in which you reach your target audience. Luckily, they’re also some of the easiest to track these days. If you

don’t have Google Analytics installed on your website, stop everything (including reading this article; continue once you’re finished) and get your site registered now.

Google has a treasure trove of data that you can start to sort through immediately, from age and gender information to a breakdown of how many visitors to your website are on mobile devices. This information will almost certainly make it clear how important it is for your website to be optimized for phones and tablets.

There is one area where Google doesn’t have all the answers though. If you’re in a high-density urban area, you might find it frustrating that Google Analytics is only accurate to the “city” level. In New York City, for example, you can see that people in “New York” and even “Brooklyn” are interested in your event, but good luck trying to compare sales between the Upper West Side and Brooklyn Heights. Free services like Batchgeo.com allow you to import an Excel file of geographic data (like a list of ticket buyers) and easily plot it on a map.

Obviously, the first step is helping to decide where to focus your marketing efforts, from billboards and posters to radio spots.

Beyond this foundation, retailers have been using zip code data to do sophisticated market segmentation research for decades.

They’ve been able to draw powerful conclusions about household incomes, family makeup, and consumer preferences, and there’s no reason you can’t, too.

Hopefully, the conclusions you’re reaching are reaffirming your programming and marketing decisions, but if they haven’t, don’t be afraid to make a change in midstream. If you find out that half of your attendees come from Nashville, for example, and one of the top stars of your upcoming event performs there every other week, you may want to look into whether or not you need something more novel to keep these people happy.

Okay, now you know exactly who your existing audience is, and how well it lines up with your target audience. The next thing you need to do is evaluate how well your existing marketing strategy is reaching these people. You can achieve this by tracking how many people you reach and convert into ticket buyers with each element of your marketing plan. The easiest way to do this is with help from Google Analytics (seriously, if you haven’t registered your site yet, do yourself a favor and do it now). Google makes it easy to see how many people arrive on your site from different links. To be able to easily understand what link is what, you can use something called a UTM code, which lets you add certain “tags” to your links that Google Analytics picks up and displays when you look at who’s arriving on your site. For example, if you purchase online ads, you can provide the ad host

with a tagged link that allows you to easily see how many people click through to your website. If you’re using an integrated event ticketing and marketing platform like Ticketfly, you can even see how many people ended up buying tickets based on that link, or your total sales conversions.

This may seem irrelevant if most of your marketing is done offline and digital media doesn’t drive much of your advertising budget (it probably should, but that’s another story). Nevertheless, you can reap the tracking benefits of UTM codes in print ads or other media where people have to type the URL into their computer manually; just take the whole long URL and shorten it using a tool like Bit.ly, ending up with something like bit.ly/YOUREVENT. Alternatively, you could create a promo code that ticket buyers can use in order to get a small discount that you only announce in one print ad, then easily track how many people redeem that code to get a good sense of how many conversions came from that ad.

Once you know who your target audience is, and how effectively your paid advertising is reaching them, it’s time for you to see how well you have been engaging your audience online. Organic conversation on Facebook and Twitter builds your brand, makes your customers more loyal, and attracts new people to the fold.

A few rules of thumb: don’t make everything you do on social media about you.

If your community sees you continuously broadcasting your marketing messages with no two-way conversation or other useful and interesting content, they will tune you out, and Facebook’s News Feed algorithm will start to penalize your posts as spam and show them to fewer people.

Another great way to get a handle on how you’re doing is to use the built-in Facebook Insights you have access to from the dashboard of your fan page. For power users, Facebook, like Google Analytics, allows you to export a spreadsheet with all kinds of detailed data about your posts and your page, so you can slice and dice the numbers to your heart’s content.

Also, if you’re having trouble keeping up with posts on Facebook, Twitter, and other social networks, you may want to look into using a dedicated social media management application like Hootsuite or Sprout Social. These services allow multiple team members to collaborate and post from the same accounts, allow you to keep track of which messages you’ve responded to, and have some built-in analytics features of their own that you can use to track the growth of your community and the effectiveness of the different kinds of content you share online.

This may sound like a lot to keep straight, but every one of the tools mentioned here has the potential to make Summer 2013

your business significantly stronger. If you’re only putting on a few events a year, it’s even more important to make sure that you do everything you can to make them successful. Hopefully, by mastering the techniques laid out in this article, you can make Big Data have a big impact on your event and your bottom line.

THIS MONTH TICKETFLY… announced the availability of Ticketfly Fanbase, a complete customer analytics product within Ticketfly’s integrated ticketing and marketing platform. Building on the best practices for using data outlined in this article, Fanbase allows event promoters to see at a glance who their top fans are, identify which fans are motivating additional ticket sales through their social media connections, and reward and grow their audience with targeted promotions.

Fanbase is available to all Ticketfly clients, including festivals and attractions throughout the U.S. and Canada. For more information, visit: http://ticketfly.com/fanbase

Ticketfly is an integrated ticketing and marketing platform for event promoters of any size, from standing-room-only clubs to festival grounds and arenas with reserved seating. The Ticketfly platform provides a full suite of integrated ticketing, mobile and social marketing, email and analytics tools that streamline operations and increase ticket sales. Prominent Ticketfly clients in the U.S. and Canada include Merriweather Post Pavilion (Baltimore), 9:30 Club (Washington, D.C.), Brooklyn Bowl, Austin City Limits Live, The Troubadour (Los Angeles), the Legendary Horseshoe Tavern (Toronto), the Preakness Stakes and Virgin Mobile FreeFest. The San Francisco Business Times recently named Ticketfly the fastest-growing technology company in the Bay Area, based on revenue growth.

To find events near you, visit ticketfly. com. For more information about Ticketfly, visit start.ticketfly.com, connect on Facebook at facebook. com/ticketfly, or follow us on Twitter at twitter.com/ticketfly.

IFEA’s ie: the business of international events

35

By Gil Cunningham

STARTING FROM SCRATCH: Bringing a Brand New Event to Life

Luke Bryan steps out into the crowd at 2012’s Country Thunder (Photo credit: Rick Diamond / Getty Images)

Zac Brown takes in the moment at 2012’s Country Thunder (Photo credit: Rick Diamond / Getty Images)

There are multiple kinds of events: those that are already established and well groomed, the ongoing but struggling ones in need of a facelift and brand new events that are just an idea.

36

IFEA’s ie: the business of international events

Summer 2013

Eric Church kicks off his 2012 Country Thunder performance (Photo credit: Rick Diamond / WireImage)

Starting an event from scratch can be a daunting task, especially for someone that’s new to the business. There are many obstacles to consider before the planning process can even begin: finding a location, determining capacity, hiring production workers, securing a stage, lights, tickets and more.

Many decisions surround a night of entertainment; whether all of the actions are performed in-house or everything is outsourced, these options need to be carefully sifted through.

The decidedly most important part of an event is simple: the talent. People aren’t going to attend a festival or fair if there is plainly no one on the line-up to draw them there. That’s where talent buy-

ers come in and choosing the right one could make or break your entire budget.

For starters, it’s important to know what talent buyers do. In initial conversations, the client will voice what exactly it is they are looking for: genre, budget, date and location. Is this going to be a “classic country” show or does the ultimate draw come from hot contemporary acts to pursue a younger crowd? The talent buyer will take this information and use all of their connections within the biggest agencies to find out who is available and meets that criteria. There are many important elements to consider here one may not initially think of; that’s where the professionals come in. For example, a name might strike as familiar, but does the act have current product out? Have they been getting recent airplay?

The biggest factors to consider when choosing the best act for your audience are: • Who has a record out? Have they released any product in recent years? If not, would it be a greatest hits show?

• Who has been nominated for a recent award?

• Who is currently getting airplay on radio?

• Does the date route for the lowest possible price?

• Who is committed to a tour?

Let’s focus on point two for a second: who has been nominated for a recent award? One thing people may not know is that award shows hold a lot of weight in regards to who may bring out the best numbers. This is especially true in country music.

First and foremost, country music has more award shows than any other genre.

The Country Music Association Awards, or CMA’s, has frequent buzz surrounding the show year-after-year. Under this scope it’s no surprise that the CMA Awards impact music in two big ways: increasing record sales and exposing new artists.

It goes without saying that when an artist blows the crowd away during their performance, the viewers will be more interested in their current releases. As a result, it’s normal for country music sales to spike after the show.

Not to mention up-and-coming acts trying to break into the big league frequently see their career skyrocket after they’ve taken home New Artist of the Year. The past 5 winners in this category have gone on to achieve huge success just the following year. For example, in 2007 then brand new Taylor Swift won her first CMA and went on to release Fearless, the album that changed her career, in 2008.

The next year new group Lady Antebellum took home the prize and released arguably the biggest hit of their career, Need You Now, just one year later.

It is important to note that a talent buyer with the skill to recognize these up-and-coming acts before their take-off is essential. When award shows air, viewers see entertainment but talent buyers see dollar signs ignite around the most celebrated. When the newer acts become the stars of the night, they will usually cost more on Monday than they did the week before. However, if an event already has this act confirmed the price stays the same. Therefore, a talent buyer that cannot only get the best deals on the already established, well-known artists, but can also recognize support in the form of a dark horse, can put their event two steps ahead of its competitors.

Another big consideration is who is currently on the road. If an act is on tour chances are they’re already playing the market or they won’t have a free weekend during the tour. In 2013 there have been 19 major country tours to try to work around.

Not only do these tours take away 19 main headline acts, but mid-level opening acts and breakthrough baby acts are all taken for the ride. This eliminates a strong number of contenders to book for festivals.

It is for this reason that choosing an experienced talent buyer is crucial. They will contact agencies and compile a list of available names. Once this is built, the client and talent buyer will sit down and sift through all available options until a decision on who to pursue is made. Then it’s up to the buyer to negotiate the fee, send out offers, perform contract negotiations and more. The buyer’s job can be summed up in one sentence: to make the client money. That’s why it is important to find a talent buyer who has strong relationships with agents and other buyers out there. With these relationships, the buyer can go out and see if there are other events in the area that want to put in an offer for the artists; therefore, the date would be routed and the price tag cheaper.

There are six main phases of an event a talent buyer will help you through, including: • Artist selection • Event marketing • Consulting • Ticketing • Sponsorship • Event production and management.

In the first phase of artist selection the talent buyer will take the client’s top choice and submit offers to the agency.

They handle all artist fee and contract rider negotiations until the offer is confirmed at the lowest possible price.

From there, the buyer will then coordinate all event marketing. This includes assistance in developing marketing plans and advertisements, providing the client with Summer 2013

the necessary marketing materials from each artist performing and working with the management companies to coordinate the announce, radio interviews and more.

Next up is consulting. Once your line-up is established to complete satisfaction, it’s not over yet. Don’t forget people will need tickets to enter the venue, the acts will need a stage to stand on, a microphone to sing through and lights to give the audience a true show. It’s the event’s responsibility to provide all of the above materials.

Initially this could be overwhelming but with the right talent buyer all of these services can be outsourced to the best people in the business. Again, connections are key and the top talent buying agencies have a partner in ticketing companies, production companies and existing sponsors to add to the client’s bottom line.

Finally, the talent buyer’s last phase will be the actual event production and management. The right agency can provide a professional production management staff to advance the show and coordinate with every tour manager involved that all aspects are where they should be.

Staff will attend the event day of show to ensure everything runs smoothly. From catering and meet and greets to merch tables and sponsor booths, this staff will take all of the headaches away so the client can actually enjoy the show.

While a first year event might have to start from scratch, it can blossom into an annual machine. It’s the people surrounding the event that can lay the foundation for attendees to want to return. The first step is finding the right talent buyer since a brand new event relies on the faces shown on the flyer to draw the crowds.

Gil Cunningham began his career in the entertainment industry over 40 years ago and since the development of Neste Event Marketing in 1996, Gil has produced hundreds of events and booked thousands of artists for a variety of clients. He has his ear to the ground for new trends in the industry in all music genres and prides himself on identifying up-and-coming acts that he feels have the talent and right ingredients to take them to the next level. With numerous industry awards, including ACM’s Talent Buyer of the Year, Gil is instrumental in establishing major events throughout North America.

Gil Cunningham, President Neste Event Marketing 1585 Mallory Lane, Suite 204 Brentwood, TN 37027 Phone: 615.370.6015 Website: www.nem-ent.com

IFEA’s ie: the business of international events

37

PERSONAL BRANDING

PERCEPTION IS REALITY

By Rebecca Knapp LeBlanc

38 38

IFEA’s IFEA’s ie: ie: the the business business of of international international events events

Summer Summer 2013 2013

When you meet someone, do you look them in the eye and give them a firm handshake? Do you arrive to meetings early or are you perpetually late? Are you known for being organized or disheveled by your peers? Do you have a tailored appearance? Are you authentic? Are you passionate? What makes you shine and stand out above the rest? How are you perceived by your colleagues, clients and peers?

I recently had the privilege of presenting to a group of college juniors and seniors on the topic of networking – a skill that everyone needs to continuously develop and improve upon as it is relevant no matter what industry or profession you pursue. As part of the presentation, we discussed personal branding and what an integral role it plays in networking. After all, you only have a minute to make a lasting impression on a potential employer or client for that matter. This got me thinking about how personal branding is so often overlooked in our daily lives. Personal branding is a powerful tool that if developed properly, can ultimately lead to more sales, happier guests, future business and so much more – it is the linchpin to our personal and professional success. What is your personal brand and what does it say about you?

Personal branding describes the process by which individuals differentiate themselves and stand out from a crowd by identifying their unique value proposition, whether professional or personal, and then leveraging it across platforms with a consistent message to achieve a specific goal. In this way, individuals can further their recognition as experts in their field, establish reputation and credibility to advance their careers, and build self-confidence. The process is further defined as the creation of an asset that pertains to a particular person; this includes clothing, physical appearance and areas of knowledge, leading to a unique and memorable impression.

No matter what industry you are in, if you want to have a successful career, your personal brand is everything! It’s all about your reputation and what unique value you can contribute to a company or your clients. If you type an email, you’re branding yourself. If you have a conversation with a friend, you’re branding yourself. How you dress, what you eat, and how you talk all contribute to your

brand. We need to be in touch with who we are as individuals and how we want to be perceived. With the surge of social media, we need to manage our brand on a daily basis. What does your LinkedIn or Facebook page say about you? Are they current and do they represent who you are as a professional? What happens when someone Google’s you? You need to be your own publicist and manage your image.

Personal branding is how we market ourselves to others and to the world.

Your personal brand is what other people think of you and it is unavoidable!

People immediately create labels for you when they meet you and that is why it is so important that we know who we are and what we stand for. We need to make sure that we are clearly telling our story through our appearance, our body language and our diction, etc., because perception is reality.

Before developing your personal brand, you need a brand mantra to serve as the foundation of all of your branding efforts. In order to create this mantra, you need to answer the following questions, honestly…

• How do I make people feel?

• How do people benefit by working with me?

• What words do others use to describe me?

• What field or industry am I in (or do I want to be in)?

• What are the words I would use to describe my work?

• What service do I have to offer people?

• What do I do that makes me stand out from everyone else?

Your responses to the questions above become your brand mantra. Your mantra should communicate clearly who you are, it should be simple and memorable, and it should feel inspiring and authentic to you. For example, “dependable and passionate marketing professional.” Your Summer 2013

mantra is the back bone of your personal brand and it should be at the root of everything you do.

Every time I make a presentation to a potential sponsor, I am not only representing myself, I am representing my company. From my handshake, to my outfit, to my presentation, everything I do is a reflection on me and my employer. You often hear the phrase that the people don’t buy products, they buy people. I whole heartedly believe that and over my last ten years in the workforce, I have witnessed firsthand how true this statement is. Being in sponsorship sales, I am also in relationship management. The first thing I do when I meet a new client is to go out of my way to make them feel comfortable – a relationship starts with comfort. If the client is not comfortable, how can they trust you? I work hard to develop a strong rapport with my clients with the goal that these relationships will turn into long-standing partnerships. My clients are buying my brand mantra and everything I stand for. They are buying my passion and enthusiasm for their brand and for my events. They are buying my customer service. They are buying me.

Take a moment to reflect on the questions I posed at the beginning of this article. Based on your answers, are you someone you would want to do business with or even be friends with? There are so many variables in the world that affect us both personally and professionally, but your personal brand is something you can actually control. It all starts with some self-awareness and dedicated time to develop your brand mantra. Go ahead, you are worth it. You represent the best brand in the world – YOU! As Senior Partnership Manager, Rebecca Knapp LeBlanc oversees experiential marketing and activation efforts for her clients at the Newport Harbor Corporation. Over the last decade Rebecca has developed a passion for brand marketing and has recently become intrigued with personal branding. Check out her new blog – “Bibs, Budgets and Burberry – Finding Balance as Mom, Professional and Fashionista” where she writes about her experiences balancing life as a working mother to son Liam, while still finding time to be fashionable.

Rebecca Knapp LeBlanc Senior Partnership Manager Newport Harbor Corporation Newport, RI Phone: +1-401-619-1371 x218 Email: rkleblanc@newportharbor.com

IFEA’s ie: the business of international events

39

The Greyhounds are Loose!

DOT YOUR I’s, CROSS YOUR T’s AND GET YOUR ZZZ’s

By Gail Lowney Alofsin

Event professionals who staged performances in their living rooms since their earliest years have been in the events business for several decades. Think about it - many people volunteer to do what we do. We are paid to produce or work on events. When it is no longer fun and exciting, it may be time for a sabbatical, retirement or a head check!

40

IFEA’s ie: the business of international events

Summer 2013

“What do you do in the off season?” is a question that many of us are asked. This is often followed by, “Your job must be so fun!” Yes, we have great jobs and exciting careers yet stress does not elude any of us. So I humbly offer a few tips to “Keep Calm and Carry On,” as the British are famous for saying, as we approach “show time” and the height of our “busyness.”

The Greyhounds are Loose When greyhounds are let out of their pens at the races, they have one focus: to get the job done and run around the track as fast as they can. They set their sight on the finish line with astute focus.

As it gets close to “show time,” the “should have” “would have” and “could have’s” arrive in unison. For instance, suggestions are rampant: “Let’s add this, change this, have you ever thought about...xyz?”

A greyhound pin sent to me by an IFEA audience member is prominent on my office bulletin board, a reminder that we cannot do everything that we would like to do and stay on track.

We all have great appreciation for new ideas and enthusiasm. However, there is a time and a place to decide if we are going to add the plate spinning, fire eating juggler to the event versus 24 hours in advance. You may want to put your innovative ideas in a “parking lot” for the next event. The greyhounds are loose, focus on what you need to achieve in the next two weeks, two days, two hours and do your best to stay focused.

Parking Lot Events and venue should always be improving. There is no shortage of new and inspiring ideas. When there is not enough time to execute the ideas effectively, consider putting them into a “parking lot.”

This can be as simple as a flip chart where great ideas are tabled for future projects.

Curve Ball Build in time for the unexpected, as rest assured, it is on its way. Weather is one of the biggest culprits, why not plan for it? Choose comfortable shoes, boots and outerwear so you can address inclement weather head on. Design site plans that will lead to fluid (pun intended) changes that work for all members of the event team.

In addition to weather, there will be other challenges inclusive of exhibits that need more space than anticipated (get the shoe horn out!), parking, lost credentials and tickets, birthday cakes, backstage meet and greets, etc… Reach for your magic wand and assist with a smile.

Respect the requests being asked of you, they make for great stories later!

Author Steve Yastrow professes that “Special requests are a gift.” You will have

requests from exhibitors, co-workers and sponsors prior to an event. If a request is truly a difficult one to fulfill, explain this in person or over the phone; it will go a long way versus an email or text that states “no” or “it’s not going to happen.” Positive communication will keep relationships strong and intact when the pressure is on.

Gumby Unlike the clay character and TV icon, Gumby, we do not have the ability to stretch to the point that we can be in two places at once! When your event covers several acres and “events within the event,” you will have to rely on other people to assist you. While no one can do it as well as you can (smile face!), your colleagues will put their own special touch on the project assigned to them.

Temperature’s Rising In a busy kitchen, frantic action and high stress is referred to as being “in the weeds.”

Whether your event is a few hours, a few days, or a season, there is extreme pressure, accelerated by unexpected demands and changes. Be prepared for the unexpected and build “white space” into your day to take time to address the issue at hand.

Dot your I’s, Cross your T’s and Get your ZZZ’s Our brains are hard-wired with a “fight or flight” response for our protection.

Once the perceived threat is gone, we return to our normal state. What happens when we are on overdrive, 24/7?

Sometimes we find ourselves forgetting to “dot our i’s,” and “cross our t’s,” as we move at an accelerated pace prior to and during events. Best practices during event season include keeping your activation plans in a folder, Ipad or on your smartphone. Have the information where you can access it quickly– from the names of your clients, their families and guests to the details of their sponsorship.

Bank your sleep – do your best to get as much rest as you can weeks prior to the event. Try going to bed earlier with light reading versus trade magazines or distressful articles. Take time to get exercise and stay hydrated – drink plenty of water!

Did you forget to order the cheese plate for the wine and cheese reception? This happens. Do what you can to solve this challenge. When the event is over, make note of what was forgotten in your “wisdom file” so you do not make the same mistake again. Get over it! It’s silly to continue to berate yourself or others for mistakes made.

Stay future focused, and positive.

Yes You Can! Your reaction to a situation versus the actual situation will often cause additionSummer 2013

al or unnecessary stress. Avoid negative self talk. Stay positive. Jump in and help others who appear to need it. Shoulder’s back, head high - know you have done it, can do it, and will get through it!

Cartwheels and Cupcakes It is always a joyful experience to be in the company of family. While I was putting the final touches on this article, my 11-year-old triplet nieces gathered around my computer and asked me what I was writing about. I explained that I was crafting an article about how to handle stressful situations and asked them if they ever experience stress. “Yes,” they replied in unison. When asked for a few examples, they mentioned that their parents, friends and homework stressed them out. To alleviate their stress, they offered the following sage advice.

“Take a deep breath.” – Sydney Alannah Martin “Do cartwheels!” – Madison Healy Martin “Eat a cupcake.” – Paige Trinity Martin When the greyhounds are loose, and it does not seem like we are going to get it all done, why not take a minute to take a deep breathe, enjoy a cupcake and do a cartwheel or two?

Enjoy!

Gail Lowney Alofsin has been blessed with a career that has enabled growth, education and excitement for over two decades. From the cruise and resort business to her current role as Director of Corporate Partnerships for Newport Harbor Corporation (NHC), she has been afforded the opportunity to be an entrepreneur and an integral team member in the development of hundreds of events. From operations, marketing, public relations, new business development, catering, food and beverage, sponsorship sales and experiential marketing, Gail is consistently pushed out of her comfort zone, expanding her knowledge and professional development.

In addition to her position at NHC, Gail serves as an adjunct professor at the Harrington School of Communication and Media at the University of Rhode Island. She does her best to “breathe” while the greyhounds are loose and work with a vibrant events team to produce exciting and creative events.

Between cartwheels and cupcakes, Gail can be reached at 401-640-4418 or gailalofsin@yahoo.com.

IFEA’s ie: the business of international events

41

Apps on

By Florence May and Kathryn May

In 2013, the festival world is using mobile technology to create online experiences or “Festivals on the Go.” Jason, a teenage boy, buys a 3-day music festival pass on his iPod while hanging out at the pool. At the same time, Jason’s sister is completing the festival princess scholarship application from her iPad and Jason’s mother is busy on her Samsung Galaxy registering to volunteer as a festival beverage server to raise money for her church.

A few weeks later at the festival, Jason’s father checks in on the location finder, FourSquare, and goes to the new festival App to check the performance schedule and find the location of his favorite food booth. Jason’s aunt is busy posting parade photos on Facebook and his sister is posting photos of friends she saw at the festival on Instagram.

This scenario seems realistic, right?

After all, everyone has a smart phone and is using online apps. Or are they?

A review of the 2012 Pew Internet & American Experience research certainly shows a substantial decrease in desktop computer sales and a decline in laptop sales.

At the same time over the past few years we’ve seen an increase in tablet and smart phone sales. Certainly a move to more mobile devices. And what about Apps? There are over 775,000 Apps in the Apple store.

42

Many event managers have rushed to build applications believing that this move is necessary to stay on top of the mobile technology curve. However, as we dig into the research, there are facts that might make us question the trend.

It is accurate that 88% of all American adults have cell phones. Many perceive that the vast majority of cell phones are smart phones. But the reality is that 45% of Americans own smart phones, down slightly from 47% in 2011. And only 19% own a tablet.

We can expect that the growth in smart phone sales will regain momentum if the economy continues to improve and as the large millennial generation becomes a larger portion of the workforce. Additionally, phone companies continue to eliminate non-smart phone options making smart phones more ubiquitous.

So what about Apps? We use Apps to bank; get the news and weather; enjoy social media and track our workouts. Is it safe to assume that Apps for events are not only helpful tools but an absolute requirement for remaining relevant? What was the number? 775,000 Apps in the Apple store?

Many phones are now sold with Apps on them in addition to Windows 8, as they attempt to keep up with the mobile movement. But more than 60% of Apps have never been downloaded and about 25% of Apps that make it past download are never used.

IFEA’s ie: the business of international events

Summer 2013

The trends are undoubtedly moving in the direction of smaller and mobile. But before building that expensive festival App, event managers need to consider success measurements and a strategic plan for mobile marketing.

Most event managers don’t plan, they just build and put something in the App store. Counting App downloads provides very little insight because most people never use a free App after the initial download. You need much more data and targeted measurements about how the App is used to understand your return-on-investment.

For some events, the App is an investment in the future and an outreach to a younger, more affluent portion of the society. For others, mobile friendly programming makes more sense and cents.

If I were to make a prediction, I predict the move to mobile devices will force a convergence of the web and Apps. This convergence will cause a substantial change in our marketing efforts.

Florence May is the President and Managing Member at TRS, The Registration System. She can be reached at email: fmay@theregistrationsystem. com or phone 317-966-6919.

2013 IFEA / Haas & Wilkerson

Pinnacle Awards Competition Call for Entries Gain the recognition your event deserves…

E

ach year, the International Festivals & Events Association recognizes outstanding accomplishments and top quality creative, promotional, operational and community outreach programs and materials produced by festivals and events around the world, with the Haas & Wilkerson Pinnacle Awards Competition. This prestigious awards competition strives for the highest degree of excellence in festival and event promotions and operations, and in doing so, has raised the standards and quality of the festivals & events industry to new levels.

From events large or small, cities, festivals, chambers, universities, parks & recreation departments, vendors & suppliers, and everything in between, events and promotions of nearly every type and size will have the opportunity to be recognized, as entries are categorized into organizations with similar sized budgets. From best Event Poster, T-Shirt, Hat, Promotional Brochure, Website, TV Promotion and Social Media site to best Volunteer Program, Green Program, Sponsor Follow-Up Report and Media Relations Campaign, there’s a place for almost every element of your event to be recognized.

The IFEA / Haas & Wilkerson Pinnacle Awards have provided many outstanding examples of how event producers can use innovation and creativity to achieve a higher level of success. One of the goals of the IFEA is to promote the professionalism of our members and the festivals and events industry as a whole. Therefore, to add further impact to the winning organizations, the IFEA will provide your organization with a press release template for you to distribute to your media list explaining the award and the competition. Your organization will be recognized for taking part in raising the level of professionalism throughout the industry, while at the same time improving your community.

So what are you waiting for, gather your items, fill out the entry form, and send them off to be judged against the best of the best, in the festivals and events industry. Then get ready to hear your organization’s name announced at the 58th Annual IFEA Convention & Expo, Date & Location TBA. Summer 2013

IFEA’s ie: the business of international events

43

THE CONTEST DEADLINES • EARLY BIRD ENTRY DEADLINE: 5:00 p.m. (MST), MONDAY, JUNE 17, 2013 ❍ Entries received on or prior to June 17, 2013 will receive the Member early bird rate of $30 per entry or $50 per Grand Pinnacle entry or the Non-Member early bird rate of $60 per entry or $100 per Grand Pinnacle entry depending on IFEA Membership status.

• FINAL ENTRY DEADLINE: 5:00 p.m. (MST), MONDAY, JULY 15, 2013 ❍ Entries received between Tuesday, June 18, 2013 and Monday, July 15, 2013 will receive the Member final entry rate of $35 per entry or $60 per Grand Pinnacle entry; or the Non-Member final entry rate of $75 per entry or $150 per Grand Pinnacle entry depending on IFEA Membership status.

ELIGIBILITY • Entries must have been produced and / or used for the first time between July 16, 2012 and July 15, 2013.

• Entries must be submitted in their original format unless previously approved. For Questions Contact: Nia Hovde, nia@ifea.com.

• Payment in full must be received with entries for entries to be deemed eligible.

• Entries and entry forms must be submitted in English.

• Font size for any written text must not be smaller than 10pt.

• To receive the member rate for Pinnacle entries you must be an IFEA member in good standing.

• Each entry form submitted must be completed in its entirety in order for items to be judged eligible.

IMPORTANT NOTES • Items submitted are NOT able to be returned.

• Judges will not refer to items in other categories, nor will they transfer items already judged in other categories (the number of entries must equal the number of categories entered).

• A separate entry form must be submitted for each entry (copy as necessary).

• Multiple entries or categories on a single form will not be accepted.

• For all entries, please paper clip/bull clip entry form to item.

Please do not glue or tape form to item.

• Multiple entries within the same notebook / bound format will not be accepted. Please separate entries.

• Entries required to be submitted in a “notebook” (Categories 1, 38-68) means that the entry should be submitted in some sort of bound format in order to keep all the materials together. For example, a 3 ring binder; spiral bound; in a report cover or a bound publication with hard/soft covers. Please do not staple or paper clip your entries together.

• UPDATED: For entries required to also be submitted on a disk / thumb drive along with printed copy (Categories 1, 38-68), be sure to label each CD / thumb drive and attach to notebook at front of entry. Submit entry as one (1) pdf or Word doc file. It is also okay to submit copies of all entries on one (1) disk or thumb drive and attach to payment form (instead of one (1) disk/thumb drive for each.) Printed copy must still be present.

• When submitting your total entries, please also submit a high resolution copy of your organization or event logo. Please email to nia@ifea.com – subject “Logo for 2013 Pinnacle Entry – and your event/organization name.”

• Please consider the processing of your credit card or the cashing of your check for your Pinnacle entries, notice that your entries were received and processed.

A HOW TO GUIDE • All categories are listed on the left side of each page • Entry information required for each category is listed under the specific category on the left (if applicable). This information is unique to that specific category.

44

IFEA’s ie: the business of international events

• Any supporting questions and supporting material requirements needed for each category or group of categories, is listed on the right side of each page (if applicable.)

THE JUDGES The judges are recognized professionals in the areas of graphic design, promotions and public relations; broadcast, print and online media; and special event planning and management.

SCORING SYSTEM • Categories 1, 38-68 will be judged using a point system for each individual entry. Each entry is scored separately. Scores will not be combined.

• A possible total of 100 points may be awarded to each entry.

• Be sure to answer and include all necessary information for each entry.

• If a required element within an entry is not applicable to your event, please state so within your entry to avoid being marked down on points or indicate what element you have instead.

• The scoring system is not applicable to TV, Radio, Multimedia, Print & some Merchandising categories.

• We are unable to provide you with the points awarded for each of your entries.

• Failure to meet all requirements or answer / provide all necessary information will result in a deduction of points.

THE WINNERS • All finalists for the IFEA / Haas & Wilkerson Pinnacle Awards will be notified by email the 3rd week of August, 2013. Notification will go to the primary IFEA Member in addition to the contact listed on the Awards entry form.

• The 2013 IFEA / Haas & Wilkerson Pinnacle Award winners will be announced at the 58th Annual IFEA Convention & Expo, Date & Location TBA. • If you are not present at the Awards Presentation to accept your award(s), they will be mailed to you after the Annual Convention.

Expect 3-4 weeks for delivery. If shipping costs for your award exceeds $15 USD, you will be sent an invoice for the shipping charges.

• Organizations submitting entries for the Grand Pinnacle category must register at least one person for the 58th Annual IFEA Convention & Expo, Date & Location TBA or arrange for a representative to accept any award won on your behalf.

• Gold winning entries will be on display during the 58th Annual IFEA Convention & Expo.

• Winning entries will also be available to view at www.ifea.com shortly after the 58th Annual IFEA Convention & Expo.

RELEASE & USAGE • By submitting your entry to the IFEA / Haas & Wilkerson Pinnacle Award Competition, you automatically grant the IFEA the right to use any materials and / or photos from your entries for editorial, analytical, promotional or any other purpose without additional compensation or permission. In addition, you acknowledge your entry/ies are not returnable. Your entry into the competition is acknowledgment of these terms.

SHIP ENTRIES TO: IFEA Pinnacle Awards Competition International Festivals & Events Association 2603 W Eastover Terrace, Boise, ID 83706, USA Phone: +1-208-433-0950 ext: 3 • Please try to avoid using packing peanuts/popcorn when shipping your entry.

• For packing tips, go to www.ifea.com and then Industry Awards / Pinnacle Awards / Packing Tips for Pinnacle Award Entries

Summer 2013

FREQUENTLY ASKED QUESTIONS As you prepare your entries, you will have many questions. To help answer many of your questions, we have posted our most frequently asked questions on the IFEA website at www.ifea.com / Awards / Pinnacle Awards / Pinnacle Award FAQ’s, check back often as we’ll continue to post questions and answers as they come in.

If you have any further questions about the IFEA/Haas & Wilkerson Pinnacle Awards, please contact Nia Hovde at +1-208-433-0950 Ext 3 or nia@ifea.com.

Go to www.ifea.com to find answers to common questions such as: • When you ask for entries in the original format, what does that apply to?

• What do you mean when you say, please provide entries in a ‘notebook’ or ‘bound format’?

• For the more in depth entries (categories 1, 38-68) do I have to answer or provide information for all the criteria and requirements listed under the category?

• Referring to the above question, what if something in a specific category that is required, either does not apply to our event, or we are unable to provide the information required.

• Certain entries ask for budget information, however we aren’t able to reveal certain elements of that information as it is not public knowledge. How can I answer the required information if I’m not able to provide it?

• On certain entries, it says we can only provide 5 examples of supporting materials . . . how can I possibly only provide 5 examples!?

• Why do we need to provide certain entries on disk or thumb drive?

• Referring to the above question, am I able to save all of the entries I’m submitting on one disk/thumb drive, instead of saving each individually?

• Are we able to enter the same event into multiple categories?

• Are we able to enter multiple items (that are different) in the same category, for the same event?

• I’m not a member of the IFEA, am I still able to enter?

• Can I pay for my entries via a wire transfer?

• How are the Pinnacle Award Entries Judged?

• Why do you not publish the points awarded for each entry in the list of winning entries?

• Who judges the Pinnacle Entries?

• Why aren’t we able to know the names of the judges?

• It looks like there’s even more requirements for some categories . . what specifically do I need to answer for categories 1, 38-68?

• For the above listed categories . . . what order should I list my entry in, in response to the requirements?

• For categories 1, 38-68, that require written information and are also required to be put into a ‘notebook’ or ‘bound format’ be sure to submit the information in that category in the order that it is asked so it’s easier for the judges to compare one entry to another.

• When saving your entry to a disk or thumb drive to go along side your individual entry, be sure to save your entry as one document – instead of multiple documents.

• When putting together categories 1, 38-68 that require a lot of work to create . . . if you have time, make 2 copies! What better way to keep a record of what you did each year not only at your event, but also for the next year’s Pinnacles!

• Remember the eligibility period for the pinnacles. Entries must have been produced and/or used for the first time between July 16, 2012 and July 15, 2013. So if you produced an event during that time, or any materials for your event were produced during that time (even if the actual event was outside of that time frame) it’s eligible!

• If you are required to write something for your entry, make sure it is well written and easy to read.

• The more organized your entries are, the easier it is to understand your message.

• With all entries, guide the judges to what you want them to see.

Highlight the important parts.

• Don’t overwhelm the judges with too much information. Summarize the statistics and only display your best footage/news clippings. Quantity is not always quality.

• On categories 1, 38-68 (categories that have a lot of requirements), be sure to have someone that is not closely tied to your event read through your entry to see if everything makes sense.

Sometimes you may be too close to your event and you may not include certain information, since it may be too obvious to you.

But it may be a vital piece of information. If your entry makes sense to an outsider to your event, it should make sense to the judges.

• Many of the judges may not know anything about your event, so make sure your explanations are clear enough so they feel like they have just attended/participated in your program.

• Proof, Proof, Proof!! Yes, we do mark you down for typos!

• When in doubt – ASK. If you’re not sure on something, please contact Nia Hovde +1-208-433-0950 ext: 3 or nia@ifea.com.

QUESTIONS? • Contact: Nia Hovde, Director of Marketing & Communications at Phone: +1-208-433-0950 ext: 3 or Email: nia@ifea.com • For additional information and FAQ’s, go to www.ifea.com/ Industry Awards / Pinnacle Awards

TIPS AND POINTERS Never participated in the Pinnacle Awards Program before? Looking for some helpful tips and pointers on how to enter? Below are just a few tips to hopefully point you in the right direction. Be sure to also review the Pinnacle FAQ’s and the Pinnacle Packing Tips.

• Start Early!

• Don’t wait until the deadlines are almost here to get your entries submitted! If you have time to work on your entries early, do so and then get them in early!

• We will start accepting entries as soon as you want to start sending them in!

• Do not mount any of the merchandise on poster board/foam core/card board etc. It’s much easier for the judges to pick up, look at and perhaps try the items on, if they are standing alone.

• Be sure to read and follow all the criteria and requirements for each entry. The criteria and requirements are always being updated, so be sure to review the changes before you start.

Summer 2013

IFEA’s ie: the business of international events

45

THE GRAND PINNACLE • Educational Program • Children’s Program • Food & Beverage Program • Entertainment Program • Merchandise Program • Community Outreach Program • Emergency Preparedness Program e. Descriptions of any other Special Programs unique to your event.

1) GRAND PINNACLE The Grand Pinnacle is the highest award given by the IFEA in recognition of those Festivals and Events* who have a balance of all the elements necessary to ensure a successful event. (*Of those events who enter and judged within each of the four separate budget categories.)

ENTRY INFORMATION: For entry, please provide a detailed description to each section requested within: 1. Introductory Information 2. Additional Requirements 3. Supporting Materials 4. Supporting Questions • Submit entire Grand Pinnacle Entry within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as 1 (one) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on 1 (one) CD or thumb drive.)

• Please submit your entry in the order listed here.

• Points will be awarded to the individual sections of your entry, in addition to the overall Judges Criteria points.

1. Introductory Information: (10 points) Within a maximum of 4 pages (total), provide an overview of your event, stating your event’s: a. Event Dates b. Purpose / Mission c. History/Description of Event d. Types of Activities Included Under the Festival / Event Umbrella e. Overall Revenue and Expense Budget f. Estimated Economic Impact g. Attendance Numbers & Demographics h. Volunteer Count & Demographics i. Staffing Numbers and Positions j. Founding / Incorporation Date and Management System (i.e.: 501(c)3 non-profit staff & volunteer board; city managed; profit-making partnership, etc.)

2. Additional Requirements: (50 Points) Include a detailed overview of each of the sections listed below (a-e*) for your festival / event, using no more than two (2) pages for each section.

• Make each section a separate tab in entry in order for the judges to clearly identify them.

• If your festival/event does not include one or more of the sections listed below, please provide an overview as to why your event does not include that element, or what you provide instead, so as not to lose points. a. Promotional/Marketing Campaign & Media Outreach (Includes but not limited to: What was your overall message/ slogan/image that you projected for your event this year? What was your target population, who received the message, what types of mediums did you utilize and who promoted your message. ) b. Website / Social Media / Multi-Media Program /Campaign c. Overall Sponsorship Program (Provide an overview of your overall sponsorship program – how many sponsors, who are they and what do they sponsor and total sponsorship funds.) d. Critical Component Programs *Provide a one (1) page description on each of the following programs (if not applicable, please state as such and/or what your festival/event has in its place.)

• Volunteer Program • Green Program 46

IFEA’s ie: the business of international events

3. Supporting Materials: (20 Points) • Please also include any necessary supporting materials for the festival/event - limiting materials to no more than 5 examples for each area in the 2.) Additional Requirements section (if applicable) (a-e).

• Supporting materials may be placed within a specific section of the entry, or at the end.

4. Supporting Questions: (10 points) Please answer the following questions.

(Maximum of 1 page per question) a. What did you do to update / change the event from the year before? Were your updates / changes successful? ❍ If the event is a new event, please answer the following question instead: • “What challenges / obstacles did you foresee / encounter in creating the event, and how did you handle them?” b. Please provide measurable results / examples for question (a). c. What makes the event stand out as an internationally recognized event? d. Why should the event win the IFEA / Haas & Wilkerson Grand Pinnacle Award?

Judging Criteria: (10 points) The Grand Pinnacle Entry will be judged based on the following criteria. Please refer to the Entry Information for further details. The following Judging Criteria is applicable to both the individual entry and the overall event.

• Is the entry / event well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / event designed and laid out well?

• Is the event creative and / or unique?

• Does the entry relay the image of the event?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Does the entry match the purpose / mission for the event?

• Have all requirements been met?

Additional Notes: • Be sure to answer and provide information for every section and area listed in the entry requirements. Failure to provide information for each section / element will result in a deduction of points. If a required element is not applicable to your event, please state as such and/or what your festival/event has in its place.

• Display boards are no longer required with the Grand Pinnacle entry. Your entry will solely be judged on the contents of the notebook submission.

• This entry is separate from all other categories and divisions. Judges will not refer to, or transfer items from other categories.

• Organizations submitting entries for the Grand Pinnacle category must register at least one person for the 58th Annual IFEA Convention & Expo, Date & Location TBA or arrange for a representative to accept any award your behalf.

Summer 2013

CATEGORIES TELEVISION & RADIO ENTRIES 2) BEST TV PROMOTION (Ad Spot or PSA)

3) BEST FULL LENGTH TV PROMOTION (Local Programming)

4) BEST FULL LENGTH TV PROGRAM (National Promotion / Syndication)

5) BEST EVENT VIDEO (For Sale)

6) BEST RADIO PROMOTION (Ad Spot or PSA)

ENTRY INFORMATION FOR CATEGORIES 2-7: • All TV/video entries should be encoded for Region 1 or Region 0 DVD capabilities. Submit entry on a DVD or Thumb Drive. Entry should be viewable in Windows Media Player or QuickTime. (Please do not submit Blu-Ray Disks.)

• All Radio entries should be submitted on a CD or Thumb Drive (not a DVD) Entry should preferably be submitted as a wave file or MP3 file.

• Label DVD / CD and attach entry form to case.

• Only one video / radio spot per DVD/CD. • These are standalone items and no written information is required.

• Make all DVD’s / CD’s set to Auto Play.

Judging Criteria: • Does the entry relay the image of the event?

• Is the item creative and / or unique?

• Is the message clear?

• Is the item organized?

• What is the “Usability” factor?

• What is the overall impression?

MULTIMEDIA ENTRIES 7) BEST EVENT WEBSITE

(Submit web address only – clearly print website address on entry form under section 3.)

8) BEST ORGANIZATION WEBSITE

(Submit web address only – clearly print website address on entry form under section 3.)

9) BEST EVENT / ORGANIZATION E-NEWSLETTER

(Submit three consecutive issues on a CD or thumb drive, or provide a link to download materials.)

10) BEST MISCELLANEOUS MULTIMEDIA

(Includes, but is not limited to items such as: Screen Savers, Live Web-casts, Electronic Billboards, etc. Submit in format used. Preferable method for Videos is a YouTube link. Only one multimedia item per entry.)

11) BEST SOCIAL MEDIA SITE

(Submit Social Media Site Address – clearly print address on entry form under section 3.)

12) BEST FESTIVAL / EVENT MOBILE APPLICATION (Submit web address or instructions on how to obtain the App, clearly print address on entry form under section 3.)

ENTRY INFORMATION FOR CATEGORIES 7-12: • For categories 7, 8, 11 & 12 site will be reviewed online by judges.

• Be sure to make the website link go to exactly where you wish the judges to go first.

• Refer to any additional entry information listed next to each category.

• These are standalone items and no written information is required.

Judging Criteria: • Does the entry / item relay the image of the event?

• Is the item creative and / or unique?

• Is the message clear?

• Is the entry / item organized?

• What is the “Usability” factor?

• What is the overall impression?

CATEGORIES PROMOTIONAL PRINTED ENTRIES 13) BEST EVENT PROGRAM 14) BEST NEWSPAPER INSERT / SUPPLEMENT 15) BEST PROMOTIONAL BROCHURE 16) BEST EVENT / ORGANIZATION NEWSLETTER (Submit three consecutive issues.)

17) BEST MISCELLANEOUS PRINTED MATERIALS (MULTIPLE PAGE)

(Includes but not limited to: direct mail brochures, cookbooks, annual reports, etc. - One item per entry.)

18) BEST MISCELLANEOUS PRINTED MATERIALS (SINGLE PAGE)

(Includes but not limited to direct mail pieces, rack cards, fliers, maps, etc. Only one item per entry.

Mounting on Poster board, optional)

19) BEST COMPANY IMAGE PIECES

(Includes but is not limited to: Letterhead, envelopes, logo, etc.). (One item per entry)

20) BEST COVER DESIGN

(Submit cover only – mounted on poster board.

Covers of Magazine, Newspaper, Brochures, Programs all acceptable.)

21) BEST SINGLE NEWSPAPER DISPLAY AD (Submit entry mounted on poster board.)

22) BEST SINGLE MAGAZINE DISPLAY AD (Submit ad mounted on poster board.)

23) BEST AD SERIES

(Submit a maximum of 5 ads.) (May be mounted on poster board together or individually.)

24) BEST PROMOTIONAL POSTER

ENTRY INFORMATION FOR CATEGORIES 13-17: • These are stand alone items and no written information is required.

• Submit each entry in original format if possible • Submit categories 13-17 with the entry form securely paper clipped/bull clipped to the back.

• Do not mount on display board.

Judging Criteria • Does the entry relay the image of the event?

• Is the item creative and / or unique?

• Is the item designed / laid out well?

• Is the message clear?

• Is the item organized?

• Is the item usable / functional?

• What is the overall impression?

ENTRY INFORMATION FOR CATEGORIES 18-28: • Submit categories 18-23, 26-27 each mounted on a single, black display board with a maximum of 2 inch margins.

• Submit categories 24-25 each rolled up in a poster mailing tube. Do not fold the poster. Do not mount the poster on poster board.

• Only one entry per board.

• These are standalone items and no written information is required.

Judging Criteria • Does the item / entry relay the image of the event?

• Is the item creative and / or unique?

• Is the item designed / laid out well?

• Is the message clear?

• Is the item organized?

• Is the item usable / functional?

• What is the overall impression?

(For posters not for sale at Festival or Event but used for promotional purposes to promote event) (Do not mount.

Submit in poster tube.)

25) BEST COMMEMORATIVE POSTER

(For posters specifically for sale at festival or event.)

(Do not mount. Submit in poster tube.)

26) BEST EVENT PROMOTIONAL PHOTOGRAPH

(Promotional photograph for your event) (Photo Dimensions: 8 inches x 10 inches)

27) BEST OUTDOOR BILLBOARD (Submit photo or print out of billboard.)

28) BEST EVENT INVITATION

(Single or Multiple Page Do NOT mount this category on poster board.)

48

IFEA’s ie: the business of international events

Summer 2013

CATEGORIES EVENT DÉCOR & AMBIANCE ENTRIES 29) BEST STREET BANNER

ENTRY INFORMATION FOR CATEGORIES 29-30: • Submit categories 29-30 each mounted on a single, black display board with a maximum of 2 inch margins.

• Only one entry per board.

• These are standalone items and no written information is required.

(Submit photo or printouts of banner only.)

30) BEST MISCELLANEOUS ON-SITE DECOR

(Includes but is not limited to: directional signage, stage backdrops, entryways, flags, inflatables, etc.)

(Submit photo of decor.)

Judging Criteria: • Does the item / entry relay the image of the event?

• Is the item creative and / or unique?

• Is the item designed / laid out well?

• Is the message clear?

• Is the item organized?

• Is the item usable / functional?

• What is the overall impression?

MERCHANDISE ENTRIES For merchandise sold at Festival / Event / Organization.

31) BEST T-SHIRT DESIGN

ENTRY INFORMATION FOR CATEGORIES 31-37: • Submit actual merchandise items for categories 31- 37 as is.

• These are standalone items and no written information is required.

• Do not mount merchandise items on poster board – except Best Pin or Button.

(No tank tops or collared shirts.)

32) BEST PIN OR BUTTON

(Please mount pin on poster board with 2 inch margins maximum.) (For single pins only, no pin sets.)

33) BEST HAT 34) BEST OTHER MERCHANDISE 35) BEST MISCELLANEOUS CLOTHING 36) BEST NEW MERCHANDISE

(New merchandise to festival/event/organization within the past year.)

Judging Criteria: • Does the entry / item relay the image of the event?

• Is the item creative and / or unique?

• Is the message clear?

• Is the entry / item organized?

• What is the “Usability” factor?

• What is the overall impression?

37) BEST SPONSOR GIFT

Summer 2013

IFEA’s ie: the business of international events

49

CATEGORIES SPONSORSHIP ENTRIES 38) BEST TARGETED SPONSOR SOLICITATION PROPOSAL

(Actual Sponsorship Proposal that was used to target a specific sponsor for your festival/event.)

1. Overview Information: Please provide a detailed overview explaining the following using no more than one (1) page per section: a. Introduction and description of main event. b. Introduction, effectiveness and success of Sponsor solicitation package 2. Supporting Materials: a. Please provide a sponsor solicitation package that was actually used to target a specific sponsor.

• Provide in the format used to present to the sponsor and with any other additional materials that were sent with the proposal. (Okay to substitute name of sponsor for generic name for confidentiality.)

39) BEST INDIVIDUAL SPONSOR FOLLOW-UP REPORT

(Actual Follow-Up Report that was generated for a specific sponsor for your festival/event.)

1. Overview Information: Please provide a detailed overview explaining the following using no more than one(1) page per section: a. Introduction and description of main event. b. Introduction and effectiveness of Sponsor follow-up report 2. Supporting Materials: a. Please provide a sponsor follow-up report that was actually sent to a specific sponsor.

• Provide in the format used to present to the sponsor and with any other additional materials that were sent with the report. (Okay to substitute name of sponsor for generic name for confidentiality.)

40) BEST SPONSOR PARTNER

(Entry should highlight a specific sponsor that stands out above all others.)

1. Overview Information: Please provide a detailed overview explaining the following using no more than one (1) page per section: a. Introduction & description of main event b. Description of sponsor; level of sponsorship (cash/in-kind); details of benefit package and length of sponsorship/ partnership c. Quantity and quality of support to event by sponsor d. Goals and success of relationships for both event and sponsor e. How the sponsor stands out over all other sponsors. f. Activation of Sponsorship by Sponsor ENTRY INFORMATION FOR CATEGORY 40: • Submit category 40 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

50

IFEA’s ie: the business of international events

ENTRY INFORMATION FOR CATEGORIES 38-39: • Submit category 38-39 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

For each entry, please provide detailed information to the following: 1. Overview Information (20 points) Please provide the required information listed under the specific category to the left.

2. Supporting Materials: (70 points) Please provide materials listed under the specific category to the left.

Supporting materials should be placed at the end of the entry.

3. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria.

• Is the item / entry well organized?

• Is the content professional?

• Is the message clear?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

• Would you recommend or support this opportunity if in a position to do so?

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

For each entry, please provide detailed information to the following: 1. Overview Information (90 points) Please provide the required information listed under the specific category to the left.

2. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry well organized?

• Is the content professional?

• Is the message clear?

• What is the overall impression?

• Have all requirements been met?

Summer 2013

CATEGORIES SPONSORSHIP ENTRIES 41) BEST SINGLE NEW SPONSORSHIP OPPORTUNITY

(New activity / program within an Event created specifically to recruit a new sponsor or created after a new sponsor came on board.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Description and purpose of New Sponsorship Opportunity c. Description of the targeted sponsor for the opportunity and why the sponsor was targeted d. Explain the synergy between the event and sponsor e. Overall effectiveness / success of the sponsorship 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

42) BEST SPONSORSHIP PROGRAM FOR INDIVIDUAL SPONSOR

(Activity or program within a Festival or Event created for a specific sponsor.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Description and purpose of event/program being sponsored c. Description of sponsor; level of sponsorship (cash/in-kind); details of benefit package and length of sponsorship/ partnership d. Overall effectiveness / success of the program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

43) BEST OVERALL SPONSORSHIP PROGRAM

(Entry should focus on the entire sponsorship program for all sponsors for the entire event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Description of overall Sponsorship Program c. List of all current sponsors for event; levels of support; longevity of each d. Available benefit packages and valuation formulas e. Description of sponsor research targeting and sales process f. Description of sponsor service team and steps taken when new agreement is signed. g. Describe current sponsor renewal process & retention rate h. Overall effectiveness / success of the program i. Supporting Materials: Please provide a copy of Sponsor Agreement Sales Packet / Proposal; a copy of Sponsorship Follow Up Report and a sample of Sponsor Agreement 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 41-43: • Submit category 41-43 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

For each entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the program is a new program, please answer the following question instead: “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?”

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program. Supporting materials should be placed at the end of the entry. Please limit your supporting materials to those actually sent / used with sponsor: • Printed materials (brochures / programs etc.)

• Promotion / marketing / media materials • Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria.

• Is the program / entry well organized?

• Is the content professional? Is the message clear?

• Is the program / entry designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

• Would you recommend or support this opportunity if in a position to do so?

Summer 2013

IFEA’s ie: the business of international events

51

CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 44) BEST VOLUNTEER PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section, together with applicable examples: a. Introduction and background of main event b. Description and purpose / objective of Volunteer Program c. Target audience / attendance / number of participants d. Duration of program (start to finish) and years program has been part of event e. Volunteer demographics (age, gender, individuals, charities, schools etc.) f. Volunteer job descriptions g. Recruitment methods / materials / applications h. Communication methods / materials i. Training guides / programs / handbooks / materials j. Organization & schedule information / materials k. Volunteer perks / benefits l. Appreciation / recognition methods/ materials m. Retention methods / materials n. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) o. Overall revenue/expense budget of program p. Overall effectiveness / success of program q. Measurable results: ratio of volunteers to guests; # of volunteers; # of volunteer hours; # of volunteers in database; estimate of the financial value of your volunteers.

2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

45) BEST GREEN PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Green Program c. Target audience / attendance / number of participants d. What “Green” initiatives were used at event (i.e. – recycling; alternative methods of transportation; renewable energy etc.) e. How were initiatives promoted to the public? Include marketing materials. f. Education programs pertaining to green program (for public, sponsors, volunteers etc.) g. How was green program enforced / encouraged, tracked, and staffed? h. Who assisted green program (vendors, volunteers etc.) i. Measurable results – how much was recycled; savings / cost of Green program; carbon footprint reduction j. Non-tangible results: education; awareness; involvement etc. k. Duration of program (start to finish) and years program has been part of event l. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) m. Tie-in of program to main event n. Overall revenue/expense budget of program o. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

52

IFEA’s ie: the business of international events

ENTRY INFORMATION FOR CATEGORIES 44-45:

• Submit categories 44 & 45 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

For each entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the program is a new program, please answer the following question instead.

• “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?”

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry.

• Printed materials (brochures, handbooks, Recruiting materials, evaluation forms, signage, etc.)

• Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants / volunteers / sponsors / students / charities etc.

• Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / program well organized?

• Is the content professional? Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

Summer 2013

FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 46) BEST EDUCATIONAL PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Educational Program c. Target audience / attendance / number of participants d. Provide a detailed description of the education program / curriculum e. Who provided the education and in what setting f. Involvement by local educational institutions and professional education (if any) g. What was the take-away for attendees / participants? h. Duration of program (start to finish) and years program has been part of event i. Tie-in of program to main event j. Overall revenue/expense budget of program k. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) l. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

47) BEST CHILDREN’S PROGRAMMING

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Children’s Program c. Target Audience / main target age group d. Attendance / number of participants e. Activities /entertainment provided f. Local School involvement g. Tie-in of program to main event h. Overall revenue and expense budget of specific program / event i. Description of sponsor / charity / volunteer / school / other group involvement with event / program and benefits to each (if applicable) j. Duration of program (start to finish) and years program has been part of event k. What makes the program unique and creative? l. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

48) BEST COMMUNITY OUTREACH PROGRAM

(Programming done throughout the year to benefit and help include all parts of the community, while enhancing the image and brand of your event/organization throughout the year.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Outreach Program c. Target audience / attendance / number of participants d. Impact program had on the community e. Tie-in of program to main event f. Duration of program (start to finish) and years program has been part of event g. Overall revenue/expense budget of specific program h. Description of sponsor / charity / volunteer / school / other group involvement with program and benefits to each (if applicable) i. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

Summer 2013

ENTRY INFORMATION FOR CATEGORIES 46-48: • Submit categories 46, 47, 48 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

For each entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the program is a new program, please answer the following question instead.

• “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?”

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry.

• Printed materials (brochures, handbooks, Recruiting materials, evaluation forms, signage, etc.)

• Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants / volunteers / sponsors / students / charities etc.

• Supporting photographs • Measurable results: tangible & intangible 4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / program well organized?

• Is the content professional? Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

IFEA’s ie: the business of international events

53

FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 49

BEST EVENT / PROGRAM WITHIN AN EVENT TO BENEFIT A CAUSE

(Entry may include fundraising programs as well as awareness programs.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Event/Program c. Description of selected cause and why/how it was selected d. Target audience / attendance / number of participants e. Tie-in of program to main event f. Duration of program (start to finish) and years program has been part of event g. Overall revenue/expense budget of specific event/program h. Description of sponsor / charity / volunteer / school / other group involvement with event / program and benefits to each (if applicable) i. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

50) BEST EVENT (WITHIN AN EXISTING FESTIVAL)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Event within Festival c. Target audience and attendance / number of participants d. Overall revenue/expense budget of event e. Tie-in of program to main festival f. Duration of program (start to finish) and years program has been part of event g. Description of sponsor / charity / volunteer / school / other group involvement with event and benefits to each (if applicable) h. What makes the event unique & creative? i. Overall effectiveness / success of program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 49-52: • Submit categories 49, 50, 51, 52 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive.

Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

For each entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the program is a new program, please answer the following question instead. ❍ “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?”

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable).

Supporting materials should be placed at the end of the entry.

51) BEST EMERGENCY PREPAREDNESS & RISK ❍ Printed materials (brochures, handbooks, RecruitMANAGEMENT PLAN FOR AN EVENT ing materials, evaluation forms, signage, etc.)

1. Overview Information: ❍ Promotional / marketing / media materials Please provide a detailed overview explaining the following, using no more than one (1) page ❍ Merchandise materials (photographs accepted) to explain each section: ❍ Information provided to participants / volunteers / a. Introduction and background of main event sponsors / students / charities etc. b. Description and purpose / objective of Risk Management Plan ❍ Supporting photographs c. Target audience / attendance / number of participants ❍ Measurable results: tangible & intangible d. Overall revenue and expense budget of specific program / event e. Duration of program (start to finish) and years program has been part of event 4. Judging Criteria: (10 points) f. Description of sponsor / charity / volunteer / school / other group involvement with event / No information required. Your entry will also be judged program and benefits to each (if applicable) based on the below criteria. g. Overall effectiveness / success of program • Is the entry / program well organized?

2. Supporting Question - Answer question listed to the right, here • Is the content professional? Is the message clear?

3. Supporting Materials - Place at the end of the entry.

• Is the entry / program designed and laid out well? ❍ Please submit a detailed documentation of the security plan used at your event • Is the program creative and / or unique?

• What is the overall impression?

52) BEST FOOD & BEVERAGE PROGRAM • Have all supporting materials and measurable results 1. Overview Information: been provided?

Please provide a detailed overview explaining the following, using no more than one (1) • Have all requirements been met? pages to explain each section: a. Introduction and background of main event b. Description and purpose / objective of Food & Beverage Program c. Number and types of vendors d. Site Plan (i.e.: Food Courts, Crowd Flow etc.) e. Cash Management Process f. Fee Structures g. Alcohol Beverage Training/Control h. Vendor Application Process i. Festival/Event Controlled Products & Services (i.e.: Festival-only controlled product sales, Vendor required product use, etc.) j. Promotional activities to drive business k. Power/Water Access l. Waste Disposal 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 53) BEST NEW EVENT

(For festival or event created from scratch within the past year that does not take place as part of an existing festival/event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event b. Description and purpose / objective of New Event c. Target audience and attendance / number of participants d. Overall revenue/ expense budget of event e. Duration of program (start to finish) f. Description of sponsor / charity / volunteer / school / other group involvement with event and benefits to each (if applicable) g. What makes the event unique & creative? h. Overall effectiveness / success of event 2. Supporting Materials - Place at the end of the entry.

54) BEST NEW PROMOTION ACTIVITY

(Entry should focus on a specific promotion done by festival/event/vendor/supplier to promote a product, service, event, company, entertainment etc.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction and background of main event/organization b. Description and purpose / objective of Promotion c. Description of what was being promoted (merchandise, event, company, entertainment; etc.) d. What makes this promotion different from any other promotions? e. Target audience for promotion f. Attendance / number of participants (if applicable) g. Tie-in of promotion to main event/organization h. Overall revenue and expense budget of specific promotion i. Duration of promotion (start to finish) j. Description of sponsor / charity / volunteer / school / other group involvement with event/ organization and promotion and benefits to each (if applicable) k. Overall effectiveness / success of promotion 2. Supporting Materials - Place at the end of the entry.

55) BEST NEW ATTENDEE SERVICE

(Any product or service designed with the intent of enhancing the attendee experience at a festival or event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) pages to explain each section: a. Description of new product or service b. Goals & objectives of product or service c. Application of product or service at an event d. Overall effectiveness of product or services e. Target market for product or service f. Measurable results: tangible & intangible 2. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 53-56: • Submit categories 53, 54, 55, 56 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive.

Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

For each entry, please provide detailed information to the following: 1. Overview Information (80 points) Please provide the required information listed under the specific category to the left.

2. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable).

Supporting materials should be placed at the end of the entry.

• Printed materials (brochures, handbooks, signage, etc.)

• Promotional / marketing / media materials • Merchandise materials (photographs accepted) • Information provided to participants • Supporting photographs • Measurable results: tangible & intangible 3. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / program well organized?

• Is the content professional? Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

56) BEST MONEY-MAKING IDEA

(Entry should focus on a specific idea implemented at a festival/event that generated revenue.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & description of main event b. Description of money-making idea c. Target audience (if applicable) d. Attendance / number of participants (if applicable) e. Mediums used to promote idea (if applicable) f. Tie-in of promotion to main event/organization g. Overall revenue and expense budget of specific idea h. Overall effectiveness / success of idea 2. Supporting Materials - Place at the end of the entry.

Summer 2013

IFEA’s ie: the business of international events

55

CATEGORIES FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 57) BEST OVERALL MERCHANDISING PROGRAM

(Entry should focus on the entire merchandising program for the entire festival/event/organization.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of event b. Description of merchandising program c. Overall revenue and expense budget for merchandise lines d. Target market for merchandise program (population / location) e. Marketing efforts tied to merchandise program f. Community support in selling / distributing merchandise g. Measurable results (Including number / variety of items; number of outlets selling items, etc.) h. Overall effectiveness of merchandise program 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORY 57: • Submit category 57 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

58) BEST VENDOR / SUPPLIER

(Entry should highlight a specific vendor or supplier to the festival/event that stands out above all others.)

(Festival or Event must submit this entry)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) pages to explain each section: a. Description of vendor / supplier b. How the vendor / supplier stands out over all other vendor / suppliers c. Quantity and quality of service and support to event by Vendor / Supplier d. Length of relationship between vendor and event e. Tangible benefits of relationship to both event and vendor.

For entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this program from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the program is a new program, please answer the following question instead: “What challenges / obstacles did you foresee / encounter in creating the program, and how did you handle them?”

3. Supporting Materials: (10 points) Please include a sample selection of actual merchandise items available.

• Also include photographs of all merchandise items available in your merchandise program.

• Supporting materials should be placed at the end of the entry.

4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / program well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

For entry, please provide detailed information to the following: 1. Overview Information (90 points) Please provide the required information listed under the specific category to the left.

2. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry well organized?

• Is the content professional?

• Is the message clear?

• What is the overall impression?

• Have all requirements been met?

ENTRY INFORMATION FOR CATEGORY 58: • Submit category 58 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

56

IFEA’s ie: the business of international events

Summer 2013

CATEGORIES MEDIA RELATIONS ENTRIES For effective media campaigns that generated news coverage, instead of paid or donated advertising time.

59) BEST PRESS / MEDIA KIT

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of campaign / event b. Provide actual media kit used to send out for your event c. Target audience / demographics for the media d. Target location (communities / cities / states) for media e. Types of mediums used for media outreach f. Measurable results indicating: • Number of publications / cities / states targeted • Percent of distribution that covered news • Longevity of media coverage • Increase / decrease in media from previous years 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

60) MOST CREATIVE / EFFECTIVE NEWS STUNT

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of campaign / event b. A detailed description of the news stunt c. How did the news stunt fit in to the overall media campaign for your event? d. Sponsor / charity involvement (if any) and why e. Was there an increase in media coverage for your event as a result of the stunt?

2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

61) BEST MEDIA RELATIONS CAMPAIGN

(Entry should focus on the entire media relations campaign for a specific festival or event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & background of campaign / event b. Purpose / objective of the media relations campaign c. A detailed outline of your entire media relations campaign for your event. d. Target audience / demographics for the media e. Target location (communities / cities / states) for media f. Types of mediums used for media outreach g. Measurable results indicating: ❍ Number of publications / cities / states targeted ❍ Percent of distribution that covered news ❍ Attendance results based on media outreach / campaign ❍ Income results based on media outreach / campaign ❍ Longevity of media coverage ❍ Increase / decrease in media from previous years. h. Overall effectiveness of the campaign 2. Supporting Question - Answer question listed to the right, here 3. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 59-61: • Submit categories 59, 60, 61 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

For entry, please provide detailed information to the following: 1. Overview Information (70 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (10 points) • What did you do to update / change this promotion from the year before? Were your updates / changes successful? Please provide measurable results / examples.

• If the promotion is a new promotion, please answer the following question instead.

• “What challenges / obstacles did you foresee / encounter in creating the promotion, and how did you handle them?”

3. Supporting Materials: (10 points) Please also include any necessary supporting materials for the program - limiting materials to no more than 5 examples for each area listed below (if applicable). Supporting materials should be placed at the end of the entry.

• Printed materials (press releases, news clippings, etc.)

• Promotional materials • Video / audio documentation (Please limit to 1 example – provide written explanation of further examples) • Supporting photographs 4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / campaign well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / campaign designed and laid out well?

• Is the campaign creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

Summer 2013

IFEA’s ie: the business of international events

57

CATEGORIES EDUCATIONAL INSTITUTIONS OFFERING EVENT MANAGEMENT PROGRAMS 62) BEST EVENT MANAGEMENT ASSOCIATE DEGREE

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Associate Degree c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Question - Answer question listed to the right, here

63) BEST EVENT MANAGEMENT BACHELOR DEGREE

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Bachelor Degree c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Question - Answer question listed to the right, here

64) BEST EVENT MANAGEMENT CERTIFICATION PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Event Management Certification Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Question - Answer question listed to the right, here

ENTRY INFORMATION FOR CATEGORIES 62-64: • Submit categories 62, 63, 64 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

For entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Materials: (40 points) Please also include any and all of the following Supporting Materials.

Supporting materials should be placed at the end of the entry.

• Student recruiting materials • Student application materials • Marketing materials for program • Complete outline and syllabus of course(s) • Reading requirements list for students • Sample testing Materials 3. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / program well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

CATEGORIES EDUCATIONAL INSTITUTIONS OFFERING EVENT MANAGEMENT PROGRAMS 65) BEST ONLINE EVENT MANAGEMENT TRAINING PROGRAM 1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Online Event Management Training Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Materials - Place at the end of the entry.

66) BEST FESTIVAL & EVENT MANAGEMENT MASTERS PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Festival & Event Management Masters Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Materials - Place at the end of the entry.

67) BEST FESTIVAL & EVENT MANAGEMENT PHD PROGRAM

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Introduction & History of School/University b. Purpose / objective of Festival & Event Management PhD Program c. Date degree/program was founded & time frame the course is offered d. Number of staff members & student to staff ratio e. Number of students enrolled / number graduated f. Tuition costs / Financial assistance offered g. Overall revenue and expense budget of program h. Writing/Speaking/Testing/Research requirements for students i. Practical event experience required (internships/assigned event management etc.) j. Overall effectiveness of degree/program - Alumni success (what are alumni of program doing now?)

2. Supporting Materials - Place at the end of the entry.

ENTRY INFORMATION FOR CATEGORIES 65-67: • Submit categories 65, 66, 67 each within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

For entry, please provide detailed information to the following: 1. Overview Information (50 points) Please provide the required information listed under the specific category to the left.

2. Supporting Materials: (40 points) Please also include any and all of the following Supporting Materials.

• Supporting materials should be placed at the end of the entry.

• Student recruiting materials • Student application materials • Marketing materials for program • Complete outline and syllabus of course(s) • Reading requirements list for students • Sample testing Materials 3. Judging Criteria: (10 points) • Is the entry / program well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / program designed and laid out well?

• Is the program creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

CATEGORIES JUST FOR FUN 68) BEST PROMOTION PUBLICIZING AN IFEA / HAAS & WILKERSON PINNACLE AWARD WIN

ENTRY INFORMATION FOR CATEGORY 68: • Submit category 68 within one (1) notebook (2 or 3 ring binder; spiral bound; report cover; bound publication etc.)

• Please submit your entry in the order listed.

• In addition to the required printed entry, please also provide a pdf or word document of your entire entry (as one (1) document) on a CD or thumb drive. Place CD either at front of entry, or attach to overall payment form. (Okay to submit all of your Pinnacle entries on one (1) CD or thumb drive.)

Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) page to explain each section: a. Purpose / objective of promotional campaign for awards won b. Years participated in awards program c. Average number of entries submitted / won each year d. Target audience for promotion e. Types of mediums used for promotion f. Measurable results (Indicating number of publications / cities / states targeted) g. Measurable results (Indicating percent of distribution that covered news) h. Overall effectiveness of promotion i. Place supporting materials at the end of the entry

For entry, please provide detailed information to the following:

Supporting Questions: Please answer the following supporting questions, using no more than one (1) page for each question: a. What has winning an IFEA / Haas & Wilkerson Pinnacle Award meant to your event? b. How have you used winning an award(s) to your advantage? c. How has winning an award(s) enhanced your presence within your community? d. How has winning an award(s) increased leverage / funding / sponsorship for your event?

4. Judging Criteria: (10 points) No information required. Your entry will also be judged based on the below criteria.

• Is the entry / promotion well organized?

• Is the content professional?

• Is the message clear?

• Is the entry / promotion designed and laid out well?

• Is the promotion creative and / or unique?

• What is the overall impression?

• Have all supporting materials and measurable results been provided?

• Have all requirements been met?

(No Charge to enter this Category) Were you recognized for your outstanding accomplishments with an IFEA/Haas & Wilkerson Pinnacle Award last year?

Gain further recognition for your award and event by promoting your Pinnacle Win, and then share with us what you did!

Supporting Materials: Please also include any and all of the following supporting materials – limiting it to no more than 5 examples of each: • Promotion materials used to promote award • Media clippings from promotion • Examples of IFEA / Haas & Wilkerson Pinnacle Winner logo placement

60

IFEA’s ie: the business of international events

1. Overview Information (30 points) Please provide the required information listed under the specific category to the left.

2. Supporting Question: (30 points) Please answer questions listed under specific category to the left.

3. Supporting Materials: (30 points) Please provide materials listed under the specific category to the left. Supporting materials should be placed at the end of the entry.

Summer 2013

ENTRY FORM REQUIREMENTS

• Please submit one overall entry form with total payment - list all entries submitted on this form. (Be sure to complete sections 1 & 4.)

• Please also submit TWO copies of each individual entry form

2013

AWARDS RELEASE AND USAGE

By submitting your entry to the IFEA / Haas & Wilkerson Pinnacle Awards, you automatically grant the IFEA the right to use any materials from your entries for editorial, analytical, promotional or any other purpose without additional compensation. In addition, you acknowledge your entry / ies are not returnable. Your entry into the competition is acknowledgment of these terms.

– one to be attached to each individual entry – and one to be submitted with payment and overall entry form. (Complete sections 1, 2, 3 on each entry form.) Be sure payment information is NOT filled out on these copies.

• If one organization is entering items for multiple events produced, please submit a separate payment form / overall entry form for each event to allow for proper credit to be given to that event.

• Please be sure to PRINT your organization and event name correctly – as that is how it will appear on any award if won.

• NEW - Please email a high resolution copy of your organization or event logo to nia@ifea.com - subject “2013 Pinnacle Entry Logo” & Your Event / Logo Name.

Sections 1, 2 and 3 must be completed twice for each entry. One copy attached to each individual entry, and one copy attached to payment form.

1. ENTRANT INFORMATION (Required for each entry) (Tip: Complete Section 1. Then make copies to complete form for each entry.)

How you list your organization / event name will be how it is listed on any award won. Please PRINT clearly.

Organization: ________________________________________________________________________ Membership #: ____________________________ Contact Person: _________________________________________________________________________________________________________________ Name of Event (if different from organization): ________________________________________________________________________________________ Address (Do not list P.O. Box): ____________________________________________________________________________________________________ City: ____________________________________ State: _____ Zip Code: _____________________ Country: __________________________________ Phone:______________________________________________ Fax: ______________________________________________________________________ E-mail: ______________________________________________ Website: __________________________________________________________________ 2. BUDGET INFORMATION (Required for each entry) Organization’s Event Expense Budget: (USD, include all cash outflows). Each entry category is divided into the budget categories below. Gold, Silver and Bronze Awards will be given in each budget category unless the number of entries warrants budgets to be combined into over and under $750,000. under $250,000 $250,000 - $749,999 $750,000 - $1.5 million over $1.5 million 3.

ENTRY INFORMATION (Required for each entry) Category Name (required): _____________________________________________________________ Category Number (required): ________________

To help identify your entry – please provide a brief description of entry: (i.e.: black T-shirt with fish; or Photo entitled “Fireworks over Capital”) ____________________________________________________________________

4.

Complete section 4 ONCE. Attach payment for all entries combined.

PAYMENT INFORMATION Total Categories Entered: List which categories you are entering and how many of each. This is so we can account for all of your entries when they arrive. (e.g. 1, 2, 2, 3, 5, 7…): ___________________________________________________________________________________________________________ Entries received with payment by 5:00 p.m. June 17, 2013 (MST) will receive the Member early bird rate of $30 per entry or $50 per Grand Pinnacle Entry; or the Non-Member early bird rate of $60 per entry or $100 per Grand Pinnacle entry, depending on IFEA Membership Status. Entries received between June 18, 2013 and July 15, 2013 will receive the Member final entry rate of $35 per entry or $60 per Grand Pinnacle entry; or the Non-Member final entry rate of $75 per entry or $150 per Grand Pinnacle entry, depending on IFEA Membership Status.

Early Bird Member Rates

Final Entry Member Rates

Early Bird Non-Member Rates

Final Entry Non-Member Rates

Grand Pinnacle:

$50 x _____= $_______

$60 x _____= $_______

$100 x _____= $_______

$150 x _____= $_______

Pinnacle Entries: $30 x _____= $_______ (Categories 2-67)

Category #68: $ 0 x _____ = $_______ (Just for Fun Category)

$35 x _____= $_______

$60 x ______= $_______

$75 x ______= $ _______

TOTAL NUMBER OF ENTRIES: ___________________________ TOTAL AMOUNT ENCLOSED: $ ______________________________________ Check (Make checks payable to IFEA) Visa MasterCard American Express Print Cardholder Name: __________________________________________________________________________________________________________ Signature: ______________________________________________________________________________________________________________________ Credit Card Number: _____________________________________________________________________________________________________________

Expiration Date: _____________________________________________ CVN Code: ______________________(MC / VISA-3 digit code back) (AMX-4 digit code front) DID YOU REMEMBER TO Include your payment for total entries along with 1 overall entry form listing each category number entered Include 2 individual entry forms for each item – one with item, one with payment, do not list payment details on these forms Include each entry (as requested) on a disk or thumb drive Email organization / event logo to nia@ifea.com Review all rules for entry submission – go to: Pinnacle Awards section at www.ifea.com for more info.

International Festivals & Events Association • 2603 W Eastover Terrace • Boise, ID 83706 U.S.A. • phone: +1.208.433.0950 • fax: +1.208.433.9812 • web: www.ifea.com

in five years…

Global Festival and Event leaders will use international communication and exchange as their primary source for ideas.

Festival and Event industry leadership directories will be filled with the names of individuals you haven’t met yet.

Festival and Event professionals will depend on tools, products and resources that don’t exist today.

International Festivals & Events Association

Today’s IFEA… Professional Preparation for Tomorrow.

2010

INTERNATIONAL EVENTS

17

PRESENTING SPONSOR

IFEA WORLD FESTIVAL & EVENT CITY

©

AWARD PROGRAM “Recognizing the best in community leadership and festival and event partnerships around the world.”

ABOUT THE

IFEA WORLD FESTIVAL & EVENT CITY AWARD

©

The IFEA World Festival & Event City Award© was designed and created as a way for the global festivals and events industry to openly encourage, support, learn from and recognize positive local environments for festivals and events worldwide. Festivals and events create tremendous community and economic capital in the markets that they serve, but the partnership with and support from the local community, at all levels, is critical to the success and sustainability of existing festivals and events, as well as the ability to attract and encourage new events. Through this special award the IFEA is pleased to recognize and fly the flag of those cities and markets who have worked, through concerted efforts, to provide an environment conducive to successful festivals and events.

Recipients of the IFEA World Festival & Event City Award© from the first few years have already provided us with a sampling of standout programs and lessons learned in multiple areas including: • Provision of an insurance coverage umbrella policy for all city events; • ‘One-stop shopping’ for event permitting and municipal service needs; • A common volunteer program shared by all city events; • Provision of a music licensing umbrella agreement for all city events; • Provision, maintenance and storage of non-proprietary equipment for all city events; • Shared marketing campaigns; • Provision of training seminars for city events to help ‘raise all boats’; • Provision of all city permits at no-cost to events; • Free/Discounted city services for events; • And many more.

It is easy to imagine the positive impact – both social and economic – that such city/event initiatives (and new ones yet to be created) can have on host communities and events around the world.

For each year’s selected cities, the IFEA World Festival & Event City Award© provides: • A strong platform from which to recognize the success of current and on-going efforts by every component of your community; • A clear positioning statement to encourage continued infrastructure, policy and process enhancement and expansion; and • A powerful marketing statement for use in recruiting and encouraging new festivals, events and businesses.

64

IFEA’s ie: the business of international events

Summer 2013

VISA: GLOBAL SPONSOR OF THE IFEA WORLD FESTIVAL & EVENT CITY AWARD

©

In 2011, VISA joined with the International Festivals & Events Association to become the presenting sponsor of the IFEA World Festival & Event City Award, creating a natural partnership between the global events industry and the globally recognized financial leader.

“Through this unique and special award, the IFEA hopes to create and expand the dialogue between events and cities around the world, at a time when each needs to be supporting the other more than ever. VISA is the ideal partner for this program and together we look forward to creating new and ongoing opportunities to explore and inspire these important city/event partnerships, redefining ‘best practices’ and setting the stage for the future,” said Steven Wood Schmader, CFEE, President & CEO of IFEA World.

Charles Brown, Chairman & CEO of Festival Transaction Services and Festival Media Corporation, representing VISA in recognizing the 2011 IFEA World Festival & Event City Award© recipients, commented that “The IFEA has successfully built a global network of event professionals and resources that are changing the face of the industry and VISA is proud to be a part of that effort.”

Festival Transaction Services has formed a new partnership that includes VISA, Bank of America Merchant Services and First Data Corporation – the three largest financial services companies in the United States – to provide cash management services to the festivals and events industry around the world. “We know that the professionals in the global festivals and events industry today are in need of strong and reliable partners – from recognition to cash management systems that can help them increase revenues and build stronger financial foundations. We can now bring that to the table and are excited about working with the IFEA to help strengthen the success of festivals and events around the world,” noted Brown.

For more information on VISA products and services for festivals and events, please contact Jim Shanklin, Executive Vice President of Festival Transaction Services/Festival Media Corporation at +1-206-381-5202 or jshanklin@festmedia.com.

ENTRY INFORMATION Quick Reference Guide DEADLINES

• Entry Deadline: 5:00 p.m. (Mountain Time Zone) – Monday, July 1st, 2013 • Entry must include completed entry, additional requested details and application form with payment • Due to time constraints in judging, late entries cannot be accepted.

FEES

The total cost to enter the IFEA World Festival & Event City Award© is $695 (U.S. Dollars) for IFEA Members and $895 (U.S. Dollars) for non-IFEA Members per entry. Payment may be made using a Visa, MasterCard or American Express credit card or by Check (made payable to the IFEA) or by Wire Transfer. For more information on Wire Transfers and transfer fees, please contact Bette Monteith at bette@ ifea.com or +1-208-433-0950 ext: 2.

ELIGIBILITY

Applications for the IFEA World Festival & Event City Award© may be submitted by the City itself or by an event(s) on behalf of their City. It is our hope that the application process itself will result in an even closer working partnership and dialogue between the Applicant City and the festivals and events who serve that market.

JUDGING

Judging of the IFEA World Festival & Event City Awards© is done by an international panel of festival and event industry experts.

Award Recipients will be selected from within the following global regions: • Africa • Asia • Australia / New Zealand • Europe • Latin America (Including South • & Central America and Mexico) • The Middle East (MENASA) • North America And from the following population categories: • Population under 1 million • Population over 1 million

66

IFEA’s ie: the business of international events

Summer 2013

Additionally, one entry will be selected as the top global entry within in each of the four possible population categories.

• Regions and population categories may be combined as deemed appropriate by the Judging Panel.

• Politically connected islands and territories should choose the region of their most direct affiliation.

• An ‘Other’ option is provided on the application form to include any City that does not feel it fits logically into any of the seven regions.

SCORING SYSTEM

• A possible total of 100 points may be awarded to each entry based on the individual components listed under Sections 1-6 of the overall entry.

• Failure to meet all requirements or answer/ provide all necessary information may impact judging decisions and will result in a deduction of points.

• If a section or element does not apply to your City, please state this within your entry (and why it does not apply) in order to avoid losing points.

SELECTION AND NOTIFICATION

• Award Recipients will be notified via email

by August 21st, 2013. Notification will go to the primary contact listed on the entry application.

• The 2013 IFEA World Festival & Event City Awards© will be presented at during the IFEA’s 58th Annual Convention & Expo, location and date TBA. The top applicant from each population category, as judged against all global regions, will be highlighted in a brief video presentation.

• Applicants may re-apply for the IFEA World Festival & Event City Award© each year.

MAXIMIZING YOUR AWARD

Being selected as an IFEA World Festival & Event City is only the beginning of the benefits to be gained from this special honor. The IFEA will help each recipient with ideas on how to maximize and leverage your award, with specific examples from previous recipients.

• Each winning recipient of the IFEA World Festival & Event City Award© will receive an engraved award suitable for indoor display and an IFEA World Festival & Event City flag to be proudly flown or displayed outdoors or indoors. These will be provided with a personal letter of congratulations to each City.

• Additional IFEA World Festival & Event City awards, flags and recognition items are available for purchase by award recipients wishing to share their honor with the many partners who helped them to win.

• Winning recipients will be provided with the rights to use the 2013 IFEA World Festival & Event City Award© Winner logo on their websites, press releases and other appropriate City letterhead, brochures, marketing materials, etc.

• The IFEA will announce all IFEA World Festival & Event City Award© recipients in an international press release to the world’s leading media sources, including all local market media contacts provided to the IFEA by selected applicants.

• IFEA World Festival & Event City Award© recipients will be featured in a special on-line tribute section at www.ifea.com in perpetuity and in a special section of ie: the business of international events, the IFEA’s industry-leading magazine.

• Each winning recipient will receive a one year complimentary IFEA membership.

RELEASE & USAGE

• By submitting your entry to the IFEA World Festival & Event City Award, you automatically grant the IFEA the right to use any materials from your entry for editorial, analytical, promotional or any other purpose without additional permission or compensation. All materials and photos submitted as part of the application will become the property of the IFEA. • Entries submitted are not able to be returned. Copies should be made prior to submitting your entry, as desired. Note: Proprietary or sensitive information will not be shared if identified clearly.

• Winning applicants agree that the IFEA may use their City name and representative photos in all press releases and program marketing materials, both hard copy and electronic versions.

• Your entry into the competition is acknowledgement of these terms.

ENTRY REQUIREMENTS

Working in partnership with local community leadership, festivals, events, organizations and businesses, please provide a clear overview and understanding of the festival and event environment in your City/Market through your responses to each defined section. The application process in itself is a great opportunity to evaluate internally the areas where your City excels and other areas where you may be able to strengthen your efforts and further support local programs.

Cities interested in being considered for the annual IFEA World Festival & Event City Award© must submit and include the following information: 1. A completed entry form providing contact and payment information.

2. A one (1) paragraph description of your city (to be used for promotional purposes by the IFEA).

3. An email list of your local media contacts in Excel format for IFEA to use to announce the selected recipients.

4. A representative photograph representing your City or events. (A least 300 dpi in size) 5. A three (3) minute video presentation representing your City. (Refer to Important Details section below for video format.)

6. A one (1) page introductory letter stating why your City should be selected to receive the IFEA World Festival & Event City Award.

7. Your overall completed IFEA World Festival & Event City Award© Entry providing responses and supporting information for the following sections. Refer to pages 6-9 for detailed descriptions required for each section. This part of your entry must be submitted as one (1) singular entry piece/ document/PowerPoint/Pdf, etc.: ❍ Section 1: Community Overview ❍ Section 2: Community Festivals & Events ❍ Section 3: City/Government Support of Festivals & Events ❍ Section 4: Non-Governmental Community Support of Festivals & Events ❍ Section 5: Leveraging ‘Community Capital’ Created by Festivals & Events ❍ Section 6: Extra Credit

• Please submit your overall entry on a CD, DVD disc, or USB flash drive (if mailing) to the IFEA World Headquarters, via email in a Word, PowerPoint, PDF document, tif, jpg or other standard formats (if submitted electronically).

• All video support inclusions should be encoded for Region 1 or Region 0 DVD capabilities. If you do not have electronic capabilities, please contact the IFEA to arrange for other alternatives.

• Entries over one Meg must be provided as a link to a fixed site with no expiration timeframe.

TIPS & POINTERS

To view examples of past IFEA World Festival & Event City Award© recipients, go to: www.ifea.com / Industry Awards / World Festival & Event City Award / Recipients.

• Not all components under a specific section will pertain to everyone. Don’t worry; there are no ‘right’ or ‘wrong’ answers and our international judging panel will base their decisions on overall impressions after reviewing all of the submitted information. We are all learning from each other, with the goal of strengthening the partnerships, benefits and returns to our respective communities from the festivals and events that are such an important part of the community fabric and we hope to find additional new ideas being implemented from within all of the award entries that we can share in the future.

• Responses to the requested information may require a straight-forward numerical answer, or a more descriptive definition.

While we have placed no limits on length, we encourage you to provide the most succinct answers possible that clearly make your point.

• Support materials, photos, videos, brochures, copies, etc. should be inserted following the responses to each section.

• As needed, we may communicate with the primary contact on the application to clarify any questions that may arise.

IMPORTANT DETAILS

SEND ENTRIES TO

• Please submit your main entry (as listed in components 6-7 under Entry Requirements above), as one (1) singular entry piece/document/ PowerPoint/Pdf, etc.

Components 1-5 listed under Entry Requirements may be submitted as separate pieces from the main entry, but must be submitted at the same time.

• All entry information should be provided in English and typed using 10-point Arial font.

Please email completed entries, application form and payment to: nia@ifea.com.

QUESTIONS?

Contact: • Steve Schmader at schmader@ifea.com • Nia Hovde at nia@ifea.com • Phone: +1-208-433-0950 ext:3

IFEA World Festival & Event City Award

©

ENTRY REQUIREMENTS

Working in partnership with local community leadership, festivals, events, organizations and businesses, please provide a clear overview and understanding of the festival and event environment in your City/Market through responses to each of the following sections. The application process in itself is a great opportunity to evaluate internally the areas where your City excels and other areas where you may be able to strengthen your efforts and further support local programs.

Please submit the following information: 1. A completed entry form providing contact and payment information.

2. A one (1) paragraph description of your city (to be used for promotional purposes by the IFEA) 3. An email list of your local media in Excel format for IFEA to use to announce the selected recipients.

4. An individual photograph representing your city. (A least 300 dpi in size).

5. A three (3) minute video presentation representing your city. (Refer to Important Details section for video format.)

6. A one (1) page introductory letter stating why your City should be selected to receive the IFEA World Festival & Event City Award.

7. Your overall completed IFEA World Festival & Event City Award© Entry providing responses and supporting information for Sections 1-6 below. This part of your entry must be submitted as one (1) singular entry piece/document/PowerPoint/Pdf, etc. Please refer to the Entry Requirements and Important Details sections for specific entry formats and details.

To view examples of past IFEA World Festival & Event City Award© recipients, go to: www.ifea.com / Industry Awards / World Festival & Event City Award / Recipients

Section 1.

Community Overview The information in this section will help provide us with a better understanding of your community and the infrastructure in place to host and/or support those producing and attending festivals and events.

• Please provide an overview of your community that will provide us with as many elements as possible, such as: a. Current City Population b. Current SMSA or LUZ Population (Standard Metropolitan Statistical Area or Large Urban Zone) c. Population within a 50 Mile Radius of Applicant City d. Primary Festival and Event Venues Available (Indoor and Outdoor. For example: Theatres, Plazas, Bandshells, Parks, Stadiums, Fairgrounds, Sport Facilities, Convention Centers, etc., including those facilities planned for completion within the next two years. Include Estimated Capacities for each. For outdoor venues, use a formula of 1 person per 3 square feet if no other total capacity numbers are available.) e. Water and Power Accessibility in Outdoor Venues f. Hospital and Emergency Response Availability g. Total Number of Hotel Rooms Available h. Public Transportation Options i. Parking Availability (Paid lots, meters, and free) j. Walking Paths, Bicycle Lanes k. Estimated City Visitors Annually Attributed to Festivals and Events

68

IFEA’s ie: the business of international events

Summer 2013

Section 2.

Community Festivals and Events The information in this section will provide us with an understanding of the diversity and success of current festivals and events that serve your city residents and visitors.

• Please provide us with a good overview of the leading festivals and events currently operating in your market, listing as much detail as possible about each, such as: a. b. c. d.

e. f. g. h. i. j. k. l. m. n. o. p.

Festival or Event Name Top Executive Contact Information Number of Years Festival or Event has been Produced Event Dates (Minimally the month held, with days if clearly defined – For example: the last weekend in June. If the event is a series, list the starting and ending dates – For example: Every Wednesday, June through August.)

Recurrence Cycle (Annually, Every 5 Years, etc.)

Estimated Gross Operating Revenues Estimated Gross Operating Expenses Estimated Total Sponsorship Support Estimated Volunteer Count and Estimated Hours Worked Estimated Combined Aggregate Attendance Estimated Non-Aggregate Attendance Primary Targeted Marketing Efforts (Local, Statewide, Provincial, Regional, National or International) Estimated Percentage of Annual Attendees from Geographical Areas (Local, Statewide, Provincial, Regional, National, International) Awards and Recognition Received Management Staff Professional Certifications and/or Degrees in Festival & Event Management Professional Industry Involvement / Memberships

Section 3.

City/Governmental Support of Festivals and Events The information in this section will help us to understand the strength and depth of support by the applicant City and other area governmental bodies (County, State, taxing districts, etc.) as it pertains to festivals and events.

• Please define or describe each of the following elements (a-i) below, as completely and accurately as possible.

• Where available and appropriate, please provide examples and copies.

• If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. b. c. d. e. f. g. h. i.

Defined Public Objectives and Support Statements for Festivals and Events by the City and Other Local Government Agencies Direct Funding Support Provided to and/or Budgeted for Festivals and Events from the City or Other Government Agencies In-Kind Services Support Provided to and/or Budgeted for Festivals and Events from the City or Other Government Agencies Defined Role of the City in Festival and Event Approval City-Provided Festival and Event Process Coordination and Assistance System (For example: Existence of City Events Department; One-Stop Shopping for Permitting and Planning Needs) Participation in Official Capacity by City Department Representatives on Boards and Planning Committees of Local Festivals and Events Local Laws, Ordinances, Regulations, Permits and Policies Impacting and Supportive of Festivals and Events (For example: noise ordinances, traffic regulations, curfews, parking fees, fireworks regulations, ambush marketing control, alcohol service requirements, taxes, food safety, insurance requirements, etc.)

City Provided Festival and Event Training Programs (For example: Marketing, Planning, Budgeting, Risk Management, Alcohol Service, City Department Introductions, etc.)

Direct Industry Involvement / Memberships by City/City Departments

Section 4.

Non-Governmental Community Support of Festivals and Events The information in this section will help us to understand the commitment to festivals and events and direct support provided by community individuals and non-governmental organizations. Without this type of support most festivals and events could not achieve the level of success that these important partnerships help to build.

• Please define or describe each of the following elements (a-l) below (if applicable) as completely and accurately as possible.

• Answers should be provided as an overview reflective of the entire community versus an individual event/organization.

• If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. Volunteer Involvement b. Sponsorship Support c. Media Support d. Chamber of Commerce / Convention & Visitors Bureau Support (Promotion and marketing activities, familiarization tours, travel writer access, material creation, information distribution, grant funding, visitor hosting, etc.) e. Downtown Associations (Support by Downtown merchants and businesses) f. Organizations to Assist Individuals with Disabilities g. Local Event Cooperatives h. Sports Commissions i. Educational Institution Support j. Special Incentives/Discounts Provided to Festivals and Events by Local Venues k. Access to Industry Suppliers in Local Market (For example: banners and decorations; generators; portable toilets; merchandise; generators; stage, lights & sound; golf carts; security; chairs; barricades; ATM’s; communication services; etc.) l. Direct Industry Involvement / Memberships by Any of the Above

Section 5.

Leveraging ‘Community Capital’ Created by Festivals & Events

The information in this section will help us to understand how the City and its non-governmental partners maximize the ‘community capital’ created by festivals and events in your market.

• Please define or describe how your City uses the branding and marketing images/ opportunities provided by your local festivals and events to leverage return in other areas.

• These may include, the items below, among others.

• If a section or element does not apply to your city, please state this within your entry and why it does not apply and/or what you may have/use instead. a. Community Branding b. Promoting Tourism c. Convention Marketing d. Corporate Recruiting Efforts e. Relocation Packets and Information f. Familiarization Tours g. Out-of-Market Media Coverage h. Enhancing Exposure to the Arts and Other Causes i. Creating Highly Visible Public Relations Campaigns for City Facilities and Services (For example: police, parks, fire, EMT’s, transportation, venues) j. Encouraging Community Bonding, Participation, and Celebration k. Highlighting or Developing Underused Venues or Sections of the Community l. Creating Legacies and Images Beyond the Event 70

IFEA’s ie: the business of international events

Summer 2013

Section 6.

Extra Credit This section provides an opportunity to highlight any other programs, services, resources, activities, etc., that may not have been included or covered in the previous sections. Some examples may include the items below, among others,

a. Skills Development - Availability of Certificate or Degree Programs in Festival & Event Management through a Local University or Private Provider b. Members of Your Event Community Who Currently Hold a Certified Festival & Event Executive (CFEE) Designation c. Secondary School System Graduation Requirements that Encourage Volunteerism and Community Service during Festivals and Events d. A Festival and Event Shared Resource Program in Your City (For example: shared warehousing, office space, equipment, staff, etc.) e. Efforts to Actively Recruit New Events to Your City (Please include reference to any applications made/secured if this area pertains) f. Other Creative Endeavors

IFEA World Festival & Event City Award© APPLICATION Entry Deadline: 5:00 p.m. (MST) Monday, July 1st, 2013 Submit Entries, Entry Form and Payment to: IFEA World Festival & Event City Award© 2603 Eastover Terrace, Boise, Idaho, 83706 USA Phone: +1-208-433-0950 ext: 3 – nia@ifea.com

CITY APPLICANT INFORMATION (Please print clearly) Applicant City Name (If including information from surrounding market or suburb communities, please note those in parenthesis): ______________________________________ __________________________________________________________________________________________________________________________ State / Province or Territory: __________________________________________________________________________________________________ Country: __________________________________________________________________________________________________________________ Global Region: (Choose one)

❍ Africa ❍ Asia ❍ Australia / New Zealand ❍ Europe ❍ Latin America ❍ The Middle East (MENASA) ❍ North America Note: Politically connected islands and territories should choose the region of their most direct affiliation. ❍ Other (If you choose ‘Other’ please clearly specify location below.) __________________________________________________________________________________________________________________________ Population Level (select one):

❍ Under 1 million ❍ Over 1 million

PRIMARY CONTACT INFORMATION (Please print clearly) The following information should pertain to the primary individual with whom the IFEA should communicate with, as necessary, throughout the award judging and selection process.

Name: ___________________________________________________________ Title: __________________________________________________ Organization: ______________________________________________________________________________________________________________ Mailing Address: ___________________________________________________________________________________________________________ City, State, Country, Postal Code: _____________________________________________________________________________________________ Phone (Business): _________________________________________________ Phone (Mobile): _________________________________________ Fax: _____________________________________________________________ E-Mail: _________________________________________________ Note: The Applicant City will receive a complimentary membership for one year in IFEA through our appropriate global affiliate. If different from the

Primary Contact please let us know who should receive this membership.

RELEASE & USAGE

• By submitting your entry to the IFEA World Festival & Event City Award©, you automatically grant the IFEA the right to use any materials from your entries for editorial, analytical, promotional or any other purpose without additional compensation. All materials and photos submitted as part of the application will become the property of the IFEA.

• Winning applicants agree that the IFEA may use their City name and representative photos in all press releases and program marketing materials, both hard copy and electronic versions.

• Your entry into the competition is acknowledgement of these terms.

PAYMENT TOTAL

IFEA Member Non IFEA Member IFEA World Festival & Event City Award©: Number of Entries:_________x ❍ $695 USD Per Entry ❍ $895 USD Per Entry = $_____________

PAYMENT INFORMATION Please select your method of payment:

❍ VISA

❍ MasterCard

❍ American Express ❍ Check (Made payable to the IFEA) ❍ Wire Transfers: (Contact Bette Monteith at bette@ifea.com for details)

Print Cardholder Name: _____________________________________________________________________________________________________ Signature: _________________________________________________________________________________________________________________ Credit Card Number: ________________________________________________________________________________________________________ Expiration Date: _____________________________________________ CVN Code: _________________ (VISA/MC-3 digit code back) (AMX-4 digit code front)

DID YOU REMEMBER TO:

❍ Complete the entry form providing contact and payment information? ❍ Submit a one (1) paragraph description of your city (to be used for promotional purposes by the IFEA)? ❍ Submit an email list of your local media in Excel format for IFEA to use to announce the selected recipients? ❍ Submit an individual photograph representing your city. (A least 300 dpi in size)?

❍ Submit a three (3) minute video presentation representing your city? ❍ Submit a one (1) page introductory letter stating why your City should be selected to receive the IFEA World Festival & Event City Award©? ❍ Submit your overall completed IFEA World Festival & Event City Award© Entry providing responses and supporting information for Sections 1-6?

Is this entry submitted as one (1) singular entry piece/document/ PowerPoint/Pdf, etc.? Is this entry provided on a disk, USB Flash Drive or electronically in a Word, PowerPoint, PDF or other standard format?

2013 IFEA Webinar Series

IFEA is pleased to present our 2013 Webinar Series!

Offering online educational sessions hosted by industry leaders and special guests, the IFEA Webinar series covers a wide variety of topics important to your organization’s success.

Webinars are easy to attend . . . just view and listen to the presentation online from the comfort of your own computer - without even leaving your desk! No Travel Expense Required. Can’t make the live presentation of the Webinar? All Live webinars are recorded and are available for 7 days following the live presentation to watch at your leisure. What better way to receive great educational information by great presenters while saving both time and travel expenses!

Registering for a Webinar: Live Webinars are available for purchase via any of the following methods: • Online at the IFEA Bookstore & Resource Center • Faxing or mailing in the Webinar Registration Form ❍ (See separate brochure/registration form for Webinars on Demand) • Calling the IFEA at +1-208-4330950 ext: 3 Webinar Start Time in Your Time Zone: 7:00 a.m. Hawaii 9:00 a.m. Alaska 10:00 a.m. Pacific 11:00 a.m. Mountain 12:00 p.m. Central 1:00 p.m. Eastern 6:00 p.m. GMT Webinar Length: 60 Minutes Individual Webinar Cost: • $59 - IFEA Members • $59 - Association Alliance Members

• $79 – Festival & Event Ontario Members • $99 - Non-IFEA Members Registration cost is per computer site for as many people as you can sit around your computer. Gather additional staff, volunteers, or board members around your computer so they too can join you for this learning experience at no additional charge!

Buy More, Save More Webinars in Bulk Pricing: The more Webinars purchased, the more available for free. May combine Live Webinar Presentations and Pre-Recorded Webinars on Demand to take advantage of this special offer. See separate Webinars On Demand Brochure for On Demand schedule. (Call, Mail or Fax orders only, not available for online purchasing) • BUY 3 Webinars and Receive 1 FREE • BUY 5 Webinars and Receive 2 FREE • BUY 10 Webinars and Receive 5 FREE Questions?

Contact: Nia Hovde, Director of Marketing & Communications at: nia@ifea.com

© Copyright 2013. The presentation, materials and content of these Webinars are the intellectual property of the International Festivals & Events Association (IFEA) and the specific presenter for each webinar. They are presented for the educational use of each paying customer to the IFEA. Any reproduction, rebroadcast or reselling of this webinar, or the content contained within, by an outside party, without the expressed written consent of the IFEA is strictly prohibited.

2013 IFEA WEBINAR SCHEDULE THURSDAy, JANUARy 17TH, 2013 Building a Business Plan for Future Success Penny Reeh, CFEE, President & CEO Fredericksburg, Chamber of Commerce, Fredericksburg, TX CFEE Elective Credit: Leadership/Management Skills THURSDAy, JANUARy 31, 2013 Practical Advice for Promoting Events Online Doug Rasch, Director of Online Marketing Edgeworks Group, Irvine, CA CFEE Elective Credit: Current Industry Issues & Trends THURSDAy, FEBRUARy 14, 2013 Rock Star Strategies for Sponsorship Success Stephanie Donoho, CFEE, Tourism Specialist Department of Research and Development, County of Hawaii, Hilo, HI CFEE Elective Credit: Economic Impact THURSDAy, FEBRUARy 28, 2013 Merchandise 101: Kick Starting a Merchandising Program Built for Results Stephen King, CFEE, Executive Director Des Moines Arts Festival, Des Moines, IA CFEE Elective Credit: Creativity & Innovation THURSDAy, MARCH 14, 2013 Beyond Your Local Bands – Taking the Next Step in Booking Entertainment Paul Jamieson, CFEE, Executive Director SunFest of West Palm Beach, FL CFEE Elective Credit: Leadership/Management Skills THURSDAy, ApRIL 11, 2013 The Foundations of Leadership: “They” KNOW it When “They” SEE it!

Gail Alofsin, Director of Corporate Partnerships Newport Harbor Corporation, Newport, RI CFEE Elective Credit: Leadership/Management Skills THURSDAy, ApRIL 18, 2013 Enhancing Sponsorship ROI - Using New Technologies to Connect Your Audiences and Sponsors Bruce Erley, CFEE, APR, President & CEO Creative Strategies Group, Broomfield, CO CFEE Elective Credit: Current Industry Issues & Trends THURSDAy, ApRIL 25, 2013 Having History Repeat Itself! (The Good Parts) Ted Baroody, President Norfolk Festevents, Norfolk, VA CFEE Elective Credit: Current Industry Issues & Trends THURSDAy, MAy 16, 2013 Trends and Techniques In Food and Beverage Programs Domenick Fini, Vice President of Finance and Marketing Norfolk Festevents, Norfolk, VA CFEE Elective Credit: Current Industry Issues & Trends THURSDAy, MAy 30, 2013 60 Ideas in 60 Minutes Gail Bower, President Bower & Co. Consulting, Philadelphia, PA CFEE Elective Credit: Creativity & Innovation THURSDAy, OCTOBER 17, 2013 Signal Strength… Building Trusted Media Relationships Jeannie McFarland Johnson, Media & Marketing Director Creative Strategies Group, Broomfield, CO CFEE Elective Credit: Current Industry Issues & Trends THURSDAy, OCTOBER 24, 2013 Emergency Plans: What’s Your Level of Preparedness?

Terry Powers, Vice President, Operations 500 Festival, Indianapolis, IN CFEE Elective Credit: Leadership/Management Skills THURSDAy, OCTOBER 31, 2013 Making Sure the Party is Safe – New Regulations for Special Events in the City of Ottawa Delores MacAdam, Manager of Licensing Programs and Special Events City of Ottawa Events Central Branch, Ottawa, ON, Canada Valerie Bietlot, City Solicitor, Ottawa, ON, Canada CFEE Elective Credit: Leadership/Management Skills THURSDAy, NOvEMBER 7, 2013 The Role of the Board -- Inside and Outside of the Board Room Mitch Dorger, Principal Dorger Consulting, Pasadena, CA CFEE Elective Credit: Leadership/Management Skills THURSDAy, NOvEMBER 14, 2013 Branding For Your Festival and Event Ira Rosen, CFEE, President & CEO Entertainment On Location, Point Pleasant, NJ CFEE Elective Credit: Creativity & Innovation

IFEA

Webinar Series

Upcoming Live Webinar Presentation Registration Form

REGISTRATION CONTACT INFORMATION Webinar Participant: ___________________________________________________________________________________________________________ Webinar Participant Email: _______________________________________________________________________________________________________ Organization: ________________________________________________________________________________________________________________ Address: __________________________________________________________________________________________________________________ City, State/Province, Zip Code: ______________________________________________________________________ Phone: _________________________ PURCHASE INFORMATION

IFEA Member Association Alliance

Festival & Event Ontario Members

Non-IFEA Member

Total

Individual Webinars:________Quantity X

$59 (USD)

$79 (USD)

$99 (USD)

___________

Purchasing Webinars in Bulk: BUY 3 Webinars and Receive 1 FREE

$177 (USD)

$237 (USD)

$297 (USD)

___________

BUY 5 Webinars and Receive 2 FREE

$295 (USD)

$395 (USD)

$495 (USD)

___________

BUY 10 Webinars and Receive 5 FREE

$590 (USD)

$790 (USD)

$990 (USD)

___________

TOTAL

___________

PAYMENT INFORMATION Select method of payment:

VISA

MasterCard

American Express

Discover

Check (make check payable to IFEA in U.S. funds)

Print Cardholder Name: _________________________________________________________________________________________________________ Signature: _________________________________________________________________________________________________________________ Credit Card Number: ___________________________________________________________________________________________________________ Expiration Date: _______________________________________________ CVN Code: _______________________(MC/Visa-3 digit code back) (AMX-4 digit code front)

2013 UPCOMING LIVE WEBINARS: To register please make your selection by checking (√) from the webinars below:

❍ Thursday, January 17th, 2013

❍ Thursday, April 11, 2013

❍ Thursday, October 17, 2013

❍ Thursday, January 31, 2013

❍ Thursday, April 18, 2013

❍ Thursday, October 24, 2013

Building a Business Plan for Future Success Penny Reeh, CFEE, Fredericksburg, Chamber of Commerce Practical Advice for Promoting Events Online Doug Rasch, Edgeworks Group

❍ Thursday, February 14, 2013

Rock Star Strategies for Sponsorship Success Stephanie Donoho, CFEE, Department of Research and Development, County of Hawaii

❍ Thursday, February 28, 2013

Merchandise 101: Kick Starting a Merchandising Program Built for Results Stephen King, CFEE, Des Moines Arts Festival

❍ Thursday, March 14, 2013

Beyond Your Local Bands – Taking the Next Step in Booking Entertainment Paul Jamieson, CFEE, SunFest of West Palm Beach

The Foundations of Leadership: “They” KNOW it When “They” SEE it!

Gail Alofsin, Newport Harbor Corporation Enhancing Sponsorship ROI - Using New Technologies to Connect Your Audiences and Sponsors Bruce Erley, CFEE, APR, Creative Strategies Group

❍ Thursday, April 25, 2013

Having History Repeat Itself!

(The Good Parts) Ted Baroody, Norfolk Festevents

❍ Thursday, May 16, 2013

Trends and Techniques In Food and Beverage Programs Domenick Fini, Norfolk Festevents

❍ Thursday, May 30, 2013 60 Ideas in 60 Minutes Gail Bower, Bower & Co. Consulting

Signal Strength… Building Trusted Media Relationships Jeannie McFarland Johnson, Creative Strategies Group Emergency Plans: What’s Your Level of Preparedness?

Terry Powers, 500 Festival

❍ Thursday, October 31, 2013

Making Sure the Party is Safe – New Regulations for Special Events in the City of Ottawa Delores MacAdam & Valerie Bietlot, City of Ottawa Events Central Branch

❍ Thursday, November 7, 2013

The Role of the Board – Inside and Outside of the Board Room Mitch Dorger, Dorger Consulting

❍ Thursday, November 14, 2013

Branding For Your Festival and Event Ira Rosen, CFEE, Entertainment On Location

Registration cost is per computer site for as many people as you can sit around your computer.

Once your registration has been submitted, you will receive an email from the IFEA confirming that you have been registered for the Webinar. The day before the scheduled Webinar, you will receive an email with specific instructions on how to log in for the Webinar. You will receive this email again, the day of the Webinar.

Webinars in Bulk offer is applicable to both Upcoming Live Webinar Presentations and Pre-Recorded Webinars On Demand.

Payment must be received in full at time of registration to participate in Webinars. No refunds on webinar registration unless notified 24 hours prior to start of webinar.

Live webinars are recorded and are made available for 7 days following the live presentation.

International Festivals & Events Association • 2603 W Eastover Terrace • Boise, ID 83706 - U.S.A. Summer 2013 IFEA’s ie: the business of international events Questions: Contact Nia Hovde, Director of Marketing & Communication at nia@ifea.com or Phone: +1-208-433-0950 ext: 3, Fax: +1-208-433-9812 • www.ifea.com

75

FOUNDATION

Valuable Resources at Your Fingertips Monday, April 15th, 2013 started out as tax day! The buzz in the morning was all about filing your taxes. Who owed money to the government, and who was getting money back.

By midafternoon, the news of the Boston Bombings hit the airwaves. All week we were inundated with news regarding this tragedy. We became aware that safety is not guaranteed, and we must be more aware of our surroundings.

My heart went out to the families of all those involved with this tragedy.

I, for one had a very hard time not thinking about it. I was sucked in by the media to listen 24/7.

As I was listening, I was hoping someone would talk to the event producers and volunteers of the marathon. Not immediately, but I was hoping midweek a discussion would evolve. I really wanted to know what they are feeling.

What they thought that they would do or could do differently. I am pretty sure most of us have thought about the events we produce and what we can do to protect our stakeholders. As time goes on, I’m sure we will hear more on additional requirements from cities to help prevent a tragedy such as this from happening again at a festival or event near you.

However, don’t wait for your city to send out additional requirements to you. You have the greatest resource for

76

this kind of information at your fingertips, with the IFEA! If you missed the many important emails sent out by the IFEA the afternoon and following days after the Boston Marathon bombings with valuable safety & security information from the Department of Homeland Security, the information can be found on the IFEA Website – or just contact the IFEA directly and they’ll be happy to share. It is this sharing of resources that makes the IFEA an instrumental resource in educating event professionals.

The upcoming Annual Convention, this year in Pittsburgh, PA, September 16-18, 2013 is packed with topics on how to be a better event manager; the online educational Webinars hosted by industry leaders offer topics that are important to your organization; the Annual Expo at the Convention features event specific products; and the learning that takes place outside meeting rooms in-between sessions at the Convention is an invaluable exchange of ideas hard to be duplicated anywhere else.

What can you do to ensure IFEA continues to be this valuable resource in educating festival and event professionals now and in the future?

Get involved with the IFEA Foundation.

The IFEA Foundation helps to support the mission and vision of the IFEA by providing financial support that allows the organization to fulfill its educational goals; goals which further ensure the quality of both the events and the professionals who make up our unique industry. Last year alone, the IFEA Foundation granted eleven Legacy Scholarships to deserving industry professionals to the Annual Convention.

In addition to the IFEA Foundation’s Legacy Scholarship Program, the IFEA Foundation provides you with the opportunity to be a part of that support system to deserving industry professionals with the Annual Auction held at the Convention. With a unique opportunity to bid on one of-a-kind, untouchable packages, including travel, products, services, VIP Event Experience opportunities, and much more, the Foundation Night Auction and Party is the largest fundraiser for the organization. This year, it will take place

IFEA’s ie: the business of international events

Summer 2013

on Tuesday, September 17th at the Hard Rock Cafe in Pittsburgh, PA. The monies raised will guarantee that IFEA will be at the forefront to help educate festival and event professionals on the latest trends and issues facing our industry.

What can you do to prepare for this great evening?

• Mark your calendar to attend the Foundation Night Auction and Party, September 17, 2013 in Pittsburgh, PA. • Donate an auction item - One of the many highlights of this event is the unique auction items that have people buzzing around the auction tables all night. What can you donate to make people buzz around the tables? Well, ask yourself what would you like to bid on at the Silent Auction and that’s your answer to what you can donate!!

Things like everyday items that people need and want; unique things to get as gifts for friends and family of ALL ages; collectible things; hobby related items; hard to get tickets; in demand items; things for your office; things for your festival/event. The list is endless!

Just think, if you would bid on what you donate, you know there are others that would too! I encourage you and/ or your event/organization to donate a special item, experience package, travel opportunity, or product / service package. To make a donation to the IFEA Auction, Click Here to download the Auction Donation Form.

Thank you for joining the effort to help keep IFEA in the spirit of its mission “To inspire and enable those in our industry to realize their dreams, build community and sustain success through celebration.”

Please and let me know when you’re ready to make a contribution. I can be reached at clerick@culturalfestivals.com or +1-314-863-4485 for more details.

Cindy Lerick 2013 IFEA Foundation Board Chair Executive Director/President Cultural Festivals, St. Louis, MO Email: clerick@culturalfestivals.com

IFEA Foundation Legacy Scholarships Supporting and Educating the Festivals & Events Industry Since 1993.

Each of the IFEA Foundation Legacy Scholarships below serve a selected audience(s) within our industry, as identified, by providing an annual scholarship to the IFEA Annual Convention & Expo (registration only). We invite you to look through the opportunities, take a moment to learn a little more about the special individuals and groups attached to each, and apply for those that you may qualify for. For more information, go to: www.ifea.com.

The Nick Corda Memorial Scholarship Providing support to young/new professionals currently completing their education or with less than three years in the industry. (More Details)

in extra-curricular activities in and outside of campus life and who has a passion for helping others and/or supporting a cause that enhances the quality of life for individuals or the community at large. (More Details)

The Judy Flanagan Scholarship Providing support to a deserving individual/ organization whose event involves a parade.

(More Details) The Georgia Festivals & Events Association Scholarship Providing support to a deserving individual/ organization from Georgia. (More Details) The Bill & Gretchen Lofthouse Memorial Scholarship Providing support to a deserving individual/organization currently struggling with short-term economic or start-up challenges. (More Details) The Mampre Media International Scholarship Providing support to a deserving individual working with media/marketing responsibilities for an event. (More Details) The Daniel A. Mangeot Memorial Scholarship Providing support to a deserving individual/organization seeking advanced education and professional certification. This scholarship provides core curriculum registration fees toward the attainment of the IFEA’s Certified Festival & Event Executive (CFEE) designation.

(More Details) The Mid-Atlantic Festival & Event Professionals Scholarship Providing support to a deserving individual/ organization within the Mid-Atlantic United States. (More Details) The Richard Nicholls Memorial Scholarship Providing support to a deserving High School senior or College Student with a history of commitment to participating or volunteering in nonprofit events / organizations; someone who is well-rounded

The Bruce & Kathy Skinner Scholarship Providing support to young/new professionals currently completing their education or with less than three years in the industry. (More Details) The John Stewart Memorial Scholarship Providing support to a deserving individual working with technology responsibilities supporting an event(s). (More Details) The Tennessee Festival & Event Professionals Scholarship Providing support to a deserving individual/organization from Tennessee. (More Details) The Pete Van de Putte Scholarship Providing support to a deserving individual/organization from Texas. (More Details) The Joe & Gloria Vera Scholarship Providing support to a deserving individual/ organization from Texas. (More Details) The Don E. Whitely Memorial Scholarship Providing support to a deserving individual/ organization whose event involves a parade.

(More Details) The Kay Wolf Scholarship Providing support to a deserving individual/ organization from Texas. (More Details) The George Zambelli, Sr. Memorial Scholarship Providing support to a deserving volunteer who has given their time and energies to their community festival/event. (More Details)

For more information about how you can sponsor an IFEA Foundation Legacy Scholarship, call +1-208-433-0950 or email Schmader@ifea.com.

Summer 2013

IFEA’s ie: the business of international events

77

Continued from page 31

#9. CELL PHONES In emergency times, everyone is on their cell phones, and normal cell phone signals could be an issue. If possible, try switching your cell phone(s) to analog. You may well find that old method less crowded. #10. AFTER THE STORM The storm is over. Hopefully you have no serious injuries.

Your safety concerns may not be done yet. While you, remaining patrons and workers begin touring the grounds, watch for hazards, especially downed power lines or power cables running through water. Keep an eye out for building material and even furniture that may have been torn apart, nails showing, and thrown around the grounds.

There are countless other rules and things to watch out for.

These ten are just a start, but an important start in being able to “handle the pressure” for severe weather at your outdoor event.

Wayne Mahar and Precision Weather Service is the leader in specialized weather services, Storm Alerts and storm preparation consulting for all types of events and high profile weddings. Clients include the New York State Fair, Oklahoma City Heart Walk, Boots and Hearts Country Music Festival, Academy Awards, Grammy’s, Golden Globes, NEON Carnival at Coachella, Cannes Film Festival, Justin Beiber & Katy Perry movie premieres, NBA All Star Game, MTV, AHL Outdoor hockey game, Madonna and Kardashian’s Holiday parties, large gatherings on the National Mall in Washington, hundreds of movie premieres through DREAMWORKS/Paramount, NBC-Universal, Warner Brothers, BestEvents LA, ELS Lights, FOX, Disney, CynFull Productions, Relativity Media, Silver Birches, Sharon Sacks and Yifat Oren & Associates.

Web site at www.precisionweather.com.

Phone: 315 638-1666 TWITTER: @WayneStormWatch

The 58th Annual IFEA Convention & Expo Pittsburgh, Pennsylvania, USA

CFE E

Mark Your Calendar Now!

CFEE Certification Classes Offered September 13th – 15th, 2013 For more information visit us at www.ifea.com

CFE E

TO OUR SPONSORS ASSOCIATION PARTNERS

ASSOCIATION SPONSORS

ASSOCIATION SUPPORTERS

For IFEA sponsorship opportunities, contact Sylvia Allen, Director of Partnership Marketing at (732) 946-2711 or sylvia@ifea.com

MARKETPLACE BANNERS/FLAGS dfest® - DIXIE FLAG EVENT SERVICES TEAM - Producers of all types of flags, banners, decorations, accessories, and custom net street banners.

Contact: Pete Van de Putte Jr., CFEE, President; Address: P.O. Box 8618, San Antonio, TX 78208-0618; Phone: 210-227-5039; Fax: 210-227-5920; Email: pete@dixieflag.com; Website: www.dixieflag.com.

EVENT PRODUCTION PRODUCTION SERVICES INTERNATIONAL - Full service event production company founded to meet the ever-growing demand for superior quality shows.

We focus on our clients individual needs on all sized productions. Denver Sales Office Street Address: 2121 S. Hudson St., Denver, CO 80222; Mailing Address P.O. Box 100382 Denver, CO 80250; Phone: 303.757.8400; Fax 303.757.8404; Boise Sales Office Street Address: 5311 Glenwood St., Garden City, ID 8371; Mailing Address: P.O. Box 140243, Garden City, ID 83714; Phone: 208.388.8400; Fax: 208.388.8404; Email: info@psiiusa.com; Website: http://www.psiiusa.com.

FINANCIAL VISA / FESTIVALS.COM - Festival Transaction Services, a Festival Media Corporation company, brings true cashless transactions to festivals, fairs and community events through strategic partnerships with Visa and Bank of America Merchant Services (BAMS). Contact: Jim Shanklin; Address: 2033 Sixth Avenue-Ste 810, Seattle WA 98121; Phone: 206-381-5200; Email: jshanklin@festmedia.com FIREWORKS ZAMBELLI FIREWORKS INTERNATIONALE – “THE FIRST FAMILY OF FIREWORKS!” America’s leading manufacturer and premier exhibitor of domestic and international firework displays. Spectacular custom-designed indoor and outdoor productions, electronically choreographed to music and lasers. Phone: 800-2450397; Fax: 724-658-8318; Email: zambelli@zambellifireworks.com; Website: www.zambellifireworks.com.

INSURANCE HAAS & WILKERSON INSURANCE – With more than fifty years experience in the entertainment industry, Haas & Wilkerson provides insurance programs designed to meet the specific needs of your event. Clients throughout the U.S. include festivals, fairs, parades, carnivals, and more. Contact: Carol Porter, CPCU, Broker; Address: 4300 Shawnee Mission Parkway, Fairway, KS 66205; Phone: 800-821-7703; Fax: 913-676-9293; Email: carol.porter@hwins.com; Website: www.hwins.com.

K & K INSURANCE – Serving more than 350,000 events, offering liability, property, and other specialty insurance coverages including parade, fireworks, umbrella, volunteer accident, and Directors and Officers liability. Address: PO Box 2338, Fort Wayne, IN 46801-2338; Call: 1-866-554-4636; Website: KandKinsurance.com.

INTERNET POINTSMAP® - PointsMap® is a program that allows you to create a personalized Google® map or custom map for your viewers. Your map is accessible to anyone with an Internet connection - even on a Mobile Phone or iPad®! Beyond finding a specific point, PointsMap® specializes in providing detailed information, directions, videos, pictures and even the ability to "Go Inside!" Address: 1100 Riverfront Pkwy, Chattanooga, TN 37402-2171; Phone: 423-267-7680; Website: www.pointsmap.com QUICKEDGE™ (EDGEWORKS GROUP LLC) - Since 1994 our mission has been to drive more business through your website. We plan, design, build, and market successful websites by integrating customized online strategies including search engine optimization, affiliate marketing, email marketing, and more. If this kind of experience and approach is what you’re looking for, we’d love to hear from you.

Address: 26361 Crown Valley Parkway, Suite 203, Mission Viejo CA 92691; Phone: 866-888-7313 x701; Email: info@edgeworksgroup.com; Website: www.edgeworksgroup.com.

TICKETFLY - Ticketfly is an end-to-end, cloud-based social ticketing platform for professional event promoters and venues. The Ticketfly platform provides integrated ticketing, website, social marketing and analytics tools that save time, save money and sell more tickets. Address: 75 Federal St, San Francisco, CA 94107; Phone: 415-9741500; Website: www.ticketfly.com TICKETING EVENTBRITE - We empower you with simple but powerful tools to manage, promote, and sell out your event. It’s free to sign up and get started. Address: 651 Brannan Street, San Francisco, CA 94107; Phone: 1-888-541-9753; Email: sales@eventbrite.com; Website: www.eventbrite.com TICKETFLY - Ticketfly is an end-to-end, cloud-based social ticketing platform for professional event promoters and venues. The Ticketfly platform provides integrated ticketing, website, social marketing and analytics tools that save time, save money and sell more tickets. Address: 75 Federal St, San Francisco, CA 94107; Phone: 415-9741500; Website: www.ticketfly.com

KALIFF INSURANCE - Founded in 1917, Kaliff Insurance provides specialty insurance for festivals, fairs, parades, rodeos, carnivals and more. We insure the serious side of fun! Contact: Bruce Smiley-Kaliff; Address: 1250 NE Loop 410 Ste 920, San Antonio TX 78209; Phone: 210-829-7634 Fax: 210-829-7636; Email: bas@kaliff.com; Website: www.kaliff.com 80

IFEA’s ie: the business of international events

Summer 2013

Don’t let an accident ruin your day. hwins.com

Independent agent representing ACE Group Programs Division. Most insurance products are underwritten by insurers within the ACE Group of Insurance Companies.

Take a proactive approach instead. Our event experts can help identify your risks and provide creative solutions that protect your organization from accidents.

For a comprehensive review of your coverage and exposure, call 1-800-821-7703.