ie: the business of international events - Spring 2014

the business of international events

Oh, That Would Never Happen‌ Got A Minute? 8 Tips for YOUR Successful Meetings!

8 Lessons Ron Burgundy Taught Me About Marketing

Some Ideas Rise Above the Rest

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IFEA Member Directors’ and Officers’ Insurance

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

the business of international events

Oh, That Would Never Happen…

F E ATU R E S

Got A Minute? 8 Tips for YOUR Successful Meetings!

8 Lessons Ron Burgundy Taught Me About Marketing

On the Cover: GrapeFest®, held every September in Historic Downtown Grapevine, Texas, is the largest wine festival in the Southwest. Experience what it feels like to squish, stomp and get the juice going at the GrapeStomp competition!

DEPARTMENTS 8 10 12 14 16 18 20

22 23 42 44 45

President’s Letter In the Board Room The Sponsor Doc Insurance Insights The Un-comfort Zone English 101 Turnstiles: Marketing for Event Managers People Profile Book Review New Legacy Scholarships Hall of Fame IFEA World Festival & Event City 55 Pinnacle Awards 74 Volunteer of the Year 77 IFEA Webinar Series 84 Foundation 86 Marketplace

Spring 2014, Volume 25, Issue 1 “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.

25

The Hwacheon Ice Festival

By Johan Moerman

26

Three Rules to Get You Organized

By Steve McClatchy

28

Smile!

By Scott Huntley

30

Oh, That Would Never Happen…

By Scott Fraser

32

36 39 40

Citywide Festival Research: Measuring the Impact of Citywide Festivals in the Emirate of Dubai

By Alexander Blandl The Event Volunteer Role - Defined

By Florence May, Virginie McNamar, Joelle Baugher & Kathryn Paige May There Is No Good Way to Manage People But We Have to Try Anyway

By Tron Jordheim Got A Minute? 8 Tips for YOUR Successful Meetings!

By Gail Lowney Alofsin

PRESIDENT’S LETTER

Olympic Reflections As the Sochi Bear tearfully and reluctantly blew out the Olympic flame to bring to a close the Sochi Winter Olympic Games, our bi-annual fascination with one of the most visible global events in our industry also came to a close, with more than its fair share of lessons to be shared and learned, no matter the size and scale of your own event.

The first of those being, that we are now living and operating in a completely different world. “We’re not in Kansas anymore,” as Dorothy so clearly noted in the Wizard of Oz. Never before have we witnessed the impact of such intense, wall-to-wall coverage and scrutiny that our highly-connected world now allows for, encourages and thrives upon. It is a high-def world where every blemish and highlight is shared, commented upon, dissected and second-guessed, often (if not usually) before the event is ever ready to ‘officially’ announce or release anything on their own. From the planning and operations to security and infrastructure readiness; from participants, politics and programming to mascots, merchandise and media (both coverage and their accommodations); the storylines – controlled and uncontrolled (a lesson unto itself) – were endless.

So, taking a quick, reflective look back, what were a few other important lessons (certainly not all-inclusive) that those of us in the events industry can take away from the Olympic experience?

• Define Your Story and Be Able to Tell it Clearly, Year-Round With the media (social and traditional) obviously clamoring to cover something (anything), and the onair announcers underlining that Russia had a new story to tell and share, there did not seem to be an abundance of information or storylines

being shared by the Olympic hosts prior to the Opening Ceremonies. As a result, that left open to the media frenzy coverage of almost everything the planners would probably have preferred not be highlighted – threats of terrorist attacks; unfinished venues and infrastructure challenges; political and cause-oriented messaging; the plight of stray dogs and uprooted local residents; torch problems and budget critiques. Not that all of those topics/ issues would have been ignored, but without any other balancing stories, we all entered the Olympics able to name more problems than sporting events. In this new world, we must clearly define our own story and keep it out-in-front, year round.

• None of Us, No Matter the Size of Our Event or Budget, Controls the Weather While that may not make you feel any better when your event has been rained out or flooded; or temperatures drop to lows never seen before during your event; or storms require stopping your event to protect your audiences/ participants; or warmer than usual temperatures prevent the freezing that your winter event needs; we can all take solace in the reality that no one has figured out how to control the weather (yet).

• Ensuring the Safety and Security of Our Audiences and Participants Has Become a Prime Directive I doubt that we will ever again see a time when our safety concerns can be somewhat compartmentalized to heath issues…cuts, scrapes, bee stings, sprained ankles, heart attacks, heat exhaustion, etc….and our ability to respond quickly with medical personnel.

Despite our size, location or seemingly innocuous purposes, we must all now ensure that we have taken the necessary steps (working with our cities, law enforcement agencies, insurers and professional associations) to predict, prepare and respond to any situation that could potentially risk or impact

the safety and security of all those who attend or support our events.

This should be in a written, easy-toshare and reference, plan.

• ‘Stuff’ Happens Again, no matter your size, budget, preparations, planning, et al., the one certainty is that something will go wrong. We deal with too many variables in our industry for that not to be the case. We are, however, not judged so much by the fact that something does not go as planned, but more so by how we respond to the problem. We all witnessed the fifth Olympic ring that failed to open during the Olympic Opening Ceremonies and cringed in empathy. But kudos, all around, to the producers of the ceremonies (former IFEA World Board Chair Tom Bisignano among them) for their humor in acknowledging that problem and using it as a positive in the Closing Ceremony. That will be the story that is remembered and repeated!

• Politics and Events Don’t Mesh; People Still Want to Believe that the World (and Our Communities) Can Come Together for Something Bigger than Ourselves As much as there are many political roads that we must maneuver to accomplish our jobs successfully, people attend events to get away from politics and life as usual. The Olympic Games has always flown the flag of being about sport and not Continued on page 83

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IFEA’s ie: the business of international events

Spring 2014

TWO PROGRAMS GUARANTEED TO INCREASE YOUR SPONSORSHIP REVENUE! International Festivals & Events Association

SPONSOR SUMMIT

Sponsorship is the fuel for the festival and events industry engine. Strengthen the partnerships you have built with your festival’s sponsors by hosting an IFEA Sponsor Summit.

When sponsors have to make difficult resource allocation decisions, they will remember the sponsor properties that gave them the tools and ideas they need to gain even greater value from their sponsorship investment.

SPONSOR AUDIT

Are you getting the most out of your sponsorship program? Is your sponsorship program performing at its peak or could it be strengthened? Have you identified and valued all of your sponsorable benefits and assets; or is their valuable ‘real estate’ going untapped?

Have you been so busy recruiting, servicing and retaining the sponsors you have that you haven’t had time to step back and evaluate your overall sponsorship program to see if there is room for improvement? If all of these questions have left you with even more questions, it may be time for an IFEA Sponsorship Audit!

To set up a Sponsor Summit or Sponsor Audit or for more information about these valuable IFEA programs, please contact:

SYLVIA ALLEN, CFEE +1-732-241-1144 • sylvia@ifea.com International Festivals & Events Association 2603 W. Eastover Terrace • Boise, ID 83706 • USA Phone: +1-208-433-0950 • Fax: +1-208-433-9812 www.ifea.com

By Mitch Dorger

In the Board Room

Creating a Policy Focus for Your Board Consultants who write about the best practices for boards of directors highlight the three primary areas where boards should focus their attention: vision and strategy, policy determination, and oversight. In my experience, the hardest of these for boards to actually handle is determining policy and maintaining a policy focus.

A few years back when I was still a chief executive officer, I led an effort to get my board to establish and document the policies that were needed to govern the organization. What existed in the organization at the time were two things. The first was a series of oral myths that were passed down from chairman to chairman that we referred to as “Old Spanish Customs.” In most cases, no one knew why these customs existed or even if they were still appropriate. The second thing posing as policy was a series of standing operating procedures. You know – “We’ve always done it that way.” No one was critically examining these practices to see if they needed to be modified or even abandoned to meet the realities of the times. There were very few actual policies in place.

When I talked to the board about creating a policy focus, there was some confusion about what policies are and what they are not. They are not “Old Spanish Customs” or existing practices.

Instead, they are well thought-out direction from the leadership of the organization telling the operational managers of the organization how the future activities of the organization should be carried out.

Policies can come in a variety of forms including bylaws, organizational policy manuals, and other policies adopted by the board. Things that are not policy are day-to-day board decisions, non-mandatory guidelines or suggestions, or operating practices.

So why have policies? The simple answer is that clear, concise and current policies improve the overall management of 10

the organization. The collection of these policies describes the acceptable bounds for management action. By having these documented, not only does the board know what it is saying to the operation managers, but it speaks with one voice – avoiding a problem that many organizations have with multiple sources of policy guidance. Moreover, most managers appreciate operating in an environment of clear policies because they know the boundaries of the executive authority while at the same time having room to use their own judgment and experience within the bounds of the policy limits.

When developing the policies for an organization, leaders should consider five criteria for developing effective policies.

First, the policy should not be situation specific. I remember one board member several years ago who said something like, “We don’t need policies, every decision the board makes is policy. That’s all we need.” Not true! Most board decisions are not policies, they are situation specific judgments based on a unique set of circumstances. Policies should be broader than a specific situation and should address all future instances. Secondly, when making policy to guide future activities, the board should specifically recognize that it is setting direction for the future. It should be a conscious decision to set such direction. Third, all policies should be recorded and accessible to board members who should not have to go through years of meeting minutes to find what the policy is on a particular matter. Fourth, policies need to be disseminated to the people who will be bound by them. It does no good to have secret policies that only the board is privy to if the purpose of the policy is to influence management behavior. Fifth, policies need to be enforced. If a policy is not enforced, it is merely a suggestion. All too often boards establish policies which look good on paper, but in reality are never consulted or enforced. Finally, policies need to be

IFEA’s ie: the business of international events

Spring 2014

reviewed periodically and updated. An outdated policy which does not reflect the current realities can be harmful to the organization. Policies need annual or at least biennial review.

At this point in my discussion of policies, I am often asked what areas should be covered by board policies. The answer depends on what matters to the board.

Policy governance expert John Carver says that the policy framework should cover “the entirety of that which is governed.”

(1:36) With this guidance in mind, I suggest an octagon as the model to encompass the organization’s activities.

Each side of the octagon represents some segment of board responsibility. The eight sides of the octagon are 1. Ethics and accountability (basic good governance) 2. Board and board members 3. Board structure and operations 4. Chief Executive 5. Finance (including investments) 6. Fundraising (of all types) 7. Human resources 8. Communications Let’s look at each of these in a little more detail. (Note 2) Ethics and Accountability (which might also be termed general governance) encompasses a variety of topics. This is the category where one would expect to find the mission and vision of the organization documented. There might also be a policy defining the core values of the organization. Other policies that should be included in this category of policies are a code of ethics for the organization, a conflict of interest policy, a board confidentiality policy, a whistleblower policy, and a document retention and destruction policy. These latter two policies are required by Sarbanes-Oxley for both for-profit and non profit organizations.

The Board and Board Member category of policies should include a description of the duties of a director as well as a statement as to what responsibilities the board has assigned itself. It should also include policies on the expectations the board has for its members as well as the protections it is providing for board members ( i.e., insurance, indemnification, etc.). This section should also contain policies on board compensation (if any) and expense reimbursement (if any). Finally, in this section there should be a policy on board self-evaluation to

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, Joelle Baugher, Alexander Blandl, Mitch Dorger, Jeff English, Bruce L. Erley, APR, CFEE, Scott Fraser, Scott Huntley, Tron Jordheim, Sean King, J.D. Linn, Florence May, Kathryn Paige May, Steve McClatchy, Virginie McNamar, Johan Moerman, Pam Sartory, Robert Wilson Photography Andrew Rafkind

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.

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

include frequency, type, etc.

After defining the responsibilities of individual members, the board should decide its policies with regard to Board Structure and Operations. What committees will be formed? What responsibilities will each committee have? Who will chair committees? What delegations of authority are appropriate for each of the committees? This section may also include the policies related to any advisory committees the board may wish to create.

The section on the Chief Executive should first and foremost include a clear and detailed policy statement regarding the duties and responsibilities of the CEO. This description may be in the bylaws, but if it is not, board expectations should be spelled out in a policy. This section should also include policies on chief executive evaluation and compensation determination.

In the area of Finance, the board should describe its policies for budgeting.

For example will depreciation be fully funded? Will interest and dividend earnings be spent or saved? How optimistic should revenue projections be? Should there be contingency funds set aside for the year? There should also be policies regarding the creation and management

of reserves and how investments will be made with the reserves or endowment.

The next group of policies in this area should be policies related to audit and IRS Form 990 submission. Subjects might include how often a full audit will be performed, how often auditors will be changed, the selection procedures for the auditor, audit limits, board-only meetings with the auditors, etc. The final policy in the finance area should be risk management. How will the organization deal with areas of identified risk? What insurances will be carried? What deductibles will be maintained? Will the organization self-insure? Will insurance be carried on volunteers? What contingency planning should be done for events, etc.?

The next category is Fundraising. I want to emphasize that I am not limiting this term to just requesting money from donors and foundations. In this category, I include all ways in which an organization raises funds. This may be through events, sponsorships, ticket sales, licensing etc. But policies in this area should also include things like donor relations, policies on what types of gifts will be accepted and what roles and responsibilities board members have in the fundraising arena.

The next category of policies should be Human Resources, including both employees and volunteers. Some of these policies may be legally required in some states while others are common sense polices. For example there needs to be policies on workplace harassment and on handling grievances. Many boards also have nepotism policies and equal employment opportunity policies. Finally, there should be policies on performance evaluation of employees and perhaps even for volunteers.

The final area for policy determination is Communications. In this category, the board will want to include policies on media relations, spokesperson responsibilities, electronic media use and protections, and lobbying and political activities. There should also be policies for crisis communication just in case an adverse situation arises.

That’s a lot of policies, and the process may seem daunting, but I assure you if the policies outlined above are developed and kept current, the organization will be better off for having invested the time and energy to accomplish the task.

The final question that often comes up regarding policy development is how to go about taking on this daunting Continued on page 85

Spring 2014

IFEA’s ie: the business of international events

11

THE SPONSOR DOC

With Bruce L. Erley, APR, CFEE

Obamacare Spells Good RX for Sponsor Seekers Dear Sponsor Doc: Are there any new business categories that I should be pursuing for sponsorship? I’m running out of ideas! - E.B. Hartford, CT Dear E.B. Trying to identify the new active sponsor category is always on the mind of those in our line of business. I try to keep an eye on which business sectors are actively advertising in traditional media outlets or online. Since last October, there has been a clear “player” that has exploded in the marketplace…Health Insurance companies that are members of national or state health insurance exchanges created by the Affordable Care Act a.k.a “Obamacare.”

I’m not a very big supporter of the ACA for a number of reason, but it has energized healthcare marketing as insurance companies jockey to get the 30 million new customers created by this legislation to sign up with them on the exchanges.

Prior to Obamacare, the majority of consumers were getting their healthcare insurance through their employers. Consequently, many healthcare insurance providers were marketing to the business decision-makers in a B2B effort. It was a tough sell to have them see the value of going directly to the consumer. The healthcare exchanges have changed all that.

Now healthcare insurers are aggressively pursuing “exchange eligibles,” those people who now find themselves compelled by the ACA to buy insurance for themselves or their families. They may be the “young invincibles” between 21-38 who never bothered, but now are subject to a tax penalty if they don’t get insurance. They may be the millions that were once covered by their small business employers, but who find themselves 12

without group coverage. They may be families who qualify for subsidies making insurance affordable for the first time.

For those of us selling sponsorship it creates an opportunity to pitch event marketing to healthcare insurers so that they can stand out to this new consumer market. Here are some tips you can use to make the case for sponsorship.

1. Develop your prospect list by going onto your state’s healthcare exchange to see which companies are listed as insurance options. They are the companies that will be the most active.

2. Be mindful for who is attending your event. Those which attract a young audience are of particular interest to insurance companies as they are the most “profitable” to insure.

3. Events that attract the health-conscious (runs, cycling, triathlons, etc.) or areas of your festival that promote wellness (culinary demos, farmers markets, etc.) are going to be of particular interest to health insurers.

4. Events that fall during healthcare “open enrollment” periods (October 1 – March 31) have the best chance for attracting these types of sponsors as this is when they are really ramping up their marketing.

5. Pitch activations that help them generate leads. These can be onsite, online or via social media platforms.

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Hopefully, you will find success with this new market at your next festival or special events. Let me know how it goes for you.

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

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

INSURANCE INSIGHTS

by J.D. Linn

Why Do I Need That?!

By necessity, most event directors quickly become familiar with the commercial general liability policy. This is the main policy that protects your event from accidents like a festival attendee tripping over a curb and sustaining an injury. This is also the policy that is required by cities to get permits, and landlords to rent their grounds.

There is a lot more to understanding a general liability policy than that, and general liability coverage can vary drastically from one carrier to the next, but that’s an entirely different article in itself. Other main types of coverage are buildings and contents, and business auto. Any festival that own property or automobiles are probably acquainted with these as well.

Beyond these, there are many other types of coverage that festivals can utilize to better protect their financial well-being.

Following is a brief outline of the most common ancillary lines of insurance…

Directors’ and Officers’ Liability (D&O insurance) • What is it? - This is an extremely important coverage that protects the directors, officers, and organizations from claims that arise from the decisions they make. Unlike general liability policies, directors’ and officers’ liability policies don’t cover claims arising directly from bodily injury or property damage. They cover claims arising from someone being upset or offended by a decision the board has made. Another aspect of D&O insurance is employment practices liability. This covers claims arising from your employees. For instance, if an employee felt like he/she was wrongfully terminated or discriminated against, and sued the board in return, this policy would provide coverage.

• Do you need it? – All festivals should consider carrying this coverage.

Inland Marine Insurance (Equipment Floater) • What is it? – This is a type of property insurance that covers goods or equip14

ment that is in transit, or is typically moved around. It can be used to cover owned equipment that is moved to the festival site during the event as well as equipment you rent or borrow for your festival (i.e. generators, tents, staging etc.)

• Do you need it? - Any festival that has owned, rented or borrowed equipment that is moved to the festival grounds during the event (which is almost every festival) should look into this coverage.

A common misconception is that if a piece of equipment is insured as contents of a building on a property policy, it is also covered when it is moved to an event site. It’s usually not.

• Why is it called inland marine? - Insurance originally began as a means for merchants to protect their investments in goods they were shipping overseas.

They called this marine insurance. As the transportation of goods over land became more prominent, there arose a need to insure these products as well.

They subsequently called this type of insurance inland marine… Enjoy impressing your friends with that sexy piece of information!

Participant Accident Insurance • What is it? - This provides a stated amount of accident/medical coverage for the participants of a specific activity or event. If a participant of an athletic activity gets injured, this coverage can cover high deductibles on their personal insurance policy, act as secondary insurance should that individual’s personal insurance get extinguished, or provide some cover-

IFEA’s ie: the business of international events

Spring 2014

age should that individual not carry personal health insurance.

• Do you need it? - While this is an optional coverage, anyone who produces a 5K or similar athletic event should consider this coverage for the participants.

Volunteer Accident Insurance • What is it? – This coverage is similar to participant accident coverage, but instead of covering the participant of a specific event, it provides coverage for your active volunteers.

• Do you need it? – Again, this is an optional coverage, but if you have a lot of volunteers, it’s a nice coverage to provide them.

Some other types of insurance that have proven useful for festivals include; non-owned and hired auto, event cancelation, prize indemnification, pollution, crime, electronic data processing, and user’s liability. Unfortunately, all of these could not be covered in detail here. I strongly encourage you to discuss these with your current agent to ensure your festival has all of the coverage it needs.

For 70 years Haas & Wilkerson Insurance has been one of the largest providers of insurance representation to the entertainment industry. The agency is national in scope, with approximately 100 associates providing technical expertise and quality insurance representation at a competitive price. Beyond the standard price quotation, services include coverage analysis and recommendations at no additional cost. Our clients include fairs, festivals, carnivals, amusement parks, rodeos and special events throughout the United States. For more information contact Carol Porter 913-676-9258.

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

The Magic of Commitment is No Mystery “Who wants to be chairperson of the Fundraising Committee?” asked the President.

The room became very quiet, and as I glanced around the table, I saw a dozen perfect poker faces. No one wanted this responsibility. No one was going to commit.

After a moment the President continued, “This is our most important committee, without funding we cannot put on our program to teach leadership skills to high school students.”

It was my first year on the executive committee of the Georgia chapter of the Hugh O’Brian Youth Foundation (HOBY). I had no idea how they had previously raised the $50,000 a year that was necessary to operate. As an advertising consultant, I’d helped raise millions of dollars for several national non-profits with direct mail advertising. So, I thought, “How hard can this be?”

I raised my hand and said, “I’ll do it.” A collective sigh issued from the group and several congratulated me on accepting such a big responsibility. I basked in the accolades and beamed an appreciative smile back to everyone.

It didn’t take but a few days before I was lamenting, “What the heck was I thinking?”

I learned that my predecessors had solicited most of the money in a handful of big donations from a small group of donors. Unfortunately, those donors were feeling tapped out, and were no longer willing to give. I couldn’t back out of the job -

I’d made a commitment! All I needed was a Plan B. I quickly got on the phone and starting telling everyone I knew what I was trying to accomplish. Someone suggested that I apply for grants from the charitable foundations of large corporations. Three dozen applications later, I had nothing to show for my hours of work. I now needed a Plan C. When I volunteered, I had a vague notion that I would simply raise all that money with a direct mail campaign. The campaigns I’d worked on in the past had mega-budgets in the hundreds of thousands of dollars and major advertising agencies involved.

I had no budget and only five or six volunteers to help out. Even if I had a budget, I didn’t know to whom I should send my direct mail solicitations. I knew from experience that retirees are among the best donors, but purchasing a list of generous givers was expensive!

About that time a fellow in the concession business who I worked with when I was president of my neighborhood association, called me to see if I knew any groups that could operate a beer stand at an annual weekend-long outdoor rock concert. I said, “Do I ever!”

We raised $10,000 in three days.

We did such a good job, we were asked to come back every year. It was a big job that required more people than we had, so we recruited help from outside of the organization.

That turned out to be easy because the people who volunteered got into the concert free for that day. Many of them had so much fun, they volunteered to help put on the youth leadership seminars for which HOBY is known. As an unexpected side benefit, it became our best vehicle for recruiting volunteers for the next several years.

I still had $40,000 to raise. I learned from one old-timer that in years past, HOBY received donations from the Kiwanis clubs. I called a friend who was a member. He told me that HOBY was on the Kiwanis International approved list of charities. This was huge! It meant we already had a foot in the door. He then helped me acquire a mailing list of all the clubs in the state.

I now had what I needed for a direct mail campaign. I wrote to every club and asked them to sponsor one child from each high school in their area.

I then set up a phone bank of volunteers to call the clubs and ask them directly for a donation. We raised Continued on page 83

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“Fund for the Future�

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, CFEE

Interns and Volunteers: Lawsuits Raise Questions About “Free Labor” Let’s begin by stating the obvious: Volunteers are the absolute back-bone of our industry. At the Kentucky Derby Festival (“KDF”), we benefit from the hard work and unselfish dedication of over 4,000 of them every spring.

They work on committees, hold ropes at events, hand out race packets at our miniMarathon, and generally make our KDF world go round. There are also the interns who work in our office throughout the year. They come here with the stated mission of essentially working full time (and during Festival season, more than full time) for no pay. OK, we might feed them a slice of pizza every now and then. But their ultimate reward is the opportunity to cut their teeth in our industry by learning what we do and how we do it. Added to that is the benefit of earning college credit. The time, effort and passion demonstrated by both interns and volunteers is priceless.

But consider this: What if we had to put a price tag on their time? Would your Festival still be able to hold a parade or balloon festival or concert series or fireworks show?

I’m guessing the answer is no. At least it would be here at KDF. It’s an interesting question that is at the heart of lawsuits that have recently been filed by unpaid volunteers and interns.

While it appears that not-for-profit organizations such as festivals and events are not included in the cases outlined below, the facts and applicable case law can be instructive and might provide a precursor of issues potentially looming on our horizon.

A lawsuit was recently filed against Major League Baseball (“MLB”) by a volunteer for failing to pay him at least minimum wage for the 17 hours he worked. MLB hosted its 2008 FanFest in New York City and recruited 2000 volunteers. Those volunteers were given a shirt, a cap and a cinch drawstring backpack,

free admission for the volunteer and one guest to FanFest, a water bottle and a baseball. In return, volunteers were asked to stamp wrists of customers and hand out FanFest bags. The lawsuit alleges that a for-profit company such as MLB gained an unfair competitive advantage by not paying volunteers, which runs afoul of Federal minimum wage laws1. The key term to pay attention to is “for-profit.”

MLB is a multi-billion dollar company that enjoys making a profit in the tens of millions of dollars from FanFest. The lawsuit basically says that MLB used free labor to perform tasks that should have been performed by people making at least minimum wage.

Another interesting case was filed in 2010 by unpaid interns against Fox Searchlight Pictures. One of my co-workers, Jennifer Morgan, ran across an article on this case and thought, “Hey, maybe our legal guy should see this.” I’m very glad she passed it along, because it bookends well with the volunteer issue.

In June 2013, a federal court ruled that Fox had violated minimum wage and overtime labor laws by not paying the interns for work they did while on set2.

The intern’s duties included taking lunch orders, answering phones, filing papers, and making photocopies. Again, we are dealing with a for-profit company in Fox Seachlight, but the fact that a federal court ruled in favor of the interns has caused intense debate on the subject, along with additional lawsuits against The New Yorker and W magazine parent company Conde’ Nast Publications.

To be clear, unpaid internships are not unlawful. However, there are standards set by the Department of Labor that must

be met. These standards DO apply to our world of non-profit festivals and events: • Though the internship might benefit the employer, the training given to the intern is similar to the training given in an educational environment; • The internship clearly benefits the intern; • Regular employees are not displaced from their jobs, and the intern works under staff supervision; • The employer receives no immediate advantage from hiring the intern, and in fact, company activities might be impeded by the presence of the intern; • The internship is not a guarantee or suggestion of employment after the internship is over; • Both the employer and the intern understand and agree that no wages will be awarded to the intern for the internship.

So what can your organization do to guard against any potential legal issues with interns or volunteers? First, absolutely do not stop your pursuit of recruiting as many good volunteers as possible.

As non-profit organizations, many of which support charitable causes, the use of volunteers is critical to the success of our events. There is nothing that can be interpreted from recent court filings or rulings which targets a non-profit festival, event or civic celebration. As long as your tax designation with the IRS is in proper order, your organization should be fine. Second, if your organization relies on interns to help out, especially during peak seasons, be sure to thoroughly review your internship program so that it meets the requirements listed above. The expectations of the intern and Continued on page 86

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ASSOCIATION ENDORSED PARTNERS

ASSOCIATION SPONSORS

ASSOCIATION SUPPORTERS

CONVENTION PARTNERS

速

For IFEA sponsorship opportunities, contact Sylvia Allen, Director of Partnership Marketing at (732) 946-2711 or sylvia@ifea.com

Turnstiles: Marketing for Event Managers

Unless you hibernated through the entire holiday season with no access to social or traditional media, you may have heard that Will Ferrell recently reprised his role as Ron Burgundy in the motion picture Anchorman 2.

While the roots of the role are embedded in the comedy of Ferrell and his writing and producing partner, Adam McKay, there are definitely marketing lessons to be learned far beyond the belly laughs of the smart-alecky slapstick comedy.

BY SEAN KING

8 LESSONS

RON BURGUNDY TAUGHT TAUGHT ME ME ABOUT ABOUT MARKETING MARKETING

One understands that the Anchorman/Ferrell/McKay brand of humor is an acquired taste and not for everyone, but that in its own right tells us what we need to learn from this comedy team. The main lesson we can take away is to use marketing to entertain, influence and sell our product – in this case tickets to the movie theater, eventually video downloads and finally even crossover into sales of mainstream products like the Dodge Durango.

But there are many more lessons to be learned by those of us in the event marketing industry on how to expand upon a concept, leverage every opportunity, but never lose sight of our ultimate goal.

Sure, there are marketing professionals at work that guide the different moves of Burgundy Nation, but just as the recent stories of a worldwide shortage of Velveeta proved, even the contrived and most calculated news story can create awareness and drive business, but in a funny and entertaining way.

Here are the eight lessons Ron Burgundy taught me about marketing. Of course, there may be more, but I’m speaking from personal experience.

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Do Not Take Yourself Too Seriously The beauty of Ron is that he takes himself so seriously, that the viewer can’t.

That sort of ability and talent is rare, but a lesson should be learned from what he is teaching us about doing anything for the character. Have fun, make people smile and laugh and they’ll help you grow in more ways than you’ll ever know.

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Too Much is Never Enough There’s an old advertising adage, ‘just when you start getting sick of your message is exactly when it starts to work.’

Pushing the limits and the boundaries will get you noticed. Note: This is not an endorsement to be vulgar or cross the lines of good taste, but rather to embrace who and what it is you are and become known for it.

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Don’t Worry About Who You’re Not Reaching, Worry About Who You Are. Not everyone is always into you – but those who are would be the ones that make the best customers, the best attendees and would be along with you for the long haul. Ron’s fans are Ron’s fans and not only will they buy the movie, watch it on Netflix and probably download it at some point, but they’ll be more likely to visit websites, watch other movies and follow the Ron Burgundy/Will Ferrell brand.

But you might ask “what about the others who don’t get the joke?” Well, they’ll never see the movie, download a video or

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buy and endorsed product. I doubt Ron minds very much, do you?

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Make the Strange and the Odd Stand Out Broadcasting the news from South Dakota doesn’t seem like a traditional marketing vehicle for a major Hollywood studio release, but that’s precisely why Ron Burgundy did it. Not only did he feel comfortable in the role as newscaster, but the sheer ridiculousness made it newsworthy. I’m not certain of the box office return in South Dakota, but the number of impressions gained from mentions across America on other newscasts and entertainment programs definitely added to the success of the film.

This is another case where investing in the character, at all costs, certainly pays dividends not only in the short term, but also as the brand is being built. We can learn from this extraordinary idea to not be ordinary.

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Explore Every Avenue This lesson could also be titled “Live the Brand.” Everything that even remotely has to do with the evening news, Ron Burgundy has put his imprint on. For heaven’s sake, even the guy’s choice in suit color is his name and vice versa You need to own every aspect of your festival, fair or event. Ron Burgundy owns the anchor desk. Can you say the same about what you’re doing? (By the way, this is the definition of brand.)

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It’s All About the Impression The number of gross impressions that is. There’s a fine line that we all have to walk when engaging in promotion of an event, movie, product or service.

My belief is that you can never have too much publicity. Not only do we live in a short attention span world filled with social media and multiple screens, but as event promoters we only have small windows of opportunity when our audiences are paying attention. The time it takes for someone to decide if they are attending our offering or not is tiny. Our job as marketers is for potential audience members to receive our promotional messaging through the most engaging channel possible and believe there is no alternative but than to attend. Simple, right?

If the ultimate goal is to create so much internal demand with audience members that their lives would not be complete without attending, it likely takes a great deal of effective promotion to make that happen. By any means necessary make the impressions any way you can, with as many partners as you can and watch the results pour in through the Turnstile.

Spring 2014

Build the Hype but Manage the Expectations The key to success is always about being genuine and authentic to the character – that’s what makes Ron Burgundy’s character and in turn what makes Will Ferrell, Will Ferrell. He’s never willing to go short for the gag. There’s something to be learned that whether in trying to get the laugh or get the sale of tickets or funding or whatever it is that you sell.

Don’t ever overpromise and underdeliver, but don’t sell yourself short either. Both can impact your name, your event, your brand in negative ways, but always shoot for the remarkable.

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Partner with Everyone and Anyone You Can (Within Reason) The cross-promotions with the media and Dodge were genius. Not only was word being spread about Anchorman 2 in the theaters, but the associated brands were able to leverage exclusive arrangements that provided differentiation with their competition and create even more impressions about their products in a creative, entertaining way.

For so many of us, the festival and event industry is about entertainment, so it's up to us to be able to repurpose great content from our partnerships. Many of the artists and acts we hire are looking for additional publicity to build a repertoire and a career. Why not tap into that eagerness to perform and to build audiences for them and for you?

Meanwhile, partnerships with companies and organization can be the basis for a future of new possibilities. Sponsorship is no longer about cash. The new model is about the ability for properties and sponsors to collaborate to benefit one another. You can grow your event and festival by tying in with companies with remarkable promotions and a single cent never has to exchange hands – yet both partners are satisfied.

So with these eight lessons learned, how will you take these lessons and put Ron Burgundy to work for you?

Stay classy IFEA! 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

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PEOPLE

Ted Baroody Norfolk Festevents is a private not-for-profit organization dedicated to producing premier concerts, festivals, ship visits and special events for residents and guests of Hampton Roads, Virginia. We are celebrating our 32nd season in 2014, while continuing to serve as the official event marketing and production agency for the City of Norfolk.

“Festevents” produces and manages events in two waterfront parks. We produce mass-appeal events which hosts concerts, firework shows and parade of sail along with several tasting events, themed festivals and community celebrations throughout an 8 month season. They are all great events, but the staff favorites always seem to be our annual Bayou Boogaloo & Cajun Food Festival and The Virginia Children’s Festival.

FACTS ON FILE

IN CONVERSATION How did you get into events?

My father worked for RJ Reynolds for a good portion of his sales and marketing career. Through their sponsorships I was able to watch up-close how brands and events work together – I always enjoyed seeing how media and sponsorship played their part in the mix as well. This inspired a custom college degree of sorts with the hope of working in sports marketing and special events.

I began my career interning in college and soon after graduation I moved to Norfolk, Virginia to start my own small sports marketing company, Victory Promotions. After a couple of years of power boat racing production under Victory Promotions, I worked as Marketing Director for a group of local radio stations in Virginia Beach, Virginia for about 5 years. Though I worked with Festevents throughout my time in radio, I have worked for Festevents fulltime since 1996.

What has been your biggest professional challenge?

Here at Festevents we are currently challenged with three major issues; Expectations, Competition and Balance.

Regarding expectations – we are always working through what our event attendees, partners and work groups expect from us. The challenge is managing the expectations. We are glad that we have made special event production look easy, but not everyone fully understands what it takes to produce and pay for some of the major talent and programming they see on television and in some of the largest cities in the world. Ironically, we are our toughest critics and can be even harder on ourselves than those on the outside of the organization. We expect to improve, grow and change with trends each and every year no matter what it is happening around us.

Even in tough economic times, competition is everywhere. There is a “battle” for people’s time, money and awareness. Everyone has an event! There seems to be a wine tasting associated with every organization’s “new initiatives for the year” plan for the upcoming year. Even churches, schools, museums, malls and company picnics all have their own fundraising and sponsorship plan these days.

Continued on page 85

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Years in the Business: 23 Degree: Communications / Public Relations & English from NC State University Family: I have no immediate family of my own, but have amazing parents, siblings and lots of nieces, nephews and God-children!

Last book read: “Decide”

by Steve McClatchy Last business book read: “Decide”

by Steve McClatchy Ted Baroody President “Festevents” (Norfolk Festevents, Ltd.) 120 West Main Street Norfolk, Virginia USA +1-757-441-2345 baroodyt@festevents.org festevents.org Ted joined the IFEA Foundation Board of Directors in 2013.

BOOK REVIEW MAKE BETTER DECISIONS, GET BETTER RESULTS New York Times Bestselling Author,

Steve McClatchy Decide

Each day we are faced with decisions – both at home and at work – that have a palpable impact on our future. Occasionally we make impulsive choices that we may deem inconsequential, but the effects of which are felt further down the line. Improving the decision-making process should be a priority for all professionals, and allows for an enhanced approximation of future results: that is the goal of Steve McClatchy’s New York Times, Wall Street Journal and USA Today bestseller, Decide: Work Smarter, Reduce Your Stress and Lead by Example.

“Decide aims to help the reader lead toward improvement in their business and their life by making better decisions based on the real results they want to experience,” says Steve McClatchy, celebrated time-management expert. “The book explains how to achieve balance in our lives through better decision making, rather than waiting for an employer to provide it for us. It presents the reader with a perspective on the different ways

we create the energy we need to get through each day-- including a sense of accomplishment and procrastination-and challenges the reader to make a choice on how to get theirs.”

In Steve’s book, released February 3, readers will learn how to assign values to certain choices to more aptly make decisions and alleviate the stress that accompanies the fight to achieve balance.

He also explores the concepts of: • Decision management versus time management • Getting organized and dealing with information more effectively • Setting and achieving goals Steve McClatchy is an international keynote speaker, workshop leader and New York Times bestselling author who founded Alleer Training and Consulting out of his passion for continual improvement and his belief that when we stop growing, learning, gaining experience, achieving goals and improving we stop Spring 2014

2013 IFEA Keynote Speaker, Steve McClatchy Hits New York Times Bestseller List at #2 with “Decide” If you were at the IFEA's 58th Annual Convention & Expo this past September in Pittsburgh, PA, you already know what a spectacular keynote presentation Steve McClatchy, President at Alleer Training & Consulting, gave! You should also know, that arriving in your mail box soon, if it hasn't already, is Steve's New York Times Bestselling book, DECIDE. Debuting at #2, Steve's book is being sent to all attendees of the 58th Annual Convention, as our gift to you!

Did you miss Steve's presentation last year? Not to worry, he was such a big hit, that we're bringing him back to speak at the IFEA's 59th Annual Convention & Expo this September 29-October 1, 2014 in Kansas City, MO! Don't delay, make plans to join us in Kansas City this fall, then check out Steve's bestselling book today!

Learn more about Steve's Book Here.

living. His client list includes Pfizer, Disney, HP, Wells Fargo, Accenture, Tiffany’s, the San Francisco 49ers, Minnesota Twins, Washington Capitals, Campbell’s Soup, and Nestle.

For more information on Decide: Work Smarter, Reduce Your Stress and Lead by Example or to arrange a keynote speech, workshop or an interview with Steve McClatchy, please contact:

Erin Van Belle Alleer Training & Consulting Erin@Alleer.com (704) 464-0615

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Good

Great

CFEE

An Important Step in the Career Track of Industry Leaders Join us September 26-28, 2014, in Kansas City, Missouri, U.S.A. and be three steps closer to the recognition you deserve.

CFEE SEMINAR DAY 1 NON-SPONSORSHIP REVENUE PROGRAMS

While many areas of professional education deal with sponsorship, the major portion of revenue generated by many event organizations comes from more traditional sources – items such as tickets, food and beverage, and merchandise. This area of instruction is designed to look at such items and other components of non-sponsorship revenue sources. (Learn More)

CFEE SEMINAR DAY 2 PROJECT MANAGEMENT

Project management is the management of the project to deliver the event. It concerns integrating all the area s of management such as marketing, design and operations so they efficiently use the event resources and satisfy the objectives of the event stakeholders. It produces an accountable

system used to report to the event stakeholders, delegate tasks to the event team and establish a control timeline.

In particular it employs the tools of project management to manage the phases of the event from the concept through the planning and preparation to the event close down. (Learn More)

CFEE SEMINAR DAY 3 OPERATIONS/RISK MANAGEMENT

The most basic element of the industry is operations/risk management for one simple reason – any festival or event is a large gathering of people. The top priority of any organizer is to ensure that gathering is conducted in the safest possible manner. This area of instruction is designed to look at the basic elements of event/festival operations and risk management from both the philosophical and practical approaches, providing a sound foundation of knowledge in the subject area. (Learn More)

For more information about the IFEA’s professional certification program, and our 2014 CFEE FastTrack® Program, contact Bette Montieth at bette@ifea.com or call +!-208-433-0950.

The CFEE Professional Certification Program is Sponsored by

THE HWACHEON ICE FESTIVAL How a City Can Turn a Disadvantage into an Advantage

By Johan Moerman

At the invitation of IFEA Korea, I made a trip to South Korea in January, 2014.

Starting at Pai Chai University in Daejeon, I took part in a lively workshop with the students there. Their knowledge of international trends was current and it was inspiring to see that no matter where you are in the world today, you can meet the same kind of professionalism and enthusiasm for festivals and working in the festival industry. International knowledge exchange is a fact today and the IFEA plays an important role in that exchange.

After visiting Pai Chai University, we moved to Hwacheon, many hours away from the Korean capital, Seoul. A city with a lot of disadvantages, Hwacheon is hidden in the mountains at the Korean Demilitarized Zone. Located in South Korea's coldest region, Hwacheon has bitterly cold winters. For many years, it was a very poor region, but the visionary city leadership there discovered the power of the leisure industry and special events.

During the month of January, the Hwacheoncheon (stream) freezes over and Hwacheon holds an Ice Fishing Festival.

The impressive river is packed with thousands of visitors, all competing to catch trout through holes in the ice using small

rods. The very tough even catch the fish with their bare hands! Despite the bitter cold, everybody has a great time. It really is something to see in order to believe it. I was impressed that a festival under such circumstances can be such a striking success. It reminded me of when I saw Ottawa’s Winterlude Festival for the first time, another festival taking advantage of their cold weather environment.

The festival is well organised, attracting a few hundred thousand people in less than a month. In the two days we were there, we saw ice skating, beautiful ice sculptures, an ice tunnel and many other great things. The city dressing was outstanding. The main street of the city Spring 2014

was decorated with thousands of colorful fish paper lamps that created the ultimate fairy tale festival atmosphere in the city.

Several American television networks and representatives from European newspapers were even in attendance. During the Summer months, the city uses the river for a Water Raft Festival and a Dragon Festival.

Although being in the coldest region of South Korea and having many potential disadvantages due to that location, I found Hwacheon an excellent example of how cities can benefit from special events, turning their disadvantages into an advantage.

During my time at the Ice Festival, I also had the opportunity to attend the World Winter Cities Conference for Mayors. While there, I presented the well-deserved IFEA World Festival & Event City Award to the Mayor of Hwacheon.

Hwacheon won this great honor at the IFEA’s 58th Annual Convention & Expo in Pittsburgh, PA on September 16, 2013 and I was honored to be able to represent the award in person to the Mayor and his city this past January.

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THREE RULES to get you organized

By Steve McClatchy

I grew up in a family with twelve children. I have eight brothers and three sisters. Including my mother and father, there were fourteen of us. Add a couple of kids from the neighborhood, friends or cousins and there was always a degree of chaos in our house.

Trying to keep our house clean and organized was ambitious to say the least. Our dinner table was rarely encircled by fewer than sixteen or seventeen people. It took two people a couple of hours just to clean up afterward, and just when the job was finished, someone would come into the kitchen looking for a snack and mess it up again. We even had a combination lock on the food closet so that snacking could be kept under control. Our house was always in motion.

We owned two station wagons, four refrigerators, three vacuums, the kind of milk machine you would see in a school cafeteria, and a washer and dryer that were always on overload. If you consider that each of us had a pair of sneakers, a pair of dress shoes, a pair of winter boots and a pair of cleats, that was a minimum of forty-eight pairs of kids’ shoes in the house.

If you’re wondering how we managed it all, I have to admit I used to wonder myself. But I came to see that there were a few simple rules that my parents insisted upon to make things run more smoothly. For example: book bags belong in your room – not thrown by the front door as you run for the food closet; permission slips, or anything that needs to be signed, are to be tacked on the bulletin board when you come home from school so they can all be signed at one time; each floor of the house has a vacuum so there is no excuse for not cleaning something up.

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The simple fact that there were fourteen of us made living by these three rules mandatory. The rules were a way of life, not something we really had to think about. Sheer survival dictated that things had to have their place, or we wouldn’t be able to move around or ever find anything. Like tasks had to be grouped together so they could be completed all at once because there wasn’t enough time to do it any other way. Having more than one of certain things just made sense because of the time saved and the convenience.

The Value of Simple Ideas Implemented You didn’t have to grow up in a large family to understand the value of these ideas. If they can streamline a potentially chaotic environment like my childhood home, they easily can be applied to any situation where there is limited space or time.

Why did they help us in our home? We were fully committed to them! It wasn’t an option to be half-way committed.

The problem today is not that we need new creative solutions. It’s that we’re not fully committed to the simple tried and true rules that would save us time. We all know what they are: • deciding where things go when they’re not in use and putting them there, • grouping like tasks together and doing many of them at once, and • having more than one of something you use all the time.

These are simple solutions that just make sense. If you fully commit to these rules, you will enjoy the full time-saving benefits they can produce.

Have you ever watched people trying to swim without getting their hair wet? It looks really silly doesn’t it? Their arms flail back and forth quickly, and they may even be concentrating so hard that they’re biting their tongue while they try to keep their hair out of the water. They are not fully committed to swimming, so they don’t fully enjoy it. I’m asking you to get your hair wet with these rules. Don’t half-step; dive in, so you can save the time you’re looking for and get to the things you want to do.

Start With One Simple Decision: Where Does It Go? Controlling clutter and getting organized is really about making one – just one – simple decision: Where is the dedicated location for each object when it’s not in use? That’s it. That’s the whole secret. The problem: it’s much easier said than done.

Have you ever been lured by an infomercial and then made a purchase because of the ad? If so, you probably understand the essence of this problem. When you watch an infomercial, you can get drawn in and wonder how you ever could have

made it to that point in your life without whatever they are selling. So you make the call, and the product is shipped. When it arrives in the box, you are excited! You open it up, you put the product to use right away, and you finish using it. Then what? Where are you going to put the product when it’s not in use? Instead of making the one decision you have to make to declutter your life, you place the new product on the dining room table. When you were watching the ad on TV, did you think the dining room table would be a great place for storing the item when it wasn’t in use? Probably not. You probably didn’t think about this question at all.

When you haven’t quite decided where an item should go when it’s not in use, it becomes clutter. Whatever is on your dining room table right now that does not belong there is clutter. The same is true for that corner in your office and that pile on your desk. The hardest part of getting that pile of clutter off the desk is deciding where it’s going to go. Once you decide, it is forever organized.

Making the decision is the hardest part.

But once you have chosen a location for an object when it’s not in use – a file folder, a closet, a drawer, a workbench, a safe deposit box – that object is organized.

And don’t forget that a legitimate place for an object may be on someone else’s desk, in the hands of a charitable organization, in a recycle bin or a garage sale – or in the trash. After that, any item can be put away quickly without having to think about it. And when your house, office or car occasionally get messy, you easily can clean up by simply putting everything in its chosen location.

Grouping Like Tasks In our house, permission slips all had to be placed on the bulletin board because grouping like tasks saved time.

It’s the same reason why it makes sense to keep a grocery list: because running to the grocery store every time you need one item would be a ridiculous waste of time.

Grouping like tasks applies to buying birthday gifts, making phone calls, doing small jobs that require getting up from your desk or going to another floor of your building, or grouping questions for your boss or a client so you don’t have to interrupt them twice or call them back.

Do yourself a favor. When creating your task list for the day, take one extra minute to group like tasks, and I promise you’ll save more than the minute it took you to do it.

Having More Than One of Something Having more than one of something you use all the time can save you time Spring 2014

and also put an end to procrastination.

Having a duplicate key to each car in the household on everyone’s keychain is just smart. Having a set of scissors, staplers, pens, tape, mini-screwdrivers and calculators in your kitchen, mudroom, and office is better than having them in just one location you have to go to – over and over – each time you need any of those things.

Vacuums are heavy. Having one (or at least a DustBuster) on each level of your house would save you time and effort. The next time a friend, brother or sister asks you what you want for your birthday, request a DustBuster. We use ours every day.

If you travel a lot, then you probably have figured out why you should have two of everything you carry in your toiletries bag. Not having to continually pack and unpack those items when you get home is worth far more than the cost of duplicate items. Isn’t the same true for your office accessories? Having a separate cell phone charger for your home and your travel bag, a duplicate iPod charger, laptop power cord and laptop batteries not only will save time packing and unpacking, but also will save time looking for things, reduce stress, and prevent you from forgetting to pack those items for your next trip. I often spend more money on accessories than I do on the actual devices I own because that kind of investment saves time and stress.

The Value of Time Saved I don’t try to save time just for the sake of saving time. I want the tasks I have to do to take as little time as possible so I can focus on doing the things I want to accomplish, the things I believe make life worth living. The less time I spend taking care of maintenance items, the more time I can spend investing in my relationships, working on my goals and having fun.

Controlling clutter, grouping like tasks, and having more than one of necessary and frequently used items are big time savers if you’re fully committed to them.

So I challenge you to dive in to the simple rules of organization and experience the benefits of less stress, less clutter, and more free time to enjoy your life.

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.

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SMILE!

By Scott Huntley

Light up your face with gladness Hide every trace of sadness Although a tear may be ever so near That's the time you must keep on trying Smile, what's the use of crying?

You'll find that life is still worthwhile If you just smile.

- Nat King Cole

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IFEA’s ie: the business of international events

Spring 2014

I learned a great deal from my first job at Disneyland back in the early 1980s but the most important knowledge I took away from my four years at “The Happiest Place on Earth” is that a smile changes everything.

I found that it didn’t really matter how bad my day had been or how people had treated me during the week, walking through the gates and seeing the smiles on everyone’s faces from the costumed characters to the popcorn vendors to the small children who were experiencing the Magic Kingdom for the very first time, changed my whole demeanor and I was happy.

Though it has been a long time since I was “Pixie Dusted” during my orientation at Disney, I have carried their happy philosophy throughout my career. I’ve become almost evangelical about the power of smiling in every situation and I have seen the phenomenal effect a positive attitude and a kind smile can have not only on the people around me but also on my events as a whole.

Though we all know the stresses of putting on festivals and what it can do to our demeanor, studies tell us that the simple act of smiling can do a great deal to alleviate that stress and elevate our moods and the dispositions of those around us.

The most important study in my eyes is that of a group of Swedish scientists at Uppsala University who determined that it is almost impossible for humans to frown at someone who is showing them a sincere smile. Yes, smiling and the resultant happy feeling it brings to us have been proven to be contagious. These scientists found that the unconscious mind takes over when we see a smile and that we have to fight not to smile back.

What happens next is wonderful. The simple act of contracting the muscles that make us smile starts a chain reaction that can change our demeanor almost instantly.

The contraction of those particular muscles causes the release of neuropeptides that instantly start fighting off anxiety. These tiny molecules are what let our brains communicate with our bodies and facilitate messaging to our entire being. When we smile, the feel-good neurotransmitters dopamine, endorphins and serotonin are all released, relaxing our bodies.

The endorphins act as an organic pain reliever, easing the mid-event headache that can debilitate any of us after a water main breaks in the middle of the food court or the opening act didn’t know that there is a city named Riverside in 46 of the 50 states and is currently looking for their stage in a park that is 500 miles away from our festival.

The serotonin release brought on by smiling serves as a mood lifter; smiling just makes us happier. A team of British researchers found that smiling makes us

feel better than eating chocolate. Any of us who has spent a few minutes in line at one of our vendor tents to get a chocolate-covered something in the midst of our event can attest to the fact that a bit of sugar-infused cocoa can change our day in an instant. The researchers say that one genuine smile can bring on the same good feelings as 2000 bars of chocolate!

While pounding 193 pounds of chocolate would certainly be a detriment to our health, conjuring up a smile can actually have therapeutic and even life-extending effects. The chemicals released into our bodies when we smile can even lower our heart rate and blood pressure. In 2010, a research study at Wayne State University examined the baseball card photos of Major League players from 1952. The study found that the span of a player’s smile could actually predict the span of his life!

Players who didn’t smile in their pictures lived an average of only 72.9 years, while players with beaming smiles lived an average of 79.9 years.

A smile is also one of the most uniform expressions of humans from all cultures.

Professor Paul Ekman, a pioneer in the study of emotions and their relation to facial expressions, found that smiles have the same meaning in most societies.

Ekman studied people from Japan, Argentina, Chile and Brazil and found that they all judged the meaning of a smile in the same way. He thought that perhaps the data might be inconclusive since all of these people could have learned the meaning of expressions by watching Charlie Chaplin and John Wayne. He then found an isolated tribe in Papua, New Guinea and he discovered that these subjects, though never exposed to images from modern culture, attributed smiles to descriptions of situations in the same way you and I would.

Professor Ekman did find, though, that while people can easily make the right facial movements to turn on the physical sensations of anger or disgust, most people can't move one crucial muscle around the eyes that must be moved to generate the physiology of happiness. So don’t try the “fake it till you make it” approach to finding happiness through smiling. You have to actually find something to be happy about, even if that something is looking at someone else’s genuine smile.

Remember that we are all in the business of fun, so finding a genuine smile is an easy thing: look first for a child, because they smile far more than we grownups do and they are more than happy to share!

De-Stressing A Bad Situation Smiles have always been used to calm and comfort others. Though none of us will likely ever get through an event without encountering someone who is less

than pleased, we can remember to use our smiles and positive energy to bring others into a happy place so that we can work to fix issues.

My grandfather was a subscriber to the theory that unless you are unconscious or bleeding, no trip to the doctor or hospital was too important to be delayed for just a few moments by a stop at the ice cream store. We should always remember that we carry around with us at all times the tools to make people feel as if they have just taken a big bite of mint chip. When we smile, others perceive us as being more likeable, friendly and approachable. If you come into an angry situation with a smile and the openness to talk about issues, a mutually beneficial solution will come much faster, and in the end there will be at least one more smile at your event.

a little release through laughter so that overwhelming tension in a scene doesn’t cause viewers to break attention to a serious scene. In the festival world we call it preserving sanity. In a blog that I wrote very late on infrastructure set-up day for the 2013 festival I said…

Hard Work Can Be Fun If We Make It So As many in the festival industry do, I work with a large group of volunteers who are the heart and soul of the event. Our Coordinating Committee, in particular, puts thousands of man-hours into making the festival happen. They love it, and the festival is a powerful source of happiness for each of them. The stress of long hours and of the ever-changing set of issues that are always present at a large outdoor event can take a toll on any normally happy person, so we have made it a point to focus much of our attention on creating smiles, starting within our own organization.

Our first goal in any project is to make it fun. Taking the time not only to applaud the work of these fine people, but also to find the humor in every situation is paramount. We take and share photos and videos of the oft-times hilarious ways in which we must solve issues. We stress the importance of remembering and retelling the happy stories that we are told by attendees and participants alike. In short, we laugh about everything.

I have a friend who is a gelotologist.

Though I often tell people that she studies the effects of wiggly dessert on the human condition, the truth is that her field of study is laughter and its effects on the body, from a psychological and physiological perspective. Though there are many fancy scientific words to describe it, in layman’s terms, she explains that laughing changes our brains and in turn our way of looking at what we are doing. When we laugh about funny little things and turn work into play, we work better, harder, and for longer periods of time without tiring.

Laughing allows us to release pent-up tension and emotion that are inevitably present in the preparation and execution of a successful festival or event.

In Hollywood, it’s called comic relief.

Directors use it to allow the audience

I could not have known how true my words were when I penned them. As our participants arrived to start their load-in on Thursday morning, the rain started and didn’t let up all day long. About noon, I crossed one of our new city bridges where participants were feverishly setting up their booths and came upon two of my committee members leading several artists in a rousing chorus of “Singin’ in the Rain,” which not only brought a big smile to my face, but had the rain-soaked artists around them bent over with laughter. By using the power of fun, my volunteers were turning what could have been a miserable experience into a happy memory for quite a few people. The next morning as the clouds parted and the sun did truly shine again, we had a festival full of happy people ready to put on the most successful festival in our 53-year history.

Since starting my crusade to put a smile on the faces of everyone who had anything to do with our event, I have seen some very big payback. Our festival has received nationwide accolades from participants and attendees alike, and the grand majority of the comments that I receive are about the smiling faces that were waiting for all who attended.

As you spend the countless hours that it takes to produce your events, make sure that your checklists include the words smile and laugh and take a few minutes to add a couple of songs to your playlist: “When You’re Smilin’” and “Make ‘Em Laugh” can be great reminders of some powerful tools for a successful event.

Spring 2014

“Yes, it’s midnight and many of (our) committee members are out on the streets preparing for the arrival of the artists early in the morning, and I praise them for their dedication. Tomorrow, it will most likely rain and they will be out there smiling and happy, knowing that at 11:00 on Friday morning – when the sun once again shines on the beautiful Columbus Riverfront – their year of work will all be paid back by the smiles on the faces of everyone who comes to the festival.”

Scott Huntley is a veteran of more than 30 years in the Live Event Industry. He is currently Executive Director of The Columbus Arts Festival, the “Welcome to Summer” event in Columbus Ohio. SHuntley@GCAC.org

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Æ"OH, THAT WOULD NEVER HAPPEN…"

Why You Need a Crisis Communications Plan

By Scott Fraser 30

IFEA’s ie: the business of international events

Spring 2014

Did Freedom Industries ever think that a tiny little one inch leak could contaminate a West Virginia water supply? Did Governor Chris Christie ever believe he would have to address lane closures on the George Washington bridge? Did organizers of the Boston Marathon ever dream that two bombs would be detonated at their finish line?

OK, you get the picture. So why have you not completed your crisis communications plan? If you are like most companies and clients I counsel, you know the need for such a plan, it is on your “to-do” list (although never quite makes it to the top), and you will definitely get to it “some day.” But guess what? A crisis will not wait until you are ready for it. It may be right around the corner. Or, if you are very fortunate, it may never occur. But do you really want to take that chance?

With today’s multi-layered instant media communications, including social media, news travels at the speed of light.

If you are not ready to deal with the unexpected, you will be slow to respond which will make you and your business look backwards and unprepared. The longer a company takes to respond to a crisis, the more some people will perceive this as “guilt” of some kind. Is this the image you want to portray when your individual, corporate, and/or event’s reputation is on the line? Of course not!

So, although it may take some time, and a little bit of effort, now is the time to create, and complete your crisis communications plan – don’t just start it. Don’t just say, “I’ll get to it, right after I finish the financial reports/sales projections/budget,” or something else that seems equally as important at the time. Sit down with a few key leaders in your organization and get it done. If you need outside help, call in a professional who specializes in crisis communications.

It may cost a little bit of money up front, but when you get that 3:00 a.m. phone call about “a situation,” you will be very happy you took the time, made the effort, and expended some capital.

What should be in a crisis communications plan? It really is not that hard when you break it down. It should be a who, what, when, where type of listing. When a crisis occurs, the plan will tell you who needs to be notified, how soon they have to be contacted, and in what order people are notified. The plan will then tell you what needs to be done, with a general stepby-step strategy that will cover most any situation. The plan will tell you where you should meet and how you will go about putting the plan into operation. A list of your “audiences” should be available and you need to know how they will be notified.

You must always have a spokesperson identified and thoroughly trained in

dealing with the media. This person should be directly involved in crafting the key messages. He or she should be well versed in the three key message points along with some supporting information that you will be making public and/or using to answer media inquiries. Always put your most important point first. This person should be comfortable in front of a camera and microphone and also have the ability to speak in short (15 seconds or less) sound bites that can be easily used by the reporter.

It is generally not a good idea to have your CEO serve as the spokesperson. Why? Think Tony Hayward, the former CEO of BP. After several weeks of serving as the official company spokesperson during the oil rig explosion and huge oil spill in the Gulf of Mexico, he will be forever remembered for uttering 5 fateful words “I’d like my life back.” In what was probably an attempt to show his human side and maybe gain some support, he came off as callous, self-centered and unfeeling, especially in light of the fact that 11 workers on the rig were killed in the blast and 17 were injured. In addition hundreds of businesses lost millions of dollars and in some cases had to shut down, because of the spill.

A more practical reason not to have your CEO serve as the spokesperson is that if he or she can’t answer a question or makes a mistake, they, and the company, look foolish. A reporter might logically ask “How can you not know the answer to that?” If a spokesperson can’t answer a question, or inadvertently makes a mistake, there is always someone at a higher level who can provide the answer or correct the error. Make no mistake however, the CEO should be visible and available for important news conferences or media briefings. They just should not be the one handling every media inquiry.

Another key member of the team is someone to monitor social media and provide continual updates through your Twitter feed, Facebook page, Pinterest, Instragram, YouTube, Google + accounts, etc. You should also have an outside crisis communications expert as part of the team to help counsel you and provide an important perspective from outside your organization. While your team will have a handful of members, one person should be designated as having final decision-making powers in case of conflicting opinions or ideas.

Why go through all this if you don’t believe you will ever need it? It comes down to the Boy Scout motto: Be Prepared. If you have a plan and never use it, good for you! You may count yourself fortunate. If you have not yet created your plan, when a crisis occurs, you will spend valuable time trying to put this plan together “on the fly.” When you do this, mistakes are made,

key points are overlooked, and confusion reigns. It will take valuable time for you or your company to get your act together. That terrible silence will be filled by your competitors or detractors and the news media, speculating on what might have happened, why it happened, and raising questions as to why you have not yet been heard from.

It is extremely difficult, if not impossible, to pull yourself out of this kind of hole.

The critical reason for having a plan in place is to protect the company’s reputation, and quite possibly its very existence, at a time when the company’s future is truly on the line. How a crisis is managed and how communications are put forth are often much more important than what is said. Every action a company takes, every word that is spoken will count, either for you or against you. Poor crisis communications can actually make a situation worse. Individuals, companies or organizations that handle a crisis well usually emerge stronger and well respected.

Crisis communications, good or bad, can have far reaching effects on a company’s bottom line, employee morale, internal and external opinions of management and a company’s overall image. If a situation is not handled well, one can expect lawsuits, continued media inquiries, government and regulatory investigations, just to name a few.

Even if you don’t have a good story to tell, being able to respond immediately, and acknowledging that a situation exists, shows that you at least are prepared to deal with an emergency. Telling the story from your point of view is extremely important, and always better than letting someone else tell the story for you.

Remember, doing nothing is always the wrong choice. During a crisis, some will advocate to do nothing, say nothing, acknowledge nothing, and hope that the situation will go away. It never does. Your silence will be filled by others and by information that may not be accurate. When you finally decide to go public with a statement, (and you will make that decision) no matter what you say, you will be seen as defensive and always trying to catch up to all of the other information that has already been swirling about in the public domain.

Another key point to remember is, once you have a plan, review it. Look at this plan often. Make sure that all of the email addresses and phone numbers are current.

Check to see that all members of the team are still in place. If some have moved on to other responsibilities or have left the company, make sure their names have been deleted and that their replacements have been added to the list.

If I have done my job with this article, I have made you at least a little uncomfortable because you realize you have a lot to do either to create a plan or bring Spring 2014

your existing plan up to date. If you still are sitting back saying “I just don’t need a crisis plan for my business,” please think again. You have spent years and probably invested a fair amount of money building your brand and your reputation. Do you really want to risk all of this by not being ready for the unexpected?

Sometimes when I speak I will ask my audience to give me a type of business that they think may not need a crisis communications plan. In most cases, in just a few seconds, I am able to come up with a scenario for that business that shows a need for crisis communications.

Still not convinced? Here’s one example. Why would a dry cleaner need to have a crisis communications plan? They take your clothes in, remove stains, make repairs, clean and press all kinds of garments, and generally return your clothes in much better condition than when you brought them in. Well, a number of years ago, there was a fire in a small strip mall in a local community. The fire started in a pizza restaurant. The restaurant was destroyed by fire and smoke and water caused heavy damage to the other businesses in the strip mall. One of these businesses was a dry cleaner.

Suddenly, through no fault of their own, hundreds, if not thousands, of garments in their shop had been destroyed. Did they have a plan for such a situation? How would they contact their customers? What would they say? Would they make restitution? Would insurance money have to be used? Whose insurance would pay – the cleaner’s or the restaurant’s? When would they re-open? Could any of the clothes be salvaged? These are all valid questions that customers probably started asking as soon as they heard the news about the fire.

Remember, a crisis doesn’t have to be of your own making. You can be a victim too, but you must be ready and able to respond.

Bottom line, with a little bit of preparation, time and effort, you might just sleep a little better. Then, heaven forbid, if you do get that dreaded phone call, you will allow yourself a quick smile, knowing that your forethought and preparation is now going to pay off.

Good luck!

Scott Fraser is principal of Fraser Communications Group and an expert on crisis communications.

He is an adjunct professor of Crisis Communications at Salve Regina University in Newport, RI and has taught classes, conducted seminars, and authored articles on this subject.

He can be reached at sfraser@frasercomm.com or (401) 647-3444.

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By Alexander Blandl Introduction The Dubai Festivals and Retail Establishment (DFRE), formerly Dubai Events and Promotions Establishment, was established in 1996 with the objective of positioning Dubai as a worldclass tourism and shopping destination and is an agency of the Department of Tourism and Commerce Marketing, Government of Dubai.

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Since then DFRE has evolved from an organizer of the Emirate’s various shopping festivals to a far more comprehensive role as developer, adviser and regulator for Dubai’s retail and festivals industry.

Through the numerous festivals including the Dubai Shopping Festival (DSF) and promotions such as Eid in Dubai, the Establishment ensures year-round attractions and reasons to visit the Emirate and to create returns from festivals for the hospitality and retail industry.

Today DFRE’s festival portfolio covers the Dubai Shopping Festival (DFS) and the Dubai Summer Surprises (DSS) as well as activations of the religious festive seasons with Eid in Dubai and Ramadan in Dubai.

A core component of the festival planning and execution process is DFRE’s market research approach which measures the impact of its festivals on Dubai’s economy and its festival sponsors and reveals preferences, behavior and demographics of its attendees to guide marketing and event planning efforts.

Today, we would like to share this approach as it offers insights into how market research can be conducted for multi-event, multi-day and city wide festivals and through this support other festival organizers in tailoring their market research.

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Difficulties in Measuring Impact of Citywide Festivals While most event and festival organizers would agree market research is critical in planning better events and festivals and in raising contributions and gaining support from sponsors, governments and other partners, it is most difficult to measure the impact of city wide festivals.

The common challenges include but are not limited to the following: • Multiple locations of festival activations and events across the city over several weeks

With often over 100 events and activations during a festival like the DSF lasting for 32 days or the DSS running for up to 2 months, researching and measuring each individual event and/ or activation can quickly become unfeasible for both operational and financial reasons.

• Many different activations and events of various sizes as part of the festival which are mostly un-ticketed, with open access and planned and executed by multiple stakeholders

This means typical research methods to calculate participant numbers based on tickets sales or on size of venue or festival areas cannot be applied easily.

• Diverse participant groups in terms of nationality, ethnicity and origin

Dubai’s festivals need to cater for a diverse group of festival participants consisting of international and regional visitors, visitors from other Emirates and a local population with over 200 different nationalities. In this multicultural environment, preferences of the different participant groups often strongly diverge and so research and subsequent analysis need to incorporate ethnicity, religious and/or nationality as explanatory factors in addition to age, gender, income and family status.

DFRE Festival Research Methodology While the Establishment has conducted market research for many years, in 2011 the complete method was reviewed to overcome the various challenges highlighted above. This was done in cooperation between an internal team covering marketing, festival operations, strategy and policy as well as sponsorship and with the involvement of international research agency, YouGov. Objectives The objectives of the new methodology for festival research were to (1) standardize the measurement approach in order to produce comparable and sound results across all festivals, (2) assess perceptions, attitudes and behaviors surrounding the festivals, (3) estimate the contribution of each Festival to Dubai’s economy and (4) create cost efficient methods for research.

Audiences Under Investigation At the outset of the research, the audience under investigation was defined as two main groups • Residents of the United Arab Emirates The internal or local visitors defined as all residents from the seven Emirates of the United Arab Emirates, including Dubai. These were further segmented into four segments (Dubai, Abu Dhabi, Sharjah and Northern Emirates) and into groups of ethnic origin. The ethnic groups reflect the population composition and similar behavioral patters within groups and consisted of Emiratis (UAE nationals) and Expatriates further split into Arabs, Central Asian and South East Asian, Western, Iranian, Other Gulf Cooperation Countries (GCC) and Levant expatriates by their nationality.

• International Visitors The external visitors were segmented using two different approaches, namely, main nationality groups and country of residence (broadly split into

Americas, Europe, Iran, Levant, North Africa and other Arab countries, Russia and CIS, South Asia (Subcontinent) or the GCC. Methodology Given the city wide nature of these festivals with multiple locations, multiple events and large participant numbers (with between one and four million attendees per festival), the overall approach was based on researching the overall population rather than focusing on specific festival events.

The advantage of this approach is it included both attendees and non-attendees and so allowed us to better understand factors which influenced the decision to attend or not attend the festival or whether the festival was the main reason for their visit to Dubai.

The disadvantage of this approach is that insights on individual events were often limited and dependent on the number of participants who attended a specific event among the interviewed persons. Therefore, for some larger and more important events, a separate on-site event research was sometimes necessary.

The methodology applied was a combination of qualitative and quantitative methods. Online methods were applied wherever possible to reduce costs and leveraged the high internet penetration of over 70% in the UAE. Qualitative methods included focus groups (online and offline) and in-depth interviews. These were more predominately used in the first year to gain a deeper understanding of behavioral and preferential aspects towards festival components such as marketing, promotions or specific events. Focus groups were segmented either on the basis of key demographic characteristics (i.e. nationality and age) or special shopper segments such as ‘fashionistas’ and ‘technologists’ for the DSF research. In-depth interviews were used to assess satisfaction and impact of the festivals for strategic partners, which were mostly senior executives from the retail, aviation or hospitality sector sponsoring festivals. In the second year, once a solid base of understanding was established, qualitative efforts were reduced to cover specific issues only.

Quantitative methods included online and face-to-face surveys depending on the main audience under investigation. For residents, YouGov’s pure research panel was utilized, to conduct online surveys.

This was not only more convenient for the interviewed person but more cost efficient for DFRE. Moreover, YouGov’s experience in the region over the years has demonstrated that answering surveys online, in the comfort of home, often results in more honest and genuine answers.

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For international visitors, face-to-face interviews were conducted in major malls, high streets and airport departure lounges. The latter was a large advantage to capture post festival results and a welcomed diversion for passengers waiting to board their aircraft.

Furthermore, omnibus and desk research were used as explained later in more detail.

Sampling and Segments Given the need to understand and differentiate across different ethnic or nationality segments among residents and international visitors, large sample sizes were decided upon to allow robust analysis of responses.

The final sample of residents recruited via YouGov’s online panel aimed to broadly reflect the UAE’s overall population composition as well as festival attendance, with over 50% of those interviewed coming from the Emirate of Dubai. Surveys were issued in both English and Arabic. The interviews were conducted immediately after the festival to ensure the most accurate recall possible of the event and its activities. The sample size for residents was 1,200 per festival.

For international visitors a total of 1,200-1,300 interviews were conducted face-to-face. To minimize sampling bias, interviews were conducted across multiple locations, at different times of day and week as well as across the festival’s duration.

Economic Impact Calculation In an effort to quantify each festival’s contribution to Dubai’s economy, the consumer research was used to arrive at claimed expenditure figures for those living in Dubai or visiting the Emirate during each festival period. Specifically, visitors to Dubai during the festival period were asked to estimate their likely total expenditure on accommodation, shopping, transportation and food & beverage while visiting the Emirate. For Dubai residents, the focus for economic impact was primarily on retail shopping.

International Visitors’ Economic Impact Estimate The consumer survey data was utilised to calculate median per-capita expenditure by nationality group. As outlined previously, this was asked not only at an overall level but also by key sectors (i.e Accommodation, Shopping, Transportation and Food & Beverage). In order to extrapolate this ‘survey derived’ median spend by nationality group to the larger population of visitors to Dubai during each festival, a number of steps were undertaken:

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Questions

Dubai Residents

Other Emirates

Age, gender, nationality, medium household income Emirate of residence Country of residence

x x

x x x

x

Demographics

Marketing, advertising and participation

Awareness of festival and level of familiarity Advertising recall and perceptions Festival event awareness, participation and interest Source of Festival awareness

x x x x

x x x x

x x x x

x

x x x x x x x

x x

Satisfaction

Overall and detailed perceptions of Festival Likelihood to recommend Festivals to others Likelihood to encourage out-of-town visitors to come to Dubai specifically to attend Festival Festival’s performance against expectations How Festival has evolved over the years Likelihood to return to Dubai Suggested improvements

Travel planning and booking

Transportation and hospitality

Retail

x

Specifically traveled for the Festival Travel party size and composition Key drivers in selection of Dubai as a destination Trip planning and booking (e.g. how far in advance, sources consulted and channels used to book) Individual or package travel and spending on travel Mode of travel, airline flown Length of stay in Dubai and type of accommodation General activities, landmarks visited while in Dubai Mode of transportation used while in Dubai Food beverage behavior (location and type of restaurant) Spending behavior Deferral of major purchases in anticipation of festival promotions Items most interested in buying vs. items actually bought; perceived quality of deals Raffles participation and perception Malls and highs streets visited and perception Spending behavior

• Actual visitor numbers (airport entries and border crossings) by nationality group were sourced from the DNRD. • Since a considerable number of GCC visitors also travel into the country by car through Emirates other than Dubai (and are, therefore, not counted in international entries to Dubai via airport or border crossings), an additional step was required to quantify GCC nationals visiting Dubai during this time period. This involved using the survey data to estimate the percentage of GCC respondents entering the UAE by car during the time period in question. This estimate, combined with the DNRD figures, then allowed us to estimate the total number of visitors to Dubai by GCC nationals during each festival period.

• Once the actual number of visitors by nationality group was estimated, this number was then multiplied by the median per capita spend for each cate34

x x x

gory to arrive at total Accommodation, Transportation, Shopping and Food & Beverage spend for each visitor group.

UAE Residents’ Economic Impact Estimate To assess the contribution of UAE residents to Dubai’s economy during each festival period, residents were split into two groups—‘Dubai residents’ and ‘non-Dubai residents’. Similar to international visitors, spending by non-Dubai residents was fully accounted for across all categories. Attendance figures were derived by calculating the percentage participation in festivals from the overall population figures for each Emirate. The participation figure was derived from the surveys which covered the full population and included festival participants and non-participants.

For Dubai residents, only money spent on Retail Shopping during this time frame was taken into consideration. The

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x x

International

Subject Area

The table illustrates some of the key information areas covered in the festival surveys.

x x x x x x x x

x

x x x x x

x x x x x x

x x x x x

x x x x x

x x x x

key to deriving UAE residents’ economic impact was to estimate population figures for each of the seven Emirates. Then having derived attendance figures for Dubai, Abu Dhabi, Sharjah and the Northern Emirates, the median claimed expenditure data from the consumer surveys conducted during the period was then used to estimate the total economic impact for each of the resident groups above.

Results and Insights With the above research approach, the Establishment has successfully managed to shed light on the various areas for planning, improving and, last but not least, measuring ROI and satisfaction of its festivals. The results also provide a strong leverage in raising sponsorship and support from government entities for the festivals highlighting preference, perception, behavior, spending and satisfaction in areas as hospitality, travel, transportation and retail.

3.47m 3.98m

3.95m

USD 4,111m

8.20m

2.86m

3.19m

2.00m

USD 2,405m

USD 1,597m

USD 972m

5%

9%

17%

14.5m

USD 1,349m

USD 10,434m

54%

43%

70%

67%

3.47m

43%

8.20m

48%

2.86m

65%

39%

37%

DSS

Dubai Residents

9% 35%

28%

DSF

14.5m

1.43m

30%

Ramadan

Other Emirates

Eid Al Fitr

Eid Al Adha

International Visitors

All

Visitors in mio

Figure: Spending across festivals by participant group in 2011 Perhaps one of the most valuable insights from the research program is the assessment of each festival’s contribution to Dubai’s economy as well as a more indepth understanding of the contribution of individual participant groups based on their nationality or country and Emirate of origin. Summarized below are the

annual and individual festival impacts (for 2011) which make up not only a very strong communication message but also a justification for how city wide festivals bring economic growth to cities. As illustrated below, overall, during 2011, over 14.5 million people engaged with the five festivals organized by the Establishment

3.47m

8.20m

2.86m

14.5m

USD 982m

USD 4,478m

USD 4,975m

USD 10,434m

400

1,056

1,056 799

1,077

399

1,800

724 982

919

2,099 1,180

2,082

4,680 1,616

Dubai Residents Other (misc.)

Other Emirates Transportaion

International Food & Beverage

All Participants

Accommodations

Shopping

throughout the year, spending more than USD 10 billion during these festivals, out of which retail received the largest share of over USD 4.6 billion, followed by hospitality. Over 90% of the value is generated with almost equal shares of international and domestic visitors from other Emirates.

Alexander Blandl is the Director of Policy and Sector Development at Department of Economic Development, for the Government of Dubai. Alexander brings a wealth of experience in strategy, management consulting, private equity investments and business development in the Middle East and Europe to the team.

He joined the Dubai Events and Promotion Establishment from the Executive Council in Dubai where he was a Managing Consultant and founder of a government consulting arm. During this period he was leading the development of the Dubai Sector Aviation Strategy, the Dubai Women Strategy and developing a detailed decision making framework for the Government of Dubai.

Figure: Overall festival spending on five festivals in 2011 by category Spring 2014

IFEA’s ie: the business of international events

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By Florence May, Virginie McNamar, Joelle Baugher & Kathryn Paige May I recently met with a new volunteer manager. She looked at me with pleading eyes. “I am so overwhelmed. I have so many volunteer positions to fill. Where do I start?”

The top responsibility of the volunteer manager is to recruit team leaders and volunteers who are truly helpful, dependable and productive. Unfortunately many volunteer programs operate under the short-term aim of recruiting the most volunteers possible simply to fill positions.

The pursuit of sheer numbers without an emphasis on volunteer leaders and volunteer job specifics (e.g. skills, restrictions, schedules) tends to be poor use of organizational resources and rarely helps with volunteer retention.

Begin by tackling the hardest piece first, plan your team leader and volunteer needs. It is critical that you work as a team to identify team leader (a volunteer leader who manages small teams of volunteers) and volunteer position descriptions. Sit down with the operations and events staff to plan your event volunteer needs.

Team leaders are volunteers who oversee small team of volunteers. They are the volunteer manager’s eyes and arms during the event since the volunteer manager can hardly be at every place at the same time. A team leader may be responsible for all the entry gates or just a few very busy concession stands or a section of a parade route. Volunteer managers need to hand pick team leaders based on their skills and invest time in training them in order to have smooth operations onsite.

Team leaders need to be people you trust to carry out tasks with respect to you and the organization.

There is core information that needs to be clearly communicated to all prospec36

tive volunteers. Take a look at the two screenshots from a sample online registration system. Which information is critical?

• Volunteer position name with detailed (and honest) position description • Position restrictions and requirements • Available position shifts (including date, start/end time, and location for each) Follow this step by detailing shift schedules and the number of volunteers needed per shift on a master volunteer grid.

Sample Position Title: [Greeter] Position Description: [Greeters will be positioned outside at key entry points to event in pairs. Greeters will be trained to assist guests with venue directions, event schedule, ticket purchase details and other frequently asked questions.]

Position Restrictions/ Requirements: [Greeters should be prepared for all weath-

er conditions (e.g.: Sunscreen, umbrellas/ rain coats). Greeters will stand during their entire shift but will receive a 10 minute break each hour from a team leader. Greeters may eat or drink during their 10 minute break but not in front of guests.]

Realistic Job Descriptions It is critical to clearly define and communicate job requirements (e.g. technical skills, stamina/strength) and expectations (e.g. friendly, mobile, flexible, works well in high-stress situations) if you expect to recruit the appropriate people to advance your mission. Some volunteers will be patient with “seat warmer” positions; but younger volunteers will be more interested in jobs that make an impact and help people directly. Younger volunteers also are most likely to expect good use of their time and talents. Talented volunteer managers will categorize and describe volunteer positions in a way that is easy for volunteers to select positions that

POSITION SHIFTS LOCATION

DATE

TIME

NUMBER OF VOLUNTEERS REQUIRED

Gate A

Tuesday, March 8

8:00 a.m. – 11:00 a.m.

2 people

Gate A

Tuesday, March 8

11:00 a.m. - 1:00 p.m.

2 people

Gate B

Tuesday, March 8

8:00 a.m. – 11:00 p.m.

2 people

Gate B

Tuesday, March 8

11:00 a.m. – 1:00 p.m.

2 people

Gate C

Tuesday, March 9

8:00 a.m. – 11:00 a.m.

2 people

Gate C

Tuesday, March 8

11:00 a.m. – 1:00 p.m.

2 people

Gate C

Wednesday, March 9

8:00 a.m. – 11:00 a.m.

2 people

IFEA’s ie: the business of international events

Spring 2014

match their skills, interests, capabilities and availability.

Shift Scheduling Similarly, it is important to be realistic with volunteer shift expectations. Need a few tips?

• Shifts should be neither too brief nor too long. Normal shifts should be 3-4 hours long.

• Weekend shifts, and those scheduled around the workday, rather than during the workday, will likely be the most popular. Shifts located inside often fill more quickly.

• Longer shifts need greater attention to rotations and breaks. Difficult positions (e.g.: weather, heavily trafficked areas) also require greater attention to rotations and breaks.

• Determine minimum and maximum number of volunteer shifts. (e.g.: minimum 2 shifts, maximum 5 shifts) How many consecutive hours are too long for volunteers to work in your event? (e.g. maximum 2 shifts per day) • Consider start and finish times. Do you have proper lighting, parking and security available if the hours are extremely early (before dawn) or late (after dusk)?

Operations/Events Staff The operations/events staff must be informed (in the most congenial terms) that volunteers will be treated as a part of the event team. It is the job of the operations and event staff to coordinate

and communicate with team leaders and encourage volunteers. They need to be friendly, reliable and supportive; when this occurs, volunteers and staff mesh to work as a single team, rather than as opposing forces. The volunteer manager may need to train/inform staff on how to work with volunteers, which can be done in a fun productive way with role play of interactions or issues.

Final Step: Volunteer Manual Many volunteer managers want to start by pulling together the volunteer manual information, (e.g.: Expectations, benefits, uniform details) but this job is so much easier after you define the positions. The volunteer manual should be made available to all volunteers on the registration site and/or your website. Specifics should be reviewed during volunteer training. A few items to include: • Benefits – Will you provide parking?

Food and/or drinks?

• Communications – Specify the volunteer point of contact for each venue.

• Expectations – Arrive 15 minutes prior to shift? Attend training? Check in location and process?

• Safety/Security – If a volunteer suspects or sees a safety or security issue, with whom do they communicate? Is there an emergency phone number that is published for the event?

• Uniforms - Specify the type of pants/ skirt that are acceptable. Clothing should be clean and well kept. Specify shoes (e.g.: Color, closed, comfortable soles).

Quality is key. Remember, your volunteers are people, not cattle. Not all of the volunteers will have the same ability or desire to carry out their assigned tasks.

Successful volunteer managers take the time to coordinate with their event staff; define the volunteer opportunity and communicate expectations clearly.

Bottom Line My bottom line advice for the overwhelmed volunteer manager? Get organized. Recruit the ‘Right’ people for the ‘Right’ positions on the ‘Right’ days.

The Registration System (TRS) team of Florence May, Managing Member; Virginie McNamar, Product Manager; Joelle Baugher, Account Manager and Kathryn Paige May, Marketing Intern are pleased to share their volunteer management lessons learned with IFEA members.

Clients use TRS ticketing, event registration and volunteer systems to run the best events. Clients include the 500 Festival, Kentucky Derby Festival, Memphis in May, Celebrate Fairfax!, Kansas City Irish Fest, Waco Cultural Arts Festival, Indy Jazz Fest, Detroit International Jazz Festival, and so many others! Contact Florence at fmay@ theregistrationsystem.com or +1-317966-6919 with additional questions.

VOLUNTEER MANAGER

OPERATIONS/EVENTS STAFF

PRE-EVENT Responsible for creating team leader and volunteer job descriptions, developing volunteer schedule, recruiting team leaders/ volunteers and overseeing database.

PRE-EVENT Responsible for identifying needs including positions, quantity of people and time required for the event. Critical that needs are realistic.

ON-SITE Responsible for event wide allocation of volunteers and oversight of team leaders.

ON-SITE Coordinate and communicate clearly with volunteer manager and team leaders.

ON-SITE Conduct quality control walk through. Talk to volunteers, ask how they are doing, and thank them.

ON-SITE Encourage and thank volunteers.

ON-SITE Responsible for making sure people are getting in the right places, dealing with problem volunteers, backing up/supporting operations and event staff.

ON-SITE Coach volunteer manager, team leaders and/or volunteers if the volunteer responsibilities are not being completed correctly. Report any problem volunteers.

POST-EVENT Survey team leaders and volunteers. Wrap up session with team leaders, event and operations staff. Evaluation of volunteer needs; numbers, times, etc.

POST-EVENT Share volunteer support pros, cons and recommendation comments with the volunteer manager. Evaluation of volunteer needs; numbers, times, etc.

Spring 2014

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VOLUNTEER MANAGEMENT TIMELINE TIMING

ITEM

WHO

12 months prior

Sign up “Interested Volunteers” online

Volunteer Manager

10-12 months prior

Identify volunteer position descriptions, shifts, restrictions

Volunteer Manager with Operations and Events Staff

10-12 months prior

Create volunteer manual

Volunteer Manager with review by COO/ Event Director

11 months prior

Check volunteer liability form

Volunteer Manager with Attorney and Insurance Company

9-12 months prior

Start process for volunteer shirt design and vendor quotes

Volunteer Manager

6-8 months prior

Build online registration site

Volunteer Manager

6-8 months prior

Organize your training sessions – locations, handouts, parking passes, badge/uniform distribution etc.

Volunteer Manager

6-8 months prior

Identify team leaders; replacing any if appropriate or necessary.

Volunteer Manager and Team Leaders

6-8 months prior

Recruiting

Volunteer Manager

4-6 months prior

Test online registration site

Operations Manager, Event Director and team leaders

3-6 months prior

Take volunteer online registration site live

Volunteer Manager

3-6 months prior

Coordinate details related to refreshments, securing check-in locations and parking,

Volunteer Manager with Operations and Event Staff (Must be coordinated)

2-3 months prior

Team Leader Coordination

Volunteer Manager with Operations and Events Staff (Must be coordinated)

1-3 weeks prior

Volunteer Training

Volunteer Manager

2-4 weeks prior

Work on filling open shifts and key positions

Volunteer Manager

7-14 days prior

Schedule Reminder to volunteers

Volunteer Manager

Event Day(s)

Event Volunteer Oversight

Volunteer Manager

Shortly after the event

Event Volunteer Wrap Up

Volunteer Manager with Team Leaders

Shortly after the event

Survey of Team Leaders and Volunteers

Volunteer Manager

5-10 days after the event

Thank you to Team Leaders and Volunteers

Volunteer Manager

2-4 weeks after the event

Evaluate

Volunteer Manager with Operations and Events Staff

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NO GOOD WAY TO MANAGE PEOPLE

THERE IS

BUT WE HAVE

TO TRY ANYWAY

By Tron Jordheim “People are people” the old saying goes. That means everyone brings their own personal baggage with them to work.

People make poor choices, act rashly and defend their own comfort zones. People have agendas all their own that often have nothing to do with the work agenda that you, as the manager, are promoting.

Sometimes the selfish and petty things people do are no surprise. Some employees repeat a behavior that has been seen before many times if you let them.

Infighting, jealousy, jockeying for position and defending turf are pretty normal behaviors. Sometimes the selfish and petty behavior is quite a surprise.

In contrast, every workplace has people who perform well, take care of themselves, are supportive of others on the team when needed and keep below the radar.

The best managers try hard to motivate and guide their people to meet agreed-upon goals. Procedures, protocols and guidelines are put in place to help keep things fair and organized.

Feedback, motivation and direction are given. But at the end of the day, good managers realize that there is no good way to manage people.

But since managing people is the key to any business success, you have to try anyway.

There are many books on people management, and you may have practiced all the different styles. If you boil down all the great people management advice as much as you can, there are really only two things to do. One is to make sure your staff is getting ongoing training, feedback, correction and motivation for all their work-related behaviors.

The other thing you can do is to leave your people alone and let them work.

The trick is to know when to do which with each person.

HERE ARE SOME WAYS YOU CAN TRY: Best Practices Try to create models of best performance and best practices for employees to learn, to copy and to aspire to. You can create goals, requirements and performance thresholds to use as measurement tools. Be fair and consistent in enforcing performance requirements and work rules and be honest with them in your assessment of business conditions, in your communication of company policies and your feelings about their performance.

Know Your People Try to get to know each of your people so you can find the right way to approach them, motivate and correct each of them.

Spend a little time with each of your direct reports and encourage them to spend time with each of their direct reports.

Spending time together helps solidify team-work, helps clarify any issues and helps to make sure you and your people are being accountable to each other.

Communicate Stop relying on email and memos; have personal conversations with the people in your group. Allow your people to be honest with you. Spend at least a little personal time with each person every month if you can. Learn to be a good listener. You will learn a lot about how to deal with your people if you hear what they say.

Leave Well Enough Alone Sometimes managers feel that people can perform better and can produce more, but if employees have found a comfortable and satisfactory balance it is best not to disturb. Resist the temptation to over mange them.

Spring 2014

There are times when your people just need to be left alone to do their jobs.

Some days you will work hard to mold people’s behavior and performance when what they really needed was to be left alone to do their jobs. Some days you will leave people alone when what they really needed was to be working with someone.

Try to ask yourself each day, who needs time from me today? Ask yourself who needs to be left alone?

If you allow yourself to admit that there is no good way to manage people, you can do your company a lot of good by trying to be a better manager every day. Work on best practices, get to know your people, communicate personally, and above all leave well enough alone. If you try too hard to manage people or if you go too far in attempting to manage behavior, you’ll end up throwing your hands up in the air and declaring there is no good way to manage people!

Tron Jordheim is the CMO of StorageMart, one of the world's largest privately held self-storage companies with locations across the U.S. and Canada. He has helped lead the company to double-digit revenue growth for the last four years by embracing digital marketing and call center support. Jordheim has consulted for companies and spoken at trade events in the U.S., Canada, the U.K., Spain and Mexico. Prior to StorageMart, Jordheim managed one of Culligan Water's top U.S. bottled water franchises. With 40+ years of experience in sales, marketing and training, he continues to be sought after as a public speaker, sales trainer and consultant. For more information, please visit http://www.storage-mart. com/blog/author/tron-jordheim.

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Got A Minute?

8 Tips for YOUR Successful Meetings!

By Gail Lowney Alofsin

“Another meeting?”

“Meetings for meetings?”

“Do I have to attend?”

These are the thoughts that may be going through your head as yet another meeting is requested and scheduled.

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Meetings can be productive. However, if we do not manage meetings, meetings will manage us. We have all participated in endless meetings without results or clarity.

How can you make the meetings you plan and attend more impactful?

Whether you plan or attend daily, weekly, or monthly meetings; this is your opportunity to relay your message, needs, and ideas to your colleagues, board or committee members. As you prepare these ideas, work on presenting them as clear and concise as possible. Many people attending the meeting may not “live in your world,” or your head for that matter.

They may require more information for clarity and productivity.

The “basic” item that you will want to forward prior to the meeting is an agenda. When you are in charge of the meeting, you want to be known as a person who brings energy, focus and motivation to the table. Your goal is to conclude with energized and engaged attendees.

One effective meeting tip for short meetings is the “10 minute standup.”

Gather your team first thing in the morning for a quick review of what everyone is working on that day. In addition to being updated on what the team is focused on, it is an opportunity to ask or answer questions in an effort to avoid interruptions all day long.

Ah, interruptions. Ask your colleagues to keep a running document of ideas they have for you. This way, they can bring their thoughts to the appropriate meeting versus walking into your office all day peppering you with questions or ideas that do not require immediate attention. This will allow for more productivity versus a day of interruptions – be it ever exciting! Avoid a day full of “Got a minute’s?”

Practice productivity every step of the way. Create “best practice” outlines and keep them in one place. Create “SOP’s” (Standard Operating Procedures) so that everyone leaves a meeting where a decision has been made with a clear understanding of the expectations. We all interpret and process information differently. These SOP’s will serve to ensure that everyone is on the same page.

Productive and energetic meetings become meetings that the team respects and looks forward to – internally and externally. Designate a note taker to ensure there is a record of the discussions. As you design action plans with deadline dates, designate the person responsible for each action item. The most productive meetings become “same page” meetings where everyone leaves on the same page with an understanding of what needs to be accomplished that day, week, month or year.

Your challenges, goals and projects

deserve time to be thought out, reviewed and shared.

thirty minutes, whatever you had agreed upon when arranging the meeting.

8 MEETING MANAGEMENT SUCCESS TIPS:

7. Respect Opinions.

When you run a meeting, make sure attendees have time to offer their input or opinion. A gregarious, opinionated person at the table may intimidate a quiet, insightful person. Do your best to ensure everyone at the table has a voice.

The more ideas shared by the people in attendance, the better the outcome.

1. Schedule the Meeting.

Send an invitation to all of the people included in the meeting. Use Outlook or another online calendar and include the meeting time, location and discussion points. Ask attendees to include additional items they would like to discuss.

2. Arrive Early.

Be on time. In fact, arrive to the meeting 10 to 15 minutes early. If your meeting is with a client, or a prospective client, there is a great deal you can learn and observe by sitting in the lobby, waiting for the meeting. If it is an internal meeting, you will have time to talk with the other “early” attendees, catch up on correspondence, or clear your head to get focused for the meeting. It is disrespectful to arrive late to any meeting.

8. Follow-up.

On your meeting notes, list the action plan with the person responsible and date that action must be completed. These dates can also be added to tasks on your computer. Follow up on the actions delegated.

Effective, efficient meetings serve to build and enhance your personal brand. Your reputation? The “go to,” “make it happen,” professional who gets things done efficiently, effectively and enjoyably. Create meetings that your clients and colleagues look forward to attending. Got a minute?

3. Take Charge.

If you are in charge of the meeting, make sure you have an agenda prepared.

Your agenda can be simple, comprised of the names of the attendees, a blank area for answers to questions, and a list of items you would like to cover. When possible, distribute the agenda in advance to ensure that meeting attendees come prepared to participate.

4. Not So “Smart.”

Put your smartphone away. If you focus on where you are, topic on hand and the people you are with, your meetings will be more effective and efficient. While there are exceptions to this rule in every field, you will be more focused and depart with clear information and action steps when you are “present” in the presence of others.

5. Park It. When people gather for a meeting, there is often a great deal of excitement and creativity. Put unrelated ideas and topics in the “Parking Lot.” Many of the best ideas for another project, product, event or procedure come from meetings where a different topic is discussed. Use the white board, flip chart and a note taker to put those ideas on a list for a future meeting or discussion. Stay focused on the topic everyone has gathered to discuss.

6. Watch the Clock!

If a meeting has been scheduled for an hour, be conscious of time and work within that time block. Before you start a meeting, especially with a new client, confirm that they have planned for ten, twenty or Spring 2014

As the Director of Corporate Partnership for Newport Harbor Corporation, Adjunct Professor at the Harrington School of Communications & Digital Literacy at the University of Rhode Island, active volunteer and board member, author and international keynote speaker (gailspeaks.com), Gail Lowney Alofsin does her best to “manage meetings” on a daily basis!

Her book, Your “Someday” is NOW! What are you Waiting for? focused on Work/Life Integration, Communication and Personal Branding, was launched in March 2014. Between meetings, Gail can be reached at 401-640-4418 or gailalofsin@yahoo. com. Follow Gail on Twitter - @gailspeaks or @gailalofsin.

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I FEA FOU N DATION AN NOU NCES

NEW LEGACY SCHOLARSHIPS Supporting and Educating the Festivals & Events Industry Since 1993.

NEW SCHOLARSHIP

NEW SCHOLARSHIP

The Carolyn and Lee Crayton Legacy Scholarship

The Jean McFaddin Legacy Scholarship

Providing support to a deserving individual/ organization from a smaller market, with grand visions for helping their community through events, but not yet a budget to match those visions. (More Details)

Providing support to a deserving individual/ organization who has had at least 2 years active involvement, either as staff or volunteer, in producing a multi-dimensional event and whose career/lives have been inspired or touched by the Macy*s Thanksgiving Day Parade. (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.

Each of the following IFEA Foundation Legacy Scholarships 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) 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 non-profit events / organizations; someone who

is well-rounded 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 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)

2014Call for Inductees Please submit the following information for your nomination: A.

INDIVIDUAL SUBMITTING NOMINEE 1. Name • Organization • Address • City • State Zip • Phone • Fax • Email 2. If your nominee is selected, will you be willing to help ensure that they attend the luncheon?

3. If your nominee is selected, will you be willing to assist the IFEA and the inductee in gather ing materials to prepare their induction video?

B. NOMINEE INFORMATION 1. Name • Position • Address • City • State • Zip Phone • Fax • Email

Known as the associations most prestigious honor, the IFEA Hall of Fame recognizes those outstanding individuals who, through their exceptional work and achievements, have made a significant contribution to the Festivals and Events Industry. The International Festivals & Events Association is now accepting nominations from its members for those individuals who meet this standard for the 2014 Induction Ceremony.

The Hall of Fame Committee will review all nominations and select one or more individuals to be honored in to the IFEA Hall of Fame.

The Honoree (s) will be the guest (s) of the IFEA on an all-expense* paid trip to the 59th Annual IFEA Convention & Expo location and date TBD, where they will be inducted at a reception, in their honor.

NOMINATION CRITERIA Nominations must represent a current or past IFEA member who has made substantial achievements and/or contributions to the festivals and events industry.

Nominees can be retired and represent any facet of our industry (i.e. vendor, supporter, senior professional, etc.).

(Current IFEA Board of Directors and Staff Members are not eligible to be nominated).

C.

NOMINATION QUESTIONS • Please answer each of the following questions citing specific examples. Points will be awarded for each question. Points awarded are listed below.

• Please provide up to a 1 (one) page response (single sided) for each of the below questions, for a maximum total of 4 (four) pages.

1. Explain how your nominee has made a difference to the festivals & events industry.

(25 points) 2. Submit a general overview of your nominee’s career, including organizations they have worked for, positions held, titles, awards, etc.

(25 points) 3. Describe the level of involvement your nominee has had with the IFEA during their career.

(25 points) 4. What void would there be if he/she were not an event professional? (25 points)

D. ENTRY FORMAT: Please EMAIL your nomination in a Word document.

E. SUBMIT ENTRIES TO: Nia Hovde, Director of Marketing & Communications at nia@ifea.com F. QUESTIONS: Please contact: Nia Hovde – nia@ifea.com +1-208-433-0950 ext: 3 To view a complete list of past inductees and their stories go to the Industry Awards / Hall of Fame section on www.ifea.com.

Nominations should be submitted no later than 5:00 PM (MST) Monday, June 9th, 2014

*Includes hotel and airfare only.

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PRESENTING SPONSOR

IFEA WORLD FESTIVAL & EVENT CITY

©

AWARD PROGRAM “Recognizing the best in city-event leadership and 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. If you are considering applying for this prestigious award, you already understand the important role that festivals and events play in your community by: • Adding to the quality of life for local residents; • Driving tourism; • Showcasing a positive community brand and image to the media, business community, and visitors; • Creating economic impact that translates into jobs, tax revenues and enhanced infrastructure improvements; • Providing enhanced exposure opportunities for the arts, not-for-profit causes and other community programs and venues; • Promoting volunteerism and bonding the many elements of the community together; • Encouraging community investment, participation, creativity and vision; and • Building irreplaceable ‘community capital’ for the future.

To achieve and maximize these important returns for the markets that they serve, we must clearly understand their direct correlation to the partnerships with and support from the local community, at all levels, that 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 those cities and markets who have worked, through concerted efforts, to provide an environment conducive to successful festivals and events. 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.

We look forward to working with you, your city and community partners to recognize the quality efforts and support that you have successfully developed over the years and should be rightfully proud of. Thank you for your continued support of, and partnership with, the festivals and events industry. Best of Luck with your entry!

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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 previous 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 enhance the attendee experience, 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 14th, 2014 • 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.

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

JUDGING

Judging of the IFEA World Festival & Event City entries is done by an international panel of respected event professionals, who have been pleased to discover that there are many amazing programs happening around the world that will help us all to raise the bar for our own communities, showing us what is possible – at every level – when vision and leadership combine.

The IFEA World Festival & Event City Award © are presented on an individual basis to exemplary cities around the world that we hope others will emulate. The awards are not designed as a competition of one city against another, but rather to recognize those individual cities

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that have ‘raised the bar’ for everyone, taking into account the cultural, economic and geographic challenges that they have met, mastered and often changed along the way.

For that reason, we may present multiple awards each year, while some will be encouraged to strengthen or make adjustments to selected components of their entry criteria for reconsideration in future years.

SCORING SYSTEM

• A possible total of 100 points may be awarded to each entry based upon 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 (explaining why it does not apply) in order to avoid losing points.

SELECTION AND NOTIFICATION

• Award Recipients will be notified via email

by August 21st, 2014. Notification will go to the primary contact listed on the entry application.

• The 2014 IFEA World Festival & Event City Award © will be presented during the IFEA’s 59th Annual Convention & Expo, Date & Location TBA. Each recipient city will be highlighted in a brief video presentation at the award ceremony and on-site throughout the convention.

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 a personal letter of congratulations.

• Duplicate IFEA World Festival & Event City awards, flags (for display or flying) and other 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 2014 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 oneyear 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 for use in announcing the selected recipients.

4. A representative photograph highlighting your City and/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 To view examples of past IFEA World Festival & Event City Award© recipient entries, go to: www.ifea.com / Industry Awards / World Festival & Event City Award / Recipients.

IMPORTANT DETAILS

• 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 submit your overall entry via Email (preferred method of submitting entry.)

Please create entry in a Word, PowerPoint, PDF document, tif, jpg or other standard format. If entry must be mailed, please submit your overall entry on a CD, or USB flash drive to the IFEA World Headquarters in the format listed above.

• To submit Video portion of entry, please email video file as an MP4, WMF, MOV - or provide a link to an online video location such as YouTube. If mailing video on a

disk or USB Drive, please submit video as an MPF, WMF, MOV. (DVD’s should be encoded for Region 1 or Region 0 DVD capabilities.)

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

TIPS & POINTERS

• 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.

• If you have any questions or need clarification on any criteria, please do not hesitate to contact us.

• 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.

SEND ENTRIES TO

Please email completed entries, application form and payment to: nia@ifea.com.

Entry, payment and application form may be mailed if necessary. Be sure to provide entry on a disk or a USB Flash Drive in a word, PowerPoint, PDF or other standard format.

Please mail to: IFEA World Festival & Event City Award 2603 W. Eastover Terrace Boise, ID 83706 U.S.A.

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© recipient entries, go to: www.ifea.com / Industry Awards / World Festival & Event City Award / Recipients

Section 1.

Community Overview Goal: The information in this section should 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

Section 2.

Community Festivals and Events Goal: The information in this section should provide us with an understanding of the diversity and success of current festivals and events that serve your city residents and visitors throughout the year.

• Please provide us with a good overview of the leading festivals and events currently operating in your market. A full-year calendar of events is very helpful as we consider this area.

Please provide the following for the ‘Top 10’ festivals or events in your market: a. Festival or Event Name b. Top Executive Contact Information c. Number of Years Festival or Event has been Produced d. 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.) e. Primary Target Audience (For example: Families; Young Adults; Seniors; Children; Specific Cultural Heritage Groups; All Community Segments; Out-of-Market Visitors, etc.) f. Recurrence Cycle (Annually, Every 5 Years, etc.) g. Estimated Combined Aggregate Attendance

Section 3.

City/Governmental Support of Festivals and Events Goal: The information in this section should help us to understand the strength and depth of support by the applicant City and other area governmental bodies (County, State, taxing districts, etc.) and demonstrate a clear awareness of event support needs by government agencies and officials.

• 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. Defined and Accessible Public Objectives and Support Statements for Festivals and Events by the City and Other Local Government Agencies b. Direct Funding Support Provided to and/or Budgeted for Festivals and Events from the City or Other Government Agencies c. In-Kind Services Support Provided to and/or Budgeted for Festivals and Events from the City or Other Government Agencies d. Defined Role of the City in Festival and Event Approval e. City-Provided Festival and Event Process Coordination and Assistance Systems (For example: Existence of a City Events Department; ‘One-Stop Shopping’ for Permitting and Municipal Service Needs; Shared Resource Programs for Volunteer Recruitment/Management, Non-Proprietary Equipment Usage/Maintenance, Insurance/Music Licensing Provisions, etc.) f. Participation in Official Capacity by City Department Representatives on Boards and Planning Committees of Local Festivals and Events g. 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.) h. City Provided Festival and Event Training Programs (For example: Marketing, Planning, Budgeting, Risk Management, Alcohol Service, City Department Introductions, Professional Certification, etc.) i. Direct Industry Involvement / Memberships by Any of the Above

Section 4.

Non-Governmental Community Support of Festivals and Events Goal: The information in this section should 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 how each of the following elements/organizations (a-l) below (if applicable) lends their support to ensure the success and outreach of local festivals and events completely and accurately as possible.

• Answers should be provided as an overview reflective of the entire community versus an individual event/organization, with enough detail to provide a clear picture of support.

• 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 (include in your answer a list of the ten (10) most prominent corporate sponsors in your market) 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 the 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

Goal: The information in this section should 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 (How are local festivals and events used promote and build upon the positive image of the city?) b. Promoting Tourism (How are local festivals and events used to promote tourism visits?) c. Convention Marketing (How are local festivals and events used to recruit conventions to the city during the times that festival or event activities may serve as an extra incentive for choosing a destination?) d. Corporate Recruiting Efforts (How are local festivals and events used by Economic Development efforts to recruit new businesses to consider choosing your market for their operations?)

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e. Relocation Packets and Information (How are local festivals and events used in information designed to entice individuals / organizations to relocate to your city?) f. Familiarization Tours (How are local festivals and events used by your City and Convention & Visitors Bureau as part of ‘Familiarization Tours’ for visiting meeting planners, VIP’s, etc.) g. Out-of-Market Media Coverage (How are local festivals and events used to secure interest in coverage from out-of-market media sources, travel writers, etc.?) h. Enhancing Exposure to the Arts and Other Causes (How are local festivals and events used to feature, highlight, expose new audiences to, or drive support for the arts and other causes?) i. Creating Highly Visible Public Relations Campaigns for City Facilities and Services (How are local festivals and events used to drive positive public relations campaigns for things like police image, parks usage, fire safety, EMT roles and support needs, use of local transportation options, marketing of/exposure to local venues, support of local bond issues, etc.?) j. Encouraging Community Bonding, Participation, and Celebration (How are local festivals and events used by the City to bond all of the diverse elements of the community together, encourage community involvement and support, and celebrate who we are when we are at our best?) k. Highlighting or Developing Underused Venues or Sections of the Community (How are local festivals and events used to encourage usage of or exposure to underused venues or city neighborhoods, underdeveloped sections of the City, etc.?) l. Creating Legacies and Images Beyond the Event (How are local festivals and events used to create lasting legacies (venues, programs, infrastructures and images of the City after and in-between events?)

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

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IFEA World Festival & Event City Award© APPLICATION Entry Deadline: 5:00 p.m. (MST) Wednesday, July 14th, 2014 Submit Entries, Entry Form and Payment to: Email: nia@ifea.com (preferred method of receiving entry.)

If shipping entry, send to: IFEA World Festival & Event City Award© • 2603 Eastover Terrace, Boise, ID 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 Recipient 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?

2014 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 59th Annual IFEA Convention & Expo, Date & Location TBA. Spring 2014

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THE CONTEST DEADLINES • EARLY BIRD ENTRY DEADLINE: 5:00 p.m. (MST), MONDAY, JUNE 23, 2014 ❍ Entries received on or prior to June 23, 2014 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 21, 2014 ❍ Entries received between Tuesday, June 24, 2014 and Monday, July 21, 2014 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, 2013 and July 21, 2014.

• 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.

• Entry must be received at the IFEA Office by the above dates to be eligible.

• 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.

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/ CD/ USB Drive, 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 2014 Pinnacle Entry – and your event/organization name.”

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 56

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specific category on the left (if applicable). This information is unique to that specific category.

• 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 last week of August, 2014. Notification will go to the primary IFEA Member in addition to the contact listed on the Awards entry form.

• The 2014 IFEA / Haas & Wilkerson Pinnacle Award winners will be announced at the 59th 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 59th 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 59th Annual IFEA Convention & Expo.

• Winning entries will also be available to view at www.ifea.com shortly after the 59th 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

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, 2013 and July 21, 2014. 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.

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THE GRAND PINNACLE 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 up to a one (1) page description for each of the following programs (if not applicable, please state as such and/or what your festival/event has in its place.)

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• • • •

Educational Program Children’s Program Food & Beverage Program Entertainment Program (music, artists, theatre, performers etc.)

• Merchandise Program • Community Outreach Program • Emergency Preparedness Program e. Descriptions of any other Special Programs unique to your event.

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 59th Annual IFEA Convention & Expo, Date & Location TBA. or arrange for a representative to accept any award your behalf.

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 / Thumb Drive and attach entry form to case.

• Only one video/radio spot per DVD / CD / Thumb Drive.

Submit EACH entry SEPARATELY. DO NOT combine multiple entries on DVD / CD / Thumb Drive.

• 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 on entry form under Section 3.)

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 Clearly print or type link on entry form under Section 3 - type on separate sheet of paper if necessary - or submit on Thumb Drive.)

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

(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. Submit photo mounted on Poster board - 2 inch margins.)

27) BEST OUTDOOR BILLBOARD

(Submit photo or print out of billboard, mounted on poster board.)

28) BEST EVENT INVITATION

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

poster board.)

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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?

CATEGORIES EVENT DÉCOR & AMBIANCE ENTRIES 29) BEST STREET BANNER

(Submit photo or printouts of banner only, mounted on poster board.)

30) BEST MISCELLANEOUS ON-SITE DECOR

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

(Submit photo of decor, mounted on poster board.)

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.

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

(Does not include Tank Tops, Long-Sleeve T-Shirts or Collared/Polo 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

(For merchandise other than T-shirts, pins, hats etc. that you have for sale at your festival/event.)

35) BEST MISCELLANEOUS CLOTHING (For clothing items other than t-shirts, hats that are for sale at your festival/event - i.e. - jackets, sweatshirts, long-sleeve t-shirts, polo shirts, tank tops, socks, scarves, etc.)

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.

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?

36) BEST NEW MERCHANDISE

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

37) BEST SPONSOR GIFT

(A gift a festival/event gives to a sponsor of their festival/event.)

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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. Name of Sponsor c. 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, however please make it clear on your entry you are doing this.)

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. Name of Sponsor c. 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, however please make it clear on your entry you are doing this.)

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. Name of Sponsor c. Description of sponsor; level of sponsorship (cash/in-kind); details of benefit package and length of sponsorship/ partnership d. Quantity and quality of support to event by sponsor e. Goals and success of relationships for both event and sponsor f. How the sponsor stands out over all other sponsors. g. 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.)

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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?

• 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 (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?

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. Name of Opportunity and Sponsor c. Description and purpose of New Sponsorship Opportunity d. Description of the targeted sponsor for the opportunity and why the sponsor was targeted e. Explain the synergy between the event and sponsor f. 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. Name of Program and Sponsor c. Description and purpose of event/program being sponsored d. Description of sponsor; level of sponsorship (cash/in-kind); details of benefit package and length of sponsorship/ partnership e. 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?

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

ENTRY INFORMATION FOR CATEGORIES 44-45:

(For overall Volunteer Programs at an Event/Festival/ Organization)

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

(For festivals/events with implemented green/recycling programs at their 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 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.

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• 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?

FESTIVAL & EVENT CRITICAL COMPONENT ENTRIES 46) BEST EDUCATIONAL PROGRAM

(For festivals/events who have a specific educational component built into their 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 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 (For festivals/events who have specific programming for Children) 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.

Spring 2014

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?

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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) (Entry to highlight a specific event that is held during the course of a larger 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 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.

51) BEST EMERGENCY PREPAREDNESS & RISK MANAGEMENT PLAN FOR AN EVENT

(Entry to focus on the overall risk management / emergency preparedness plan for a specific 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 Risk Management Plan c. Target audience / attendance / number of participants 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 f. Description of sponsor / charity / volunteer / school / other group involvement with event / program and benefits to each (if applicable) g. 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. ❍ Please submit a detailed documentation of the security plan used at your event

52) BEST FOOD & BEVERAGE PROGRAM

(Entry to focus on the overall food and beverage opportunities available during the course of a specific festival/event.)

1. Overview Information: Please provide a detailed overview explaining the following, using no more than one (1) 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.

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. ❍ 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?

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.

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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.

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.)

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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?

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

59) BEST PRESS / MEDIA KIT

(For festivals/events/organizations to not only provide actual press/media kit used, but to demonstrate its effectiveness and use.)

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 (For Festivals/Events/Organizations who generated publicity through a media stunt to promote their event/cause 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 & 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?

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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 Materials - Place at the end of the entry.

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 Materials - Place at the end of the entry.

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 Materials - Place at the end of the entry.

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

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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.

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

2014

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, event, sponsor or program name clearly and correctly - as this 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 “2014 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:______________________________________________ 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, or as determined by the judges. 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): ________________ Category Description: ____________________________________________________________________________________________________________

(Provide brief identifying description for each entry or Name of your specific Program being entered, Sponsor Name, web address etc.)

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 23, 2014 (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 24, 2014 and July 21, 2014 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. Questions: Contact nia@ifea.com.

Early Bird Member Rates (Before June 23, 2014)

Final Entry Member Rates (June 24 - July 21, 2014)

Early Bird Non-Member Rates (Before June 23, 2014)

Final Entry Non-Member Rates (June 24 - July 21, 2014)

Grand Pinnacle:

$50 x _____= $_______

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

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

$60 x _____= $_______

$100 x _____= $_______

$150 x _____= $_______

$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

The importance of volunteers to our industry cannot be overestimated.

Whether the individual acts as a volunteer administrator of an event or contributes his or her time and resources in support of a larger, multi-event organization with a paid staff, the efforts that are put forth deserve our heartiest congratulations and recognition.

It is for that reason that the IFEA/Zambelli Fireworks Volunteer of the Year Award was created.

Nominations are currently being accepted for the 2014 IFEA/Zambelli Fireworks Volunteer of the Year Award. The award recognizes those outstanding event volunteers whose unselfish and dedicated service to a member festival or event has made a significant difference in their community and mirrors the commitment to success in our professional ranks.

A panel of impartial judges from within the IFEA organization will select the Volunteer of the Year winner from all of the candidates submitted.

That individual will be honored at the 59th Annual IFEA Convention & Expo location and date TBD. As the guest of the IFEA and sponsor Zambelli Fireworks, the winner will receive an all expense* paid trip to the convention to accept their award. All participants in the program will be promoted through local and national media releases, available on request. The finalist will be featured in a future issue of “ie� magazine, and each semi-finalist will receive a certificate of recognition.

Volunteer nominations submitted for the 2013 Award may be carried over into the 2014 competition with the permission of the nominator. The nominator will have the option to re-write the nomination if desired.

Please direct all nomination materials and questions to Nia Hovde, Director of Marketing & Communications at nia@ifea.com or +1-208-433-0950 ext. 3.

* Includes hotel and airfare only.

To view a complete list of past winners and their nominations, go to the Industry Honors section on www.ifea.com

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NOMINATION CRITERIA 2014 CALL FOR NOMINATIONS Please submit the following information for your nomination.

A. INDIVIDUAL SUBMITTING NOMINATION INFORMATION: Name • Organization • Address • City • State • Zip • Phone • Fax • Email B. NOMINATION INFORMATION: Name • Address • City • State • Zip • Phone • Fax • Email C. NOMINATION QUESTIONS: Please provide a 2 paragraph response for each of the questions below, indicating which question you are answering. Please include specific examples for each. Points will be awarded for each question. Points awarded are listed below.

1. Explain your volunteer’s significant depth of involvement. (20 points) 2. Show specific examples of your volunteers roles and responsibilities. (10 points) 3. Describe how your volunteer has provided significant enthusiasm, organizational assistance and specific expertise. (10 points) 4. Explain how your volunteer has shown initiative and leadership in his or her efforts.

(20 points) 5. Tell how your volunteer has exemplified his or her dependability. (10 points) 6. Describe your volunteer’s positive attitude. (10 points) 7. Describe how your volunteer has made a difference to the festival or event. What impact has your volunteer had on your festival/event? What void would there be without him or her as a volunteer? (20 points) D. ADDITIONAL INFORMATION: If your nominee is selected, we will need the following information for marketing the 2014 Volunteer of the Year. Please submit the following with your nomination. (Not required at time of nomination).

1. A photograph of the volunteer you are nominating.

2. A local media list (up to 15 contacts) in order for IFEA to send Press Releases to your media.

• The preferred media list submission is in an Excel format.

• Please include: Name; Organization; Address; City; State; Zip; Phone; Fax; Email E. ENTRY FORMAT: • Please email your nomination in a Word document.

F. SUBMIT ENTRIES TO: Nia Hovde, Director of Marketing & Communications at nia@ifea.com

To be eligible for consideration for the IFEA/Zambelli Fireworks Volunteer of the Year Award, the nominee shall:

• Be a current volunteer of an IFEA member organization • Have provided significant enthusiasm, organizational assistance and specific expertise • Be a volunteer of the nominating festival or event for at least 3 years • Have shown initiative and leadership in his or her efforts • Have a positive attitude • Have exemplified his or her dependability • Have a significant depth of involvement • Have made a difference to the festival or event

G. QUESTIONS: Please contact Nia Hovde, nia@ifea.com, +1-208-433-0950 ext. 3

Nominations should be submitted no later than Monday 5:00 PM (MST) June 9th, 2014

• Have received no remuneration for services directly associated with his or her volunteer duties

* Pixels Per Inch ** Pixels Per Centimeter

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2014 IFEA Webinar Series

IFEA is pleased to present our 2014 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 2014. 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.

2014 IFEA WEBINAR SCHEDULE THURSDAY, MARCH 13, 2014

Volunteer Programs and Management on a Citywide Scale Christine Nardecchia, Volunteer Administrator City of Dublin, Dublin, OH CFEE Elective Credit: Leadership/Management Skills

THURSDAY, MARCH 20, 2014

Praise the Lord and Pass the Ammunition!

A Review of Hot Legal Topics Facing Festivals and Events Jeff English, CFEE, Senior Vice President of Administration/General Counsel Kentucky Derby Festival, Louisville, Kentucky CFEE Elective Credit: Leadership/Management Skills

THURSDAY, MARCH 27, 2014

Online Event Marketing: New Tricks, Tools and Techniques to Make Your Event a Success Doug Rasch, Director, Online Marketing Edgeworks Group, Irvine, CA CFEE Elective Credit: Current Industry Issues & Trends

THURSDAY, APRIL 10, 2014

#Whippersnappers: Marketing Your Community Event in Today’s Multi-Generational World Sean King, Director of Marketing & Communications Youth Education in the Arts, Allentown, PA CFEE Elective Credit: Current Industry Issues & Trends

THURSDAY, APRIL 17, 2014

Meeting Your Sponsors CSR Objectives through Sponsorship Platforms Bruce Erley, APR, CFEE, President/CEO Creative Strategies Group, Broomfield, CO CFEE Elective Credit: Leadership/Management Skills

THURSDAY, APRIL 24, 2014

The Best 25 New Ideas for Online Marketing Kendra Wright, President Saffire Events, Austin, TX CFEE Elective Credit: Current Industry Issues & Trends

THURSDAY, MAY 8, 2014

What Could Possibly Go Wrong With That?

Taking a Proactive Approach to Event Protection & Liability JD Linn, Producer Andrew Vandepopulier, Producer Haas & Wilkerson Insurance, Kansas City, MO CFEE Elective Credit: Leadership/Management Skills

THURSDAY, MAY 15, 2014

Sponsorship Activation – The Secret of YOUR Success!

Gail Alofsin, Director of Corporate Partnerships Newport Harbor Corporation, Newport, RI CFEE Elective Credit: Leadership/Management Skills

THURSDAY, MAY 22, 2014

Beyond Budget Basics: Advanced Financial Management Concepts Mitch Dorger, Principal Dorger Consulting, Pasadena, CA CFEE Elective Credit: Leadership/Management Skills

THURSDAY, JUNE 5, 2014

The Powerful Returns of Developing (and Continuing) an Educational Program as Part of Your Event Valerie Grudzien, Program Manager 500 Festival, Indianapolis, IN CFEE Elective Credit: Current Industry Issues & Trends

THURSDAY, OCTOBER 16, 2014

Risky Business: Event Planning for Everyday Concerns and Realities Terry Powers, Vice President, Operations 500 Festival, Indianapolis, IN CFEE Elective Credit: Leadership/Management Skills

THURSDAY, OCTOBER 23, 2014

Green Events: Expectations & Realities Stephen King, CFEE, Executive Director Des Moines Arts Festival, Des Moines, IA CFEE Elective Credit: Leadership/Management Skills

THURSDAY, OCTOBER 30, 2014

Project Management for Festivals & Events Becky Genoways, CFEE, Industry Consultant CFEE Elective Credit: Leadership/Management Skills

THURSDAY, NOVEMBER 6, 2014

Rock Star Strategies for Sponsorship Success – Part II, Best Practices for Sponsorship Activation and Engagement Stephanie Donoho, CFEE Tourism Specialist, Department of Research and Development County of Hawaii, Hilo, HI CFEE Elective Credit: Current Industry Issues & Trends

THURSDAY, NOVEMBER 13, 2014

Working with the Media – Get What You Want by Giving Them What They Want Jeannie McFarland Johnson, Vice President of Communications Creative Strategies Group, Broomfield, CO CFEE Elective Credit: Current Industry Issues & Trends

Thursday, March 13, 2014 Volunteer Programs and Management on a Citywide Scale Christine Nardecchia, Volunteer Administrator City of Dublin, Dublin, OH CFEE Elective Credit: Leadership/Management Skills

Volunteers put the ‘community’ in ‘community events’ and some events have legions of dedicated workers who bring valued skills to the table while holding costs to a minimum.

This session will cover critical components of a successful volunteer program, including recruiting, training, management, communications, retention and rewards. We’ll also address the value and challenges of creating a shared citywide volunteer program.

Christine Nardecchia has been dedicated to public service her entire career, having worked in communications, public relations and as a professional Volunteer Services Administrator since 1990. She has overseen programs in the non-profit sector, hospital administration, and in local government. Currently, she is the Volunteer Services Administrator for the City of Dublin, Ohio, where she has led the development of its model, award-winning City-wide volunteer program that has been recognized throughout the country as an innovative and effective way to engage citizens in local government.

Thursday, March 20, 2014 Praise the Lord and Pass the Ammunition!

A Review of Hot Legal Topics Facing Festivals and Events Jeff English, CFEE, Senior Vice President of Administration/General Counsel Kentucky Derby Festival, Louisville, Kentucky

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. He is charged with overseeing all of Festival’s legal issues and serving as its risk management officer. He also manages the Merchandise Department and the 501(c)3 not-for-profit Kentucky Derby Festival Foundation.

Thursday, March 27, 2014 Online Event Marketing: New Tricks, Tools and Techniques to Make Your Event a Success Doug Rasch, Director, Online Marketing Edgeworks Group, Irvine, CA CFEE Elective Credit: Current Industry Issues & Trends

Discover the newest tricks, tools, and techniques for leveraging the digital space to make your event a success. This webinar will present data and lessons learned from dozens of recent social media, online advertising, and site optimization campaigns, showing you what’s working, and what to ignore in the rapidly changing world of online Event Promotion.

Doug Rasch, a decorated US Marine, found that the combination of his academic background in Math, and an early career in managing live theater, provided the odd mix of skills needed in web Marketing. Doug, with professional adverting certifications from Google and Bing, spent five years marketing events and live theater in Southern California, before moving to Edgeworks Group in 2008, where he is currently the Director of Online Marketing. Doug regularly speaks at webinars and conferences across the country, sharing his experiences with SEO, Online Advertising, Social Media Management, Mobile Marketing, Facebook App development, and Website Usability Tracking & Analysis.

Thursday, April 10, 2014 #Whippersnappers: Marketing Your Community Event in Today’s Multi-Generational World Sean King, Director of Marketing & Communications Youth Education in the Arts, Allentown, PA CFEE Elective Credit: Current Industry Issues & Trends

#Whippersnappers is an fast-paced tour through today’s complex world of media and the trends that are affecting millennials and boomers and everyone in between. Learn from three real-world cases of successful and failed strategies and the lessons learned from these experiences. Delve into the mix of traditional and social media, the importance of content, how to generate buzz and the importance of your partners in building an event that people not only want to attend, but want to share with their friends and families.

Sean King has been consulting with small businesses and non-profit organizations for over 20 years. Currently, Sean is the Director of Marketing & Communications for Youth Education in the Arts (YEA!) a national non-profit musical youth organization based in Allentown, Pa. which teaches life lessons through music. Sean also serves as the marketing Chairperson for the Hamilton District Main Street program in Allentown. He also blogs at artsmarketingblog.org and you can follow him on Twitter @skingaspire. Sean resides with his wife Natalie and son Haydn in the global crossroads of Fogelsville, PA.

Thursday, April 17, 2014 Meeting Your Sponsors CSR Objectives through Sponsorship Platforms Bruce Erley, APR, CFEE, President/CEO Creative Strategies Group, Broomfield, CO

CFEE Elective Credit: Leadership/Management Skills

CFEE Elective Credit: Leadership/Management Skills

From protesters to open carry firearms to trademarks and music contracts, the legal side of the Festival and Event industry can be a blur if you don’t want to pay $300/hour for an attorney. Kentucky Derby Festival General Counsel Jeff English will try and bring these complicated issues into focus by working through first-hand examples from his own event. There will be plenty of time for Q&A and those burning questions that are on your mind.

There is no denying that many companies need to make the connection between sponsorship and their more philanthropically-driven Corporate Social Responsibility (CSR) objectives. They need help from you, the event producers as to how sponsorship can be a highly effective tactic in any CSR portfolio. This session will explore various types of “sponsor” relationships from Advocacy, to Cause-Related Marketing, to Promotional Partnerships, to Fundraising Partnerships

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and how those can be leveraged through your festivals and events.

Bruce Erley, CFEE is a 30-year veteran of the event marketing and sponsorship field and is regarded as a leading sponsorship expert for the festivals industry. He founded Creative Strategies Group (CSG) in 1995. Prior to that time, Bruce was the Vice President for Marketing and Sales for the International, educational and cultural organization, Up with People, where he directed sponsor sales, entertainment marketing and merchandising operations.

At Creative Strategies Group, Bruce conducts all general consultation, including the development of property audits, sponsorship plans, corporate sponsorship programs and training, as well as directs CSG’s ongoing operations. Erley is widely acclaimed as a top presenter on sponsorship topics for the festivals and events industry.

Thursday, April 24, 2014 The Best 25 New Ideas for Online Marketing Kendra Wright, President Saffire Events, Austin, TX CFEE Elective Credit: Current Industry Issues & Trends

Become an online marketing super star! If you are looking for a session jam packed with practical, usable strategies, then this one is for you! You will learn 25 revolutionary ideas you can take home and implement at your event throughout the year, including contesting, social media in the off season, best mobile practices and more. We’ll also cover recent changes to online platforms so you can ensure your efforts include the most up-todate technology. Your “genius status” awaits!

Kendra Wright started her career managing non-profit fundraising events. Then in 1995, as the internet came to being, she began doing online marketing, managing global Internet strategies at a Fortune 1000 technology company. In 1998, Kendra left that company to found, Wright Strategies, working with clients like KEEN Footwear, Jeep, Panasonic, Intel, Nike and Chrysler.

Finally in 2009, Kendra launched Saffire Events to deliver software that makes it easy for events and venues to market themselves online. It’s been a wild ride.

Thursday, May 8, 2014 What Could Possibly Go Wrong With That?

Taking a Proactive Approach to Event Protection & Liability JD Linn, Producer Andrew Vandepopulier, Producer Haas & Wilkerson Insurance, Kansas City, MO CFEE Elective Credit: Leadership/Management Skills

An insurer’s nightmare, this important session will give specific examples of incidents that are currently trending in the events industry and ways to minimize the chance of one taking place at your event. The session will also show what can be done before your event to protect it from a potentially serious incident.

JD Linn - Since obtaining his economics degree from the University of Kansas, J.D. Linn has specialized in protecting the financial assets of festivals from the liability exposures associated with their activities.

Andrew Vandepopulier - After graduating from the University of Central Missouri with a degree in Business and Education, Andrew Vandepopulier began working in the disaster and catastrophe claims field for Farmers Insurance. He spent 3 years working around the Midwest handling all types of claims from hail to wildfires. In 2010, Andrew joined Haas & Wilkerson’s Fair and Festival division and has been serving the insurance and risk management needs of the event world ever since.

Thursday, May 15, 2014 Sponsorship Activation – The Secret of YOUR Success!

Gail Alofsin, Director of Corporate Partnerships Newport Harbor Corporation, Newport, RI CFEE Elective Credit: Leadership/Management Skills

Sponsorship professionals understand that the “sale begins after the sale.” Ensuring your sponsors success through Activation, Execution, Experiential Marketing – call it what you may – is the linchpin of their experience at your event or venue. This webinar will share successful activations that have embroidered sponsors into the fabric of events. The formula is “simple.” Happy sponsors will return. Elated sponsors become your advocates – and that is the secret of YOUR Success.

Gail Lowney Alofsin is the Director of Corporate Partnerships for Newport Harbor Corporation, a leading hospitality company based in Newport, Rhode Spring 2014

Island. From 1988 - 2004, Alofsin served as the Director of Sales, Marketing and Public Relations of the Newport Yachting Center, a division of Newport Harbor Corporation, developing the waterfront event site from one national event to five national events while increasing corporate partnership sales 5700%! Alofsin is a graduate of Tufts University in Medford, Massachusetts. In addition to her full time sales and marketing position at Newport Harbor Corporation, Alofsin has served as an adjunct professor at the University of Rhode Island – teaching classes focused on integrated communications for 15 years (30 consecutive semesters).

Thursday, May 22, 2014 Beyond Budget Basics: Advanced Financial Management Concepts Mitch Dorger, Principal Dorger Consulting, Pasadena, CA CFEE Elective Credit: Leadership/Management Skills

Every organization hopefully produces an annual budget. But how accurate is it? Does it accurately forecast costs and revenues? Is it too optimistic or too conservative? How does it deal with uncertainty? Does the organization have the right internal control measures in place to protect the organization? Does the board actively participate in the financial affairs of the organization? This session will explore a variety areas related to organizational finances in order to help managers and board members alike ensure the organization has sustainable revenues, controlled costs, and a bright future.

Mitch Dorger brings more than 40 years of work experience to his consulting practice including 20 years as a chief executive officer, most recently with the Pasadena Tournament of Roses. 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.

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Thursday, June 5, 2014 The Powerful Returns of Developing (and Continuing) an Educational Program as Part of Your Event Valerie Grudzien, Program Manager 500 Festival, Indianapolis, IN CFEE Elective Credit: Current Industry Issues & Trends

Since the Program’s inception in 2004, the 500 Festival & Indianapolis 500 Education Program has had nearly 200,000 students participate in its in-class curriculum. Learn what it takes to create an educational program that schools continuously want to be involved in and what it can do for your organization.

Valerie Grudzien is the Program Manager at the 500 Festival and is responsible for managing the 500 Festival & Indianapolis 500® Education Program and the 10 educational field trips that Hoosier students attend annually. She is also responsible for the coordination of the Snakepit Ball, a black tie gala on the eve of the Indianapolis 500. In addition, Valerie provides support for the 500 Festival’s Volunteer Program, which oversees more than 7,000 volunteers annually. She is a graduate of Butler University, where she obtained a Bachelor of Arts Degree in Public Relations and Spanish.

Thursday, October 16, 2014 Risky Business: Event Planning for Everyday Concerns and Realities Terry Powers, Vice President, Operations 500 Festival, Indianapolis, IN CFEE Elective Credit: Leadership/Management Skills

From severe weather to responding to a lost child; from emergency plans to golf cart safety; this webinar will help you think about everyday concerns and how to best prepare your event for the unknown. Planning for an emergency situation is vital to an event’s success; but where do we start? Items to be discussed will include weather plans, the safety of your staging and temporary structures, communication processes, theft, waivers, background checks, volunteer training, crowd control, what a good, general safety plan should include and much more.

Terry Powers is the Vice President of Operations at the 500 Festival in Indianapolis, IN and is now in his 10th year with the organization. As VP of Operations, Terry is responsible for the planning and production of the 500 Festival’s 50+ events and programs which reach over 500,000 people annually, including 480

a nationally televised Parade and the nation’s largest half marathon with over 35,000 participants.

Thursday, October 23, 2014 Green Events: Expectations & Realities Stephen King, CFEE, Executive Director Des Moines Arts Festival, Des Moines, IA CFEE Elective Credit: Leadership/Management Skills

We live in a new world, where everyone must play an active and visible role in protecting our natural resources. That said, our events don’t have unlimited resources to aim at every option. We must determine what programs we can pull off most effectively and within reason of our own realities. This important session and open idea forum will discuss the many options available to us from basic to extreme - as you consider your own position in the larger equation.

Stephen King, CFEE is the executive director of the Des Moines Arts Festival® in Des Moines, Iowa. Projects throughout his career in events have garnered more than 160 industry awards from the likes of the International Festivals and Events Association and the International Downtown Association. He is currently serving on the board of directors of the International Festivals & Events Association Foundation Board and the National Association of Independent Artists, and a founding member of ZAPPlication™.

Thursday, October 30, 2014 Project Management for Festivals & Events Becky Genoways, CFEE, Industry Consultant CFEE Elective Credit: Leadership/Management Skills

Festivals and event producers apply the fundamental skills of project management in the design, planning, management and execution of each event, every day. While festival and event producers do not need to be project management experts, it is important to incorporate fundamental project management skills and knowledge to manage people, resources and processes efficiently and effectively. Join us as we explore how project management fundamentals can improve your events.

Becky Genoways, CFEE is a leading event industry consultant and CFEE educator. Genoways has presented professional training seminars throughout North America, and in the New Zealand and the

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Middle East. She was the former President and CEO of On the Waterfront, Inc., a multiple-event production company located in Illinois. Genoways, a 30-year veteran of the festivals and events industry, is a Certified Festival & Event Executive (CFEE) and currently serves as Chair of the World Board of Directors and a member of the President’s Council of the International Festivals & Events Association.

Thursday, November 6, 2014 Rock Star Strategies for Sponsorship Success – Part II, Best Practices for Sponsorship Activation and Engagement Stephanie Donoho, CFEE Tourism Specialist, Department of Research and Development County of Hawaii, Hilo, HI CFEE Elective Credit: Current Industry Issues & Trends

The greatest songs pay homage to the artists and legends who have come before, creating new works that resonate deeply. Come learn from the best practices of your IFEA peers to develop new ways to engage your sponsors in your event, and help them receive the customer activation they want to achieve.

Stephanie Donoho, CFEE, is the Tourism Specialist for the Island of Hawaii.

She manages more than $1.5 million in Hawaii Tourism Authority and Hawaii County general funds that are invested annually in tourism marketing and product development, including partnership with dozens of world-class festivals and events. Prior to her service in Hawaii, she was the Executive Director of the Clear Creek County Tourism Bureau in Idaho Springs, Colorado. She has also worked on the fundraising and development teams for Colorado Ballet, the Eleanor Roosevelt Institute for Biomedical Research (both in Denver, Colorado) and for Good Hope School (Frederiksted, St. Croix, US Virgin Islands). She got her start in the industry holding pizza and candy bar sales to support her high school marching band’s efforts to perform at 1984 World’s Fair in New Orleans, Louisiana, and has been an avid events geek ever since.

Thursday, November 13, 2014 Working with the Media – Get What You Want by Giving Them What They Want Jeannie McFarland Johnson, Vice President of Communications Creative Strategies Group, Broomfield, CO CFEE Elective Credit: Current Industry Issues & Trends

The focus of the presentation will be a detailed exploration of alternative revenue

opportunities that media outlets share with events. Events are uniquely positioned to help media outlets generate “NTR” or non-traditional revenue, which is what they need, and in so doing, an event can successfully generate a significant advertising campaign with minimal to no cash investment. There are a variety of ways to accomplish these models and this presentation will teach event directors the secrets to success on this topic.

Jeannie McFarland Johnson, Vice President of Communications at Creative Strategies Group, has worked in the event marketing field for more than a dozen years creating dynamic and effective

Webinars On Demand

Looking for a different webinar topic – don’t forget to check out our Webinars OnDemand – previously recorded webinars that are now available for download. For a complete list of available Webinars On Demand, just go to the IFEA Bookstore & Resource Center.

How Webinars Work

IFEA Webinars are Website-enabled seminars that function much like a teleconference. They use your computer’s Website browser to display presentation materials and other applications important to the Webinar topic, with the audio portion of the presentation provided either through your computer speakers or over the phone.

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.

Once this information has been received, joining a Webinar is as easy as 1, 2, 3!

1. Log In To The Webinar: To start the Webinar, log in to the specific website address that you received for the Webinar and connect to the presentation. Webinars can be viewed on virtually any computer with a high-speed internet connection.

2. Listening To The Webinar: After you’ve logged in and gained access to the Website, you have two options to listen to the audio portion. You can either dial the telephone number provided to hear the webinar via a conference call, or if you have computer speakers, you may listen via your computer speakers. (The phone number provided will not be an 800 number,

relationships for her clients with all types of media outlets including television stations, radio clusters, newspapers, magazines, outdoor advertising companies and new media digital assets. Her vast experience and broad understanding of the unique needs of the media and event industries have given rise to her strategic hybrid approach to media planning and implementation. She specializes in media sponsorship negotiations, promotionally leveraged media buying and public relations.

so all costs for the call will be incurred by the registrant.)

3. Sit Back and Learn: Once you are logged in, all you need to do is sit back and learn! It’s just like any other seminar, except you’re sitting comfortably at your own desk! Throughout the webinar, you are able to ask questions to the presenter using the online Question/Answer messaging system that is part of the Webinar screen. The Webinar Organizer will view your question and present it to the speaker at the end of the presentation.

Along with the Webinar itself, all registered attendees will receive a copy of the presentation used for the webinar prior to the webinar start time in addition to the recorded copy of the webinar after the webinar presentation.

System Requirements For PC-based participants: • Internet Explorer® 7.0 or newer, Mozilla® Firefox® 3.0 or newer or Google™ Chrome™ 5.0 or newer (JavaScript™ and Java™ enabled) • Windows® 7, Vista, XP or 2003 Server • Cable modem, DSL, or better Internet connection • Minimum of Pentium® class 1GHz CPU with 512 MB of RAM (recommended) (2 GB of RAM for Windows® Vista) For Mac®-based participants: • Safari™ 3.0 or newer, Firefox® 3.0 or newer or Google™ Chrome™ 5.0 or newer (JavaScript™ and Java™ enabled) • Mac OS® X 10.5 – Leopard® or newer • Intel processor (512 MB of RAM or better recommended) • Cable modem, DSL, or better Internet connection

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IFEA

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REGISTRATION CONTACT INFORMATION Webinar Participant: ___________________________________________________________________________________________________________ Webinar Participant Email: _______________________________________________________________________________________________________ Organization: ________________________________________________________________________________________________________________ Address: __________________________________________________________________________________________________________________ City, State/Province, Zip Code: ______________________________________________________________________ Phone: _________________________ PURCHASE INFORMATION

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2014 UPCOMING LIVE WEBINARS: To register please make your selection by checking (√) from the webinars below: ❍

Thursday, March 13, 2014 Volunteer Programs and Management on a Citywide Scale Christine Nardecchia, City of Dublin, Dublin, OH

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Thursday, April 24, 2014 The Best 25 New Ideas for Online Marketing Kendra Wright, Saffire Events

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Thursday, October 16, 2014 Risky Business: Event Planning for Everyday Concerns and Realities Terry Powers, 500 Festival

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Thursday, March 20, 2014 Praise the Lord and Pass the Ammunition! A Review of Hot Legal Topics Facing Festivals and Events Jeff English, CFEE, Kentucky Derby Festival

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Thursday, October 23, 2014 Green Events: Expectations & Realities Stephen King, CFEE, Des Moines Arts Festival

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Thursday, March 27, 2014 Online Event Marketing: New Tricks, Tools and Techniques to Make Your Event a Success Doug Rasch, Director, Edgeworks Group

Thursday, May 8, 2014 What Could Possibly Go Wrong With That? Taking a Proactive Approach to Event Protection & Liability JD Linn, Producer Andrew Vandepopulier, Haas & Wilkerson Insurance

Thursday, October 30, 2014 Project Management for Festivals & Events Becky Genoways, CFEE, Industry Consultant

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Thursday, November 6, 2014 Rock Star Strategies for Sponsorship Success – Part II, Best Practices for Sponsorship Activation and Engagement Stephanie Donoho, CFEE, County of Hawaii

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Thursday, November 13, 2014 Working with the Media – Get What You Want by Giving Them What They Want Jeannie McFarland Johnson, Creative Strategies Group

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Thursday, April 10, 2014 #Whippersnappers: Marketing Your Community Event in Today’s Multi-Generational World Sean King, Youth Education in the Arts

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Thursday, April 17, 2014 Meeting Your Sponsors CSR Objectives through Sponsorship Platforms Bruce Erley, APR, CFEE, Creative Strategies Group

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Thursday, May 15, 2014 Sponsorship Activation – The Secret of YOUR Success!

Gail Alofsin, Newport Harbor Corporation

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Thursday, May 22, 2014 Beyond Budget Basics: Advanced Financial Management Concepts Mitch Dorger, Dorger Consultings

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Thursday, June 5, 2014 The Powerful Returns of Developing (and Continuing) an Educational Program as Part of Your Event Valerie Grudzien, 500 Festival

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. 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

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politics, and yet, the world does not yet seem to be able to allow that to happen. There is always a message to be sent; a cause to be championed; a point to be made. Where a crowd or audience can be drawn, for whatever positive intent, there will always be those who will seek ways to use it for their own purposes. We experience this on a local level and all the way through to the international level.

And while we will not likely see an end to it any time soon, we must still strive to provide events and opportunities that allow people to come together to celebrate both our similarities and our differences; our victories and our common visions. It is that feeling of being a part of the same thing (sharing common ground) that will allow us to find solutions to our other concerns.

• Talk to Targeted Audiences with Targeted Mediums In a world with many, many levels of audiences, all of whom have their chosen/preferred sources/methods of communicating and experiencing events, let’s try to avoid lowering the experience for any of them by attempting to cross over all of our possibilities. We don’t need to fill traditional television coverage by sharing tweets that are meaningless. The peo-

ple who want to tweet will do so on their own. We don’t need to remind newspaper readers of all the information they are not getting by not being on-line. It diminishes the value of the media they are subscribers to. We shouldn’t have to have a television announcer explain the storyline of a live performance. Who is explaining it to the live audience? And we should all begin to encourage that those opinions without an identifiable source, presented in a credible and respectful format, via any medium, don’t count.

• People Understand and Appreciate Quality and Creativity Whether you are the Olympic Games or the local Children’s Festival, audiences, media, sponsors, volunteers, and cities appreciate and recognize quality and creativity. From decorations to mascots; fireworks to medal presentations; media coverage to advertising; infrastructure to programming; customer service to the professionalism of your staff and team, the level of quality and creativity that you commit your own events to will make you stand out from the crowd.

These are the foundations of your brand and image. When people think of the Olympics, they already have

a pre-conceived expectation in their mind; an expectation that draws their support, their resources and their return. Make sure that your events provide those same expectations.

• The True Power of Events Comes When People and Participants take Ownership Despite the many problems, hurdles, and challenges faced by the Sochi Olympics, at the conclusion of the games everyone involved – competitors, volunteers, viewers, sponsors, media, et al. – had taken ‘ownership’ of the event. At that point – when all had shared a common event experience - all the problems were forgiven, accolades were flowing, highlight reels were running, memories had been formed and all were looking forward to the next gathering in Pyeongchang, South Korea (2018 Winter Games) or Rio de Janeiro, Brazil (2016 Summer Games). If we use our events, wherever they may be, to provide a common bonding experience for our ‘communities,’ the true power of events will lay the foundation for future successes and visions.

Here’s to a gold medal showing for all of your events!

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more than we needed! Best of all, we now had two programs in place for raising funds year after year.

I have found over the years that when you commit to a project whether it is starting a business, a new relationship or learning a new skill, opportunities arise that you ordinarily would not have noticed.

William Hutchinson Murray, from his 1951 book entitled The Scottish Himalayan Expedition says it best, “Until one is committed, there is hesitancy, the chance to draw back. Concerning all acts of initiative (and creation), there is one elementary truth, the ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself,

then Providence moves too. All sorts of things occur to help one that would never otherwise have occurred. A whole stream of events issues from the decision, raising in one's favor all manner of unforeseen incidents and meetings and material assistance, which no man could have dreamed would have come his way.”

I’ve always called this because when you combine your commitment - your powerful desire - to solve a problem or satisfy a particular need, your subconscious mind will work on it 24/7.

To understand how this works, think of the last time you were in the market for a new car. After shopping the market, you selected Spring 2014

a particular make and model. Up until that time you hardly ever noticed that car on the road, but now that you have committed to it suddenly you see them everywhere!

Opportunities present themselves in the same way.

Commitment has a way of creating its own motivation. Go for it and see what comes your way!

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.

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FOUNDATION list of IFEA educational opportunities can be found on our website, www.ifea.com.

This is the beginning of my leadership journey as the Foundation Chair. I look forward to the year ahead, the opportunities I will have with IFEA Board Members and Staff to “re-charge”, “re-connect” and “re-invent” in order to better serve the IFEA membership. To my fellow IFEA Foundation Board Members---we have a Foundation Party and Auction to plan! The date and location are set—September 30th, Kansas City, Missouri. I feel certain that the next few months will bring fruitful planning to make this year’s Foundation Auction one of the best!

Re - Charge, Re - Connect, Re - Invent Since my first IFEA Convention in Atlanta, Georgia, I’ve been eager to become more involved with this outstanding organization. I was honored to be asked to serve on the IFEA Foundation Board in 2009 and I quickly accepted. In 2011, a group of my Foundation peers asked me to join the leadership team. Again I quickly accepted! To be chosen to serve in this capacity is truly an honor. I could only do this with the encouragement of the staff of SunFest of Palm Beach County.

Thank you for your continued patience and support!

IFEA provides a platform for professionals in our industry to re-charge our batteries. It allows us to step back, look at the big picture and find a new pathway to do our jobs better.

Our events sometimes go on auto pilot. The IFEA Annual Convention sessions surge new energy into our planning.

Sometimes these speakers provide new ideas and more often than not, we meet individuals who inspire us to step outside the box, reach past our comfort zones and make changes that can make a great event even better. For me, getting involved with IFEA on a higher level allows an extension of “battery re-charge”. The additional times throughout the year that we gather for meetings give the leaders of both IFEA Boards the opportunity to serve while also creating a platform to build relationships, network and share ideas.

The IFEA Educational 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. The funds raised at our Annual Foundation Party and Auction are used for convention speakers, scholarships and other educational programs produced by the IFEA. Many new programs have been established in recent years. Use of technology and partnerships in the industry have enabled tremendous growth in the IFEA’s vision and mission. A full

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Pam Sartory 2014 IFEA Foundation Board Chair Business Manager SunFest of Palm Beach County West Palm Beach, Florida Email: psartory@sunfest.com

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Continued from page 22

task. I recommend the following steps for the policy development process.

1. Start with an end in mind. Will you be creating a policy manual, or some other form of policy management? Also, consider how the policies will be accessed and how they will be distributed to users.

2. Next take an inventory of what policies already exist. This would include the written policies in place as well as the “Old Spanish Customs” which might be hanging around posing as policies.

3. Develop an outline of what policies are needed in the judgment of the board. Consider the topics outlined above and then discuss what other areas the board members feel should be addressed. Remember, the board is defining the future activities of the organization and setting the acceptable bounds for managers. The board should quiz itself about other areas they may feel need to be guided by established policies. If they feel it is important to provide their collective guidance in any particular area, a policy should be developed.

4. Once the topics are defined and a basic format agreed upon, divide up the task of preparing the draft policies among the members of the board. Policy writers need not start from scratch. There are numerous policies outlined on the internet and in books available through sources such as BoardSource.

Don’t try to reinvent the wheel, but be sure to customize any generic policies you uncover to meet the specific needs and realities of the organization.

5. Once the policies are drafted, the board should review them according to some sort of time line. This is important work, so don’t try to deal with a host of new policies in one meeting.

Give the board time to carefully review and consider each proposed policy before adopting it.

6. Once the policies are finalized and formalized, bring them to life within the organization. Make a special effort to ensure appropriate managers know and understand the policies created and how the board will exercise its oversight responsibilities with regard to each policy.

7. Finally, create a process to periodically review and update policies as well as to consider new areas for policy development.

This should be a major part of the board’s annual work plan.

Again, I suggest splitting up the review to create a manageable workload. Perhaps take one category of policies at each meeting and spread the task over the course of the year.

Trust me, policy development efforts will pay off in a variety of important ways and the board will have created a better, more efficient and more effective organization as a result.

Notes: 1. Carver, John, Boards That Make a Difference, Jossey-Bass Publishers, San Francisco, 1997.

2. Lawrence, Barbara and Outi Flynn, The Nonprofit Policy Sampler, BoardSource, Washington DC, 2006

Mitch Dorger is the principal of Dorger Consulting. He is a specialist at improving organizational effectiveness, particularly nonprofit organizations. He can be reached at mitch@dorger. com or 626-255-5832.

We have a fairly ambitious schedule of events each and every year. It is difficult to balance the amount of events we produce each year. We even find ourselves having a tough time balancing the calendar of events to allow new ideas, programming and event weekends into an already packed season.

As with all of us in IFEA, we are continually learning how to balance more with less. We are adapting to new generations, aging staff members all while balancing “life” in a demanding field.

What do you do to relax?

Not enough! Relaxing is not something I have ever been good at or do enough. After a long day and out of energy, I do like to have some “shut down” time in front of the television and watch sporting events and Modern Family re-runs. Living and working on the Virginia waterfront does help create some automatic stress relief.

Other background experience My time in the media when working in radio was extremely beneficial to me and my career in special events. It was a great mixture of advertising, events, public relations and community partnerships along with getting to see events from the view of both the producer and sponsor.

What’s the best advice you’ve ever received?

The best advice I have ever received was, “Let some things go”. The simple phrase had deep meaning and served as a great leadership lesson to teach me that I was not going to be able to reach each person that I wanted to and some employees, situations and partnerships may need to be “let go”. If and when that is the case, it is alright for that to happen.

What is your personal philosophy?

I believe that attitude is everything. Most situations in life and at work seem to all go better with a positive attitude. Though a little cliché, how you choose to present yourself, how you choose to control your emotions and how you choose to act in tough times will determine the outcome of the challenges you are faced with.

I am a big believer in “tough times don’t last, tough people do” … If you can hold on through the tough times, you can actually see good come out of bad!

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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.

ENTERTAINMENT/TALENT KENDALL HAVEN - A nationally recognized expert on the structure of stories and on the Eight Essential Elements that form the foundation of all successful narratives. Haven’s acclaimed book, STORY PROOF: The Science Behind the Startling Power of Story presents the first-ever proof that “story structure” is an information delivery system powerhouse, evolutionarily hardwired into human brains. A senior research scientist turned story-teller and story-engineer, Haven assists agencies, organizations, companies, and schools to master the use and power of story. Contact: Kendall Haven, Phone: 707-577-0259; Email: kendallhaven@sbcglobal.net; Website: www.kendallhaven.com RIVER CITY BRASS BAND - We provide primarily American musical culture, across a broad spectrum of the public through the presentation of brass band performances, educational programs and the production of records.

Contact: James Gourlay, Address: 500 Grant Street #2720, Pittsburgh PA 15129; Phone: 412-434-7222; Fax 412-235-9015; Email: jamesgourlay1956@mac.com; Website: www.rivercitybrass.org 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.

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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 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.

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of your organization must be clear and preferably spelled out in writing. Probably the biggest red flag is making sure that interns and volunteers are not brought on to perform work that would normally be done by a paid employee. For example, if a paid staff member resigns, don’t replace him/ her with an unpaid intern or volunteer and expect them to carry the same workload as the paid employee.

When this issue was brought to my attention a few months ago, it was honestly the first I had ever heard of it. The more I read and researched, the more I was able to take a deep breath and chill out. My feeling is that these lawsuits are strictly targeting for-profit companies who use free volunteer labor in lieu of paying employees, and that unpaid internships are still safe, just so long as the rules and regulations are followed.

1. Susanna Kim (2013) Major League Baseball Sued by All-Star Volunteer for Unpaid Work, Retrieved from www.abcnews.com 2. Shannon Dauphin Lee (2013) The Legal Issues with Unpaid Internships, Retrieved from www.OnlineDegrees.com Jeff English, CFEE 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. He is charged with overseeing all of Festival’s legal issues and serving as its risk management officer. He also manages the Merchandise Department and the 501(c)3 not-forprofit Kentucky Derby Festival Foundation.