Exhibit City News - September 2015

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Insuring Your Show Investment P. 26

GSC Economics 101 P. 28

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6 SEPTEMBER 2015 Exhibit City News

TABLE OF CONTENTS

COVER PHOTOGRAPHY BY:

Corey Johnsonwww.CJPhotoG.com

I&D and Event Labor Series

34I&D and Event Labor Series

Part 1: History of I&D

54I&D and Event Labor Series

Part 2: The People

76-83I&D Corporate Profiles

Columns 12

As the Saw TurnsCorporate Wisdom?

13The Green Piece

Green Venue Report 2015

14Employment Strategy Corner

Your Interview Style Needs Sprucing Up

In this issue10 The Snapshot98 Tradeshow History113 Regional Show Calendar120 Classified Ads 124 Service Guide

Features18

Circle of LifeImpact of fabrics

22Both Sides of the Coin

Versatility of textiles

32Duty Calls

Non-union labor fills void

102Q&A with Thomas Grater

OCTANORMs new managing director

104Highlights from

Red Diamond CongressE2MA holds its annual conference

Contributing Writers

86Community Engagement is Key

to Aligning ExpectationsBy Geoff Donaghy

88Budgeting: On a Global Scale

By Kelli Steckbauer

90Exhibitions Beyond the

Tradeshow FloorBy Sarah Chew

Corporate Profiles

100Creativity Flows at Fresh Wata

34

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Impact & Versatility of Fabrics P. 18 & P. 22

I&D and EVENT LABOR SERIES 2015P. 34-85

US $6 CAN $8EXHIBITCITYNEWS.COM

Digital Flooring Technology P. 16

Insuring Your Show Investment P. 26

GSC Economics 101 P. 28

Septem

ber 2015

Vol. 21

Issue 5Exhibit C

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ENT LA

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PUBLISHERS WORDS

PUBLISHERDonald V. Svehla Jr.702-309-8023 [email protected]

EditorialMANAGING EDITORZeenath Haniff702-309-8023 [email protected]

ASSOCIATE EDITORKristan Obeng702-309-8023 [email protected]

ART DIRECTORThomas [email protected]

SPECIAL PROJECTS/RESEARCHLesley [email protected]

COLUMNISTSHaley FreemanPhillip H. KemperJim Obermeyer

CONTRIBUTING WRITERSSarah ChewGeoff DonaghyLarry KulchawikLesley MartinSoni PhillipsKelli Steckbauer

SalesDIRECTOR OF SALESKathy Anaya702-309-8023 [email protected]

ACCOUNT EXECUTIVEJohn Harrison702-309-8023 [email protected]

CIRCULATION702-309-8023 [email protected]

Don Svehla | Publisher

MASTHEAD

Greetings to readers everywhere!With the beginning of September starts our four-month look into tradeshow and event labor. The series kicks off with this, our September print edition (See pages 34-85), and culminates in December with industry experts predicting what industry labor will look like in years to come.

The labor segment of our industry is vital to the industrys very existence...yet so many exhibitors and event managers (not to mention a disturbing number of event organizers) understand very little about how this very specialized form of labor came into its present form and more importantly how best to partner with labor to maximize your face-to-face program.

GET INVOLVED! The ECN Team invites your comments and active participation. If you have not been following the social media chatter leading up to this special series, please join in the discussion. You will feel more knowledgeable and appreciate to a greater degree the hard-working women and men who professionally service and bring your exhibits and event programs to life.

Those who do not know me, or may be new to our industry, may not know that I got my start in our industry in 1979 loading trailers at night at Cicero, Ill.-based McCormick Display. It was a natural progression when I was promoted to Installation and Dismantling the exhibits that I used to load on trucks. I was 18 years old when I went through the Carpenters apprenticeship and gained Journeyman status. The union wage enabled me to pay my way through college. I was a dues paying member of Carpenters Local 10 in Chicago for more than 20 years. I look back fondly at those formative years and how it was an excellent start to a career currently 33 years and still going!

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THE SNAPSHOT

ExhibitCityNews.com SEPTEMBER 2015 11

THE SNAPSHOT

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COLUMN As the Saw Turns

The other day I was reading through some old articles that I had

stashed in a management folder in my file cabinet. Some of these articles were 10 years old; a few were 20 years and older. What was interesting was how relevant some of the commentary was to whats going on in business today. I had to wonder have we not learned anything about running our companies in the last 20 years?

I love this quote on branding from Roy Disney, brother of Walt Disney and co-founder and CEO of Walt Disney Productions:

Branding is something you do to cows. It makes sense if youre a rancher, since cows do tend to look alike. Its also useful to lots of businessmen, and they brand things like

detergents or shoes for almost the same reason as ranchers. Branding is what you do when theres nothing original about your product.

Ouch. How much time and money is spent today on branding? Could it be better spent on creat-ing something original about your product?

Heres one on the corporate belief in strategic plans.

A good deal of corporate planning is like a ritual rain dance, said Dartmouth professor Brian Quinn. It has no effect on the weather that follows. Much of the advice related to corporate planning is directed at improving the dancing, not the weather.

That kind of goes along with the old Ready, Aim, Fire ap-proach lots of planning and

preparation and little time on implementation. Seems like the companies that take the

Ready, Fire, Aim ap-proach get there faster.

And then theres the pursuit of synergy between companies. How many mergers of big companies in defense, health care,

pharmaceutical and manufac-turing are purportedly based on creating synergy between the organizations?

Most are lame excuses for the failure to create genu-inely new products, service and markets; a tribute to the absence of imagination on the part of two companies leaders, said Management Consultant Tom Peters.

Its interesting that as Im reading this stuff, it could just as easily have been in yester-days paper as in the articles I was reading from decades ago. On one hand, we can look at the progress the corporate world has made in implemen-tation of technology, advance-ments in communication and speed to market of products and services, and yet, some of the basic premises of business continue to be a challenge.

And its not just at the senior management level; its also at the individual employee level. A couple of other supposed beliefs of the corporate world:

People dont want change. Change can be a pain. But we

all seek it. Humankind has two basic and equally strong needs: stability and change. The issue is not either/or; its creating an environment where pursuing the novel is valued, not scorned.

The average person is not creative. I disagree. The aver-age person is creative. Just look at what they do between 5 p.m. and 8 a.m. and on weekends. Maybe its the environment in which they are working that is squashing the creativity.

Job descriptions are es-sential road maps. Not sure I agree with this one either. If were not careful, job descrip-tions can end up being no guidesdont do this, dont go there. Its not my job. Were working in a world that needs more fluidity between people and what they do, not less.

It does kind of make you wonder how we as a work-ing culture have been able to progress to the level of sophistication we believe we have in the corporate world when some of the very same issues being written about decades ago are just as prev-alent and applicable today. Guess thats what keeps so many business consultants gainfully employed

See you on the show floor!

Jim Obermeyer has been in the tradeshow industry over 30 years, both as a corporate trade show manager and exhibit house execu-tive. He can be reached at [email protected].

Corporate Wisdom?

By Jim Obermeyer

The Green Piece COLUMN

In 2013, two organizations joined forces to produce the Green Venue Report,

a comprehensive industry study examining the sustain-ability standards practiced by convention venues in the U.S. and Canada.

Greenview was found-ed in 2008. The com-panys mission is to advance sustainabil-ity standards in the hospitality, meetings & events, travel, and tourism sectors, in part, by enhancing reporting and data assessment methods.

Twirl Management, a cer-tified B Corp*, is an inno-vative event planning firm committed to the design and production of creative events that honor the well-being of both human and environ-mental resources.

Together, Greenview and Twirl developed the Green Venue Survey, comprised of 108 questions pertain-ing to venue space, events, energy, waste, water and communications. During the first phase, respondents answered performance data questions based upon 2012 data. Practice data answers were derived from current-ly implemented practices as of the date of surveying (November 2013).

Due to the fact that few venues had staff qualified to provide answers to the broad range of topics addressed in the survey, only 16 convention centers participated in the initial study.

The survey attempted to answer three, questions:

1. What are the individu-al and collective footprints (positive and negative) of

events taking place within convention centers?

2. What are the best practices in the industry that more convention centers (and their event or-ganizer clients) can

benefit from?3. What innovative efforts

by convention centers should be recognized and celebrated?

The research resulted in a 45-page study issued on Oct. 1, 2014. The Green Venue Re-port 2014 states, The unsub-stantiated claim that the MICE industry is the second most wasteful industry after con-struction is often cited because no one knows how much waste the industry actually produces. It is our vision that as partic-ipation in the Green Venue Survey grows, the resulting data will present an opportuni-ty to establish more informed and complete impact figures. Perhaps more importantly, conducting the survey and publishing the report on an annual basis provides an op-portunity to track progress and maintain an up-to-date refer-ence on industry best practices for the benefit of all venues and event organizers.

As part of the survey process, convention centers were also asked to provide their feedback

about how event organizers and vendors can help facilitate their efforts toward sustainability.

Three prevailing responses were reported:

1. Centers want more and better communication about sustainability questions and needs from planners and vendors. Often the center is capable of providing services, but the discussion never occurs to bring the value of those services to life.

2. Centers would like to see a reduction in use of

resources, as well as more efforts to recycle and reuse materials. Elimination of foam core signage, which is typically not accepted by commercial recyclers, was a common wish among re-sponding centers.

3. Centers desire more par-ticipation in operations and best practices already in place within the center. Examples cited include participation in established waste manage-ment programs, and obser-vance of policies.

The 2014 Report is free to download at www.GreenVenueReort.com.

Green Venue Report 2015 Soon to be Released

By Haley Freeman

ExhibitCityNews.com SEPTEMBER 2015 13


COLUMN Employment Strategy Corner

Our interview style---the way we present ourselves to the candi-

date, is vital to making a good hire. In our interviews, we present the face of our compa-nies to the outside world. To hire good people we must act and look professional. Often, candidates form their first impressions of our company as a result of meeting us.

In addition, our interview style, must be constantly

developed and refined if we are to draw out from the many differing candidates, the vital information that allows us to decide if we will make an offer to that candidate.

We all know some people who are clearer about their jobs, career paths and life goals than others. They have a vision for themselves. If these are the types of candi-dates you want to hire (and we assume you do!), in this

issue we give you some tips that will help you fine tune your interview style---and un-cover these focused (and ambitious!) candidates during your interviews.

Everything I have done in my life has prepared me well for the next thing that I do. I am always working to make myself better, one candidate recently said to me. It was clear when this candidate spoke to me that he really felt he had a path - just like other successful people we read about and know person-ally. I like that!

The best candidates I have interviewed think the same way. They have clear goals. They have a path. In their ca-reers and jobs, they can give you a reason why they did what they did and where they think they are headed. They are focused and grounded. Although some may argue this way of thinking doesnt leave much room for the creative process of forming a career, I still think its the winning way. So, if you want to uncover these types of candidates in your interview process, here are a few simple suggestions to incorporate into your interview:

Review the Resume Chronologically

I like to start at the be-ginning quite literally. I

tell the candidate Id like him to walk me through his resume and give me a quick overview of his career, starting right at the begin-ning. I see how concise, clear (or rambling) they can be. If they cant present them-selves effectively, we have a problem. While the candidate is giving me his history, Im busy asking lots of why questions (in a conversation-al way, of course!) I even like to ask why they chose the university or college they did. Thats a great question! I had one candidate tell me Well, thats the only school that accepted me. (Can you guess how long that interview last-ed?) I had one candidate tell me he wanted to go to school in California because all of his family went to school in the Boston area and he want-ed to break the mold. That adventuresome attribute was a plus for my client. (And, of course, the ones who got four-year scholarships go to the head of the class!)

You should get a clear idea during this chronological re-view if your candidate has been moving forward, sideways or backward. Its that simple.

Some things to look for are:

Promotions and increasing responsibility

Increasing quota size or territory Management of others Awards or accolades received

Philip Kemper is Founder/Pres-ident of KemperAssociates, a 38-year-old Chicago-based national executive search firm. Contact Phil with questions or comments at kemperassociates.org or [email protected].

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Your Interview Style Needs Sprucing Up---Here Are Some Tips To Help You By Philip H. Kemper

Exhibit City News.comGet the latest tradeshow industry news...on the go!

ExhibitCityNews.com SEPTEMBER 2015 15 @ExhibitCityNEws


FLOORING

As a byproduct of the digital age, you no longer have to envision walking a mile in someone elses shoes to understand them. Tech-nological innovations have given companies insight into customer behavior from data viewed on the tablet or smart-phone resting at the palm of their hand.

In the case of Scanalytics Inc., the data gathered from its flagship product, SoleSen-sor, is completely anonymous. The companys goal is not to

identify unique users, accord-ing to Chief Marketing Officer Kristi Anderson.

A 2 x 2 intelligent pres-sure-sensitive floor mat, SoleSensor measures foot traffic to deliver insight to de-cision-makers representing a range of industries, including tradeshows and conferences.

Additionally, SoleSensor mat arrays are thin enough to lie beneath any type of flooring. The time it takes to install the mats ranges from a few minutes to a few hours

depending on the number de-ployed. This task can be han-dled by labor prior to flooring installation. An individual SoleSensor can also be placed above tradeshow flooring, but it needs to be covered by a utility mat or decal sticker.

Mat arrays are positioned strategically across a trade-show floor or at a booth, which can be as small as a 10 x 10. The SoleSensors daisy chain design facilitates interconnectivity. Often, only a few SoleSensor mat arrays need to be interconnected in a space, but decision-makers can use as many as they want. For one event, Anderson stat-ed that a Scanalytics client had 100 mat arrays deployed for a single area.

The companys client roster includes 70 percent exhibitors and 30 percent

show organizers, added Anderson. Exhibitors and show organizers can lease the products hardware as a short-term or long-term solution for their tradeshow needs and subscribe to view the data collected on the accompanying software.

When using the product, ex-hibitors and show organizers have different plans in mind.

Exhibitors are more interested in engagement points. They want to see how attendees are interacting with areas of their booth, Ander-son explained. A recurring client wanted to understand how attendees engaged at the different kiosk displays in their 100 x 50 booth. The floor plan was organized into technology segments, and the kiosks were lined next to one another. While the kiosks received significant traffic, we discovered that the duration of time that people spent there was lower than their goals, and resulted in high conges-tion at the inner kiosks.

She continued, To im-prove traffic flow and engagement durations at the next show, the client redesigned their floor plan so the kiosks were back-to-back, allowing for more of an open concept and significant reduction in bottlenecks. From this minor design change, our client was able to increase their capture rate (percentage of people who visit for longer than four seconds) from 18 percent to 47 percent.

Able to check data in real-time with an Internet connection, or after the event if needed, exhibitors can also see how long attendees wait-

Sole SearchingPRESSURE-SENSITIVE TECHNOLOGY AMPLIFIES TRADESHOW FLOORINGBY KRISTAN OBENG

SoleSensor mat arrays are placed under flooring to measure foot traffic

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ed to be spoken to by booth staff and how long they en-gaged with staff or products. Exhibitors can discover if their products and staff were effective and make improve-ments if necessary.

Exhibitors can get alerts when someone steps in their booth. They can notify staff how long the person waited. On average, attendees only wait 30 seconds, stated Anderson.

Engagement is also a concern for show organizers, but they look at it from a different perspective.

Show organizers are in-terested in how well the floor plan is organized, such as how many entered or exited the event, traffic flow and if there are bottlenecks. This helps

them plan for the next event, Anderson explained.

Anderson stated that data gathered from SoleSensor mat arrays can also reveal which exhibits on the show floor received the most foot traffic. Show organizers could price these booth spaces at a higher rate, she added.

To achieve a higher level of data, Anderson remarked, ex-hibitors and show organizers alike could use complemen-tary heat maps. Additionally, SoleSensor integrates with other existing technology, such as beacons.

We do a lot of digital signage integration. You may not want to run the same message when some-one is standing in front of a

booth for five minutes. The message can be changed while attendees are standing there, she said.

Joe Scanlin and Matthew McCoy founded Scanalytics

in 2012. The company has de-ployed SoleSensor mat arrays for clients at a variety of events, such as Mobile World Congress and American Heart Associa-tions Scientific Sessions.

BratFest used the sensor technology to track bikers crossing the finish line

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FABRICS

Without innovation in exhibit design and build, limitations in the way companies could exhibit would continue to exist. Innovation brought freedom from the age-old way of exhibit construc-tion and gave life to new ideas.

Traditionally, exhibitors operated out of booths composed of laminate or vi-nyl-covered plywood. This evolved into

the use of lighter, low-maintenance and cost-effective materials that required less tools and worked well when paired together, such as aluminum and fabric.

Ever since the use of tension fabric as part of exhibit design took off within the tradeshow industry, its impact has been felt all around. From the supplier to the exhibit house and end user, each of these

groups has reaped the benefits of using textiles. What makes this experience come full circle is when suppliers receive recognition in the form of recommenda-tions. Each time good service is delivered from the top down to the end user, sup-pliers are commentated to others and are given opportunity to breathe life into new exhibits on the show floor.

Circle of LifeEACH STAKEHOLDER BENEFITS FROM THE SPREAD OF FABRICS BY KRISTAN OBENG

A hanging structure for Panasonic combined art, tension fabric and technology

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Demand from exhibit houses has increased the need for fabric suppliers. With customers pulling them in across multiple tradeshows, suppliers like Moss Inc. have made it a priority to re-spond as quickly as possible and diver-sify their business offerings to handle any fabric application.

We supply fabric to almost every ex-hibit house across the country as well as internationally and are stretched across many shows, remarked Jim Lovelady, senior vice president of sales & enterprise sales operations, Moss Inc.

From the perspective of exhibition companies, the demand for fabrics has meant ensuring they have the right part-ner to meet clients needs. Because each time they can successfully provide clients with a flexible, aesthetically pleasing solution that saves on drayage fees, their business opportunities also expand.

As for exhibitors, using textiles has

become another way in which they can make a measurable first impression on the show floor. The greater the impres-sion on attendees, the longer lasting the impression these individuals make on social media and via word of mouth.

Walk into any show, and within sec-onds, you will spot tension fabrics. The growth is coming from all directions, stated Mel Marzan, manager of market-ing communications, Moss Inc.

A key influencer in this trend, Moss is credited with first bringing tension

fabrics to tradeshows in 1983. Since then, the demand for fabric structures or ele-ments has steadily risen.

Not too long ago, tension fabric was less than 5 percent of the show floor. Now, its the prevalent solution for exhib-its of all sizes, stated Lovelady.

Whether the show is International CES, PACK EXPO or E3 Expo, custom fabric solutions are seen at numerous booths.

Exhibits using textiles have a lot in common. According to Marzan, they

Not too long ago, tension fabric was less than 5 percent of the show floor. Now, its the prevalent solution for exhibits of all sizes.

Continued on p. 20


Lighting and tension fabric went hand-in-hand for Philips.

are often immersive brand experiences comprising several thousand square feet. These large booths are designed to be spacious to include general seating for educational opportunities, multimedia and demonstration areas, he added.

With larger exhibits, theres a lot of use of sheer fabrics, so something very large has dimension and doesnt look too heavy. Theres also a lot of white and solid color backdrops used for products to stand out, Marzan said.

In many cases, 100 percent of the booth could be tension fabric, according to Marzan.

On the other hand, a design for a 10 x 10 or larger island exhibit could call for several accent pieces. These elements could be as small as a fabricated kiosk or podium, or as extensive as large hanging signs or sculptures.

The hanging sign has evolved into

a sculpture, art work or beacon for the environment. These signs are used with lighting and shapes, Marzan said.

One of the custom structures Moss is most proud of is the hanging inverted pyramid projection structure it created for client Lynch Exhibits and Panasonic PSC-NA for 2013 InfoComm. The 41-cubed structure displayed visual effects and mapping onto a fabric structure.

Marzan continued, Theres a greater technical collaboration, especially for glamour type shows like International CES. [Exhibitors] want to make a grand first impression and back it up.

For an award-winning GES-designed booth, which stretched 10,000 square feet at LIGHTFAIR International, Moss used tension fabric to create an innova-tive lighting canvas for Philips. As part of the exhibits medical setting, Moss also created sleek, stylish hospital beds made

of white tension fabric. No matter where textiles are used in an

exhibit, they must meet fire regulations, and they cant block certain areas of the venues ceiling, according to Marzan.

As long as you use [fabric] within a shows guidelines, you can do anything, he added.

The modular nature of fabrics has led to their spread beyond the tradeshow industry. This trend has allowed Moss to extend itself to projects for retail, muse-ums and events, according to Lovelady.

As demonstrated by the advent of textiles in multiple industries, theres no need to ponder how and where they can be applied. For the tradeshow industry in particular, the possibilities for fabrics will be endless as innovation continues. While few tools are required to install and customize fabric structures, creativi-ty will always be required. Ph

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FABRICS

Among exhibition pro-fessionals, familiar phrases are often used to describe tex-tiles a wide array of fabric material, lightweight, saves on drayage, sustainable, etc.

These facts no doubt excite exhibit managers with bud-get concerns and corporate social responsibility goals,

Both Sides of the CoinNO HOLDS BARRED FABRIC SOLUTIONS FROM

NORTH AMERICA TO EUROPEBY KRISTAN OBENG

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The European technique of stapling fabric prepares it for reuse following Licensing Expo

but if they dont work with the right partner, will their excitement last?

Equally as important for exhibitors and exhibit houses is the look of the exhibit and having a partner who can skillfully and creatively pro-vide total fabric solutions.

As an exhibit grows in size

during installation, aesthet-ics become just as important as the budget. Using textiles on elements like walls and organic or non-organic shapes has become a way to make exhibits pop among a crowd and build traffic.

This is why its important for exhibit managers and exhibit houses to know whos who in textiles and discover the companys experience and capabilities.

Exploring All AvenuesFor more than 40 years,

CEES SMIT has collaborated with clients who want the best of both worlds the best of aesthetics and budget; the best logistical methods from North America and Europe; and the best fabric materials and printing techniques.

The implied message here is I want the best of whats available. For many, this is a custom solution, which is CEES SMITs specialty.

CEES SMIT often engages in large-scale projects where its touches can be seen all around. One of the compa-nys specializations is printed textiles that, at first glance, dont look like fabrics. This is because these prints were purposely created to mimic the patterns or look of other materials, such as laminate or aluminum, which could become more expensive when used in abundance.

Recent projects from 2015 Licensing Expo and NPE2015 are key examples of the com-panys use of this fabric print-ing technique. During these projects, CEES SMIT also used Blockout Textile, which keeps frames from showing

and eliminates excess lighting so that it doesnt penetrate through the fabric.

We use one layer of fabric as much as possible. We use material that has a reverse side that blocks [the light-ing], stated Boi Smit, presi-dent, CEES SMIT.

Much of the companys work is influenced by the Eu-ropean and American ways of doing things at tradeshows.

For a 40 x 100 exhibit for clients Sony Pictures and Southwest Displays & Events at Licensing Expo, CEES SMITs logistics staff used the European practice of stapling fabric, which was printed to resemble laminate, to curved wall panels. They did so in a way that ensured these fabrics

were ready to be re-used for the next show.

Smit added that his clients liked the European approach.

International Strengths With a hub in Amsterdam,

The Netherlands and another base of operations in Pasade-na, Calif., its no wonder CEES SMIT is influenced by both sides of the pond.

In North America, tension fabric is most often used while many Europeans prefer non-tension fabric, accord-ing to Smit. The companys practice is to use both types of fabric. The priority for CEES SMIT is deciding what works best for the exhibit or interior project.

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FABRICS

A textile with a high tol-erance when stretched to its limits, tension fabric wraps around organic shapes with ease. If there is an error in the print, tension fabric can mask it. On the other hand, non-tension fabric is less ex-pensive and more UV stable.

We laser cut materials. If you work precisely, you dont need as much stretch, Smit explained. When dye-subli-mation printing less stretchy

fabrics, you have the best re-sults with colors. If you stretch printed black [tension fabric] material, it becomes less rich and becomes gray. With non-stretch fabric, you wont lose contrast or brightness.

Used with non-organic shapes, the less stretchy fabric is best finished with auto-mated cutting and sewing machines, all of which CEES SMIT has within the walls of its textile studio.

Technological Know-hows

In the shop, CEES SMIT develops its own inks to complement its range of ad-vanced printing technology, including UV printers up to 16 feet, flat-bed printers and dye-sublimation printers.

We pay a lot of attention to color management. We believe in sustainability. Our dye-sublimation machines run on water-based inks. We

want to be responsible, stat-ed Smit. We are not limited by the products or materials offered; we find solutions.

CEES SMIT is also a proven innovator because of its light box animation techniques and having created the Soundwave Frame.

We print electronically charged inks on acrylic plates. This is transformed into sound-producing visuals. The Soundwave Frame allows us Ph

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Used during NPE2015, Blockout Textile prevents excess lighting from showing through fabricContinued from p. 23

FABRICS

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to print horizontal and verti-cal lines on a larger scale. For instance, we can make a whole wall a speaker, Smit added.

The Perks of a Good Marriage

CEES SMITs capabilities expanded after merging with VAN STRAATEN, a printing leader in Amsterdam, with offices in The Netherlands and Germany.

A group that has existed for more than 100 years, VAN STRAATEN was initially con-sidered a competitor by CEES SMIT, according to Smit.

Were known fabric specialists, and they are printing specialists. So it was like Hey, lets get married. Its a good marriage. CEES

SMIT was already active in the U.S., so it kept its name. VAN STRAATEN is a strong name in Europe, so it kept its name, he explained.

Together, the two com-panies formed a total fabric solutions powerhouse, allow-ing customers to benefit.

As a global partner for U.S. companies, CEES SMIT cov-ers international shipping fees on behalf of its customers.

We have very good ship-ping conditions. Any ship-ment coming into the U.S. can be delivered at any U.S. loca-tion for the same price, since it is regarded as one zone. People [mistakenly] think that just because something is produced in Europe, its more expensive, said Smit.

In many instances, theres no need for shipping from the U.S to Europe. American companies can have their exhibit or interior projects created in the 55,000 square-foot European produc-tion facility. If the show is in Denmark, according to Smit, then the location is only a truck ride away from Amsterdam.

When working together,

VAN STRAATEN can handle projects in Amsterdam while the CEES SMIT staff in the U.S. is sleeping and vice versa.

Named in honor of the com-panys founder, and Boi Smits father, CEES SMIT also has a line of proprietary extrusions, but the company is proficient with working with other sys-tems as well.

People [mistakenly] think that just because something is produced in Europe, its more expensive.

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INSURANCE

As Murphys Law goes, If any-thing can go wrong, it will. It may not be possible to account for everything that could go haywire with exhibiting, but be-ing prepared can help ease any potential financial ruin that could result. Anything from natural disasters to accidents on the show floor could affect a shows success.

Comprehensive coverageEvery penny invested into an exhibit is

worth protecting with a proper insurance policy. Choosing coverage can depend on factors far beyond the square footage of an exhibit booth. Any external element that may interfere with the operation of a show should also be covered.

Besides the standard insurance every business needs liability, workers compensation and property the events/tradeshow industry also concerns them-selves with an interruption or cancel-lation of their event, shared Sandra Zumbado of InsurEvents.

Shows and events of all sizes and loca-tions need detailed insurance coverage. Outdoor events and exhibit spaces, for example, should also be covered for in-clement weather and other hazards posed by their locale.

An outdoor event carries with it higher cost and risk since it is a less controlled environment. Often, tents are affected by the weather or theres chaos from a lightning storm, explained Andy Carson, owner of Show Insurance and Insurance4Exhibitors.com.

Other factors may be special circum-stances, such as a show or event at which alcohol is served. Supplementary alcohol liability would need to be added to the policy as well.

Show organizers vs. ExhibitorsInsurance needs are not just unique to

the specific event or tradeshow, but also to the particular participant. Both show organizers and exhibitors must careful-ly consider their options. As with most insurance policies, a comprehensive plan is recommended by event and exhibit insurance carriers.

The best coverage is one that includes liability with products and completed operations, tenants legal liability to cover damages that may occur to the facility, property coverage to protect losses to the contents brought to event and during transport. A type of coverage to avoid is premises only, advised John Neofotistos, managing partner, Exhibitor Insurance.

Responsibility for accidents and other incidents falls first on the shoulders of the organizers who brought a show or event to the venue.

When an event planner signs a lease, the event planner becomes fully respon-sible. Planners rarely read the agreement, and so, may not be aware of the fine print. Problems may arise from not ob-taining additional policies, not obtaining certificates from exhibitors, not keeping track of items going in and out of venue, etc., Carson cautioned.

A good planner mitigates risk by requiring exhibitors to sign a contract to have insurance in place so that the exhibitor is responsible for their portion of damages. Every show producer should require insurance from every exhibitor and vendor such as exhibitor-appointed contractors; otherwise they cant get cov-erage for someone elses actions.

Carson provides insurance for event planners and show owners under Show

Insurance while Insurance4Exhibitors.com is geared specifically for exhibitors. Show producers should largely consider policies for cancellation, general liability and weather whereas the exhibitor is best protected by general liability and, at times, property coverage.

An additional measure of protection for show organizers is to ensure individual exhibitors carry proper coverage. Show Insurance offers an all-inclusive product in partnership with show organizers to collect, verify and store certificates for in-dividual exhibitors in order to guarantee 100 percent of participants are covered when the show opens.

Organizers need to be aware that most event liabilities do not extend coverage to their exhibitors. Many organizers are also unaware that their exhibitors may not have coverage for the products they give away or sell at the event. So its imper-ative that they have a strong certificate collection program in place for their exhibitors liability.

Exhibitors have the option of temporary coverage by day. At Insurance4Exhibitors.com, beginning rates for individual plans up to $1 million in general liability cover-age are based on the length of the event:

Single day, $89Up to 3 days, $109From 4-10 days, $119From 11-30 days, $1996 months, $475Annual, $650

Not to be overlooked are policies that dif-fer between venues, and cities and states.

Each insurance company has its own underwriting criteria. Its important for

Insuring your Show InvestmentCONSIDERATIONS FOR EVENT AND EXHIBIT INSURANCEBY ZEENATH HANIFF

INSURANCE


organizers and exhibitors to confirm the coverage they need as some risks may be excluded from their policy, Neofotistos continued. For example, workers com-pensation regulations differ from state to state, so many event and exhibitor liabilities exclude this coverage.

Liability LimitsDetermining liability requirements for

individual booths starts from the top, according to Neofotistos.

This benchmark usually comes from the facilities downward, he said. Many facilities mandate to the organizers the amount of liability insurance required by them and their exhibitors.

Standard industry limits are set at $1 million, with rare exceptions such as exhibits involving high-risk activities like bungee jumping, animal acts or an archery shooting range, etc. Additionally, exhibitor-appointed contractors may be required to carry policies at higher insur-ance liability limits than others.

Currently we are seeing more and more policies purchased for both orga-nizers and exhibitors at $5 million. The highest liability limit we have seen re-quested was for an international event in the UK, where they requested exhibitors have liability coverage of 10 million, noted Nefotistos.

Non-traditional venues may also ex-ceed the $1 million mark in liability limits to protect their properties. Events taking place at locations like Pier 94 in New York must carry coverage for the entire pier in the event of damage or destruc-tion to the structure. Meeting and event spaces located within Las Vegas casinos require limits from $2 to $5 million.

Depending on the venue, some may be willing to negotiate limits required by the event planner or show producer, according to Carson.

The most expensive item at a trade-show is typically not the booth itself. Poli-cies involving specialty or novelty items could also require higher premiums.

Exhibit spaces containing valuable art-work or collectibles may incur a $1,250 minimum premium, said Carson.

Shipping and transporting exhibit crates is a separate insurance concern, usually covered by the logistics company handling the exhibit materials.

Collecting on ClaimsHonesty is vital to filing insurance

claims at tradeshows and events, stated Nefotistos.

When obtaining your insurance, the key is to be truthful. Not disclosing or hiding information required by insurance company may result in a claim being denied, he said.

The most common claim processed by event insurance companies is a slip & fall suffered by an attendee. And while most claims are cut and dry, some fall outside the usual scope.

Claims can arise from all sorts of par-allels and not just the slips, trips and falls that most people commonly associate with, Nefotistos revealed.

Unforeseen occurrences could involve people, products or even animals.

In one incident, an exhibitor at an art

show placing something on his own wall damaging a $20,000 piece of artwork in the adjacent booth.

Other examples include convention delegates suffering food poisoning from food vendors, getting cut during a haircutting demonstration or suffering burns on hair or skin from products, and attendees bitten by an animal in an exhibit booth.

With proper coverage, natural disasters may not be so disastrous. Andy Carson of Show Insurance was able to refund all monies to exhibitors and cover all expens-es for a show organizer who was forced to cancel one of two yearly events due to a hurricane Katrina in New Jersey in 2012.

Instances when claims are not paid out range from lack of or inadequate coverage to claims falling outside of coverage dates.

For example, exhibitors may have obtained coverage for their product but not for shipment of the product. While property coverage is not typi-cally date-specific, and can usually be obtained through business insurance, such insurance should be covered by the organization handling shipment, Carson counseled. Ultimately, exhib-itors should make themselves fully aware who is responsible for insuring and handling shipments, and consider insuring shipments should handlers not have proper coverage.

Cancellation insurance also does not compensate for bad investments or lack of interest or ticket sales from at-tendees, according to Sandra Zumbado of InsurEvents.

Lawsuits may also arise from trade-shows or events. Most common result from attendees injured in a slip & fall or damages to a product on display.

Add to the list of best practices bud-geting for show and event insurance yet another line item certain to increase the cost of exhibiting. But not properly insuring your tradeshow investments can end up costing much more than a pretty penny.

Choosing coverage can depend on factors far beyond the square footage of an exhibit booth.


GENERAL SERVICE CONTRACTORS

The never-ending cycle of trade-shows on the West Coast has increased business opportunities for exhibition companies. Therefore, many of these companies found it feasible to set up shop in the region, or at the very least have an active presence on the ground.

Announced as part of the Exhibitions Mean Business campaign, statistics from Center for Exhibition Industry Research indicated that tradeshows contribute $71.3 billion to the U.S. GDP.

On a basic level, a tradeshows econom-ic impact is most often measured by a

Convention and Visitors Bureau, which cites the number of attendees, and where they shopped and dined. But attendees arent the only ones who contribute to the economic impact a show makes. The event organizers hiring decisions also play a role.

For show organizers, its important to contract one dedicated, full-service com-pany that is in charge of setting up and tearing down the entire show.

Without this companys support of the organizer before, during and after the show, how would the exhibition go

on? Some may have suggestions, but for show organizers, using only one dedicated show runner could avoid a too many cooks in the kitchen type of situation.

Additionally, without a well-run show, attendees and exhibitors could wander elsewhere. If that happens, then the re-sult could mean sayonara to attendees economic impact on a city.

While its evident these producers generally called general service contrac-tors or GSCs -- contribute to the eco-nomic impact of a tradeshow, not much is discussed about their overall impact on a city.

The economic impact of GSCs is felt each time they hire temporary labor and full-time staff, make major purchases, build facilities, pay taxes and take on other endeavors to support the trade.

Freeman and GES, two of the leading

GSC Economics 101TRADESHOWS + GSCs + CITIES = ROI BY KRISTAN OBENG

Freeman produces more than 450 tradeshows annually in Las Vegas

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GSCs in the U.S., discussed the flurry of economic activity surrounding their op-erations in two key exhibition cities, Las Vegas and Los Angeles, respectively.

Freeman Las VegasFreeman had a presence in Las Vegas

long before it opened a facility there in 1992. Since then, the companys invest-ment in the market has grown.

The company launched Freeman Audio Visual in the city, and in 2010, the com-pany acquired Encore Productions, now called Encore Event Technologies after a merger with AVT Event Technologies. In addition to Freemans shows, Encore also produces events that contribute to the local economy.

We currently produce more than 450 events annually while averaging up to eight events any given day, stated Allen Lind, vice president/general manager for Las Vegas, Freeman. We support the Las Vegas community via a number of corporate social responsibility efforts, including charitable and in-kind dona-tions and our sustainability efforts to produce events in the most environmen-tally friendly way possible and collabo-rate with a number of customers to make their events greener.

During the time frame this article was written, Freeman had just produced the Annual Conference & Exposition of the Society for Human Resource Manage-ment (SHRM), which had a $19 million economic impact.

Running from June 28-July 1 at the Las Vegas Convention Center, SHRM 2015 was by no means Freemans largest show.

In fact, for its larger operations, the company often finds it needs to expand its labor force and bring onsite more full-time employees.

A notable peak day for us in Las Vegas during January was more than 2,900 em-ployees between our labor force, full-time employees and the additional supervision that was brought in for this busy time period, explained Lind.

Known as the tradeshow capital of the world, Las Vegas therefore has several qualified vendors who can provide back-up equipment support when Freeman needs it.

We utilize a number of local equip-ment vendors that can supplement our current operation during peak times with equipment, such as forklifts, carts, boom lifts, etc., he stated. Occasion-ally, we also rely on local vendors for graphics support to supplement our capacity when needed for peak produc-tion. Our Las Vegas branch also receives regional support from other Freeman locations and other vendor partners that supplement all of our locations along the West Coast with inventory items to produce our events.

While running the show, Freeman also incurs direct costs. Its budget mostly goes toward labor, equipment rentals, graph-ics and carpet, according to Lind.

Global Experience Specialists (GES) Los Angeles

GES has a long history in Los Angeles. In 1971, the company set up an area fa-cility to support its event operations. The


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The economic impact of GSCs is felt each time they hire temporary labor and full-time staff, make major purchases, pay taxes and take on other endeavors to support the trade.

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city is also home to GES nearly 100 full-time employees and 50 union partners.

In addition to the city, county and state taxes paid for our employees, property taxes on building and marshalling yards, etc., GES also supports the local econo-my through the purchasing that is done with businesses in the Los Angeles area, stated Detra Page, APR, senior manager of corporate communications, GES.

According to Page, in 2014, GES pur-chased more than $18 million in products and services from vendors in the Los An-geles County and Orange County areas.

For many businesses, the investment of time is equally as important as the investment of money. To ensure that a tradeshow is well-run, GES spends a lot of time ensuring attendees can find and identify the exhibition. Signage, for example, is needed within large conven-tion centers that often hold simultaneous events. This pre-event planning includes

figuring out the look and feel of the show and way-finding, she added.

Although Los Angeles is not GES largest operation, its one we are very proud of the events we produce, our long-term clients and our experienced local team, remarked Page.

This past June, the local team produced E3 Expo at Los Angeles Convention Center, which had a $40 million economic impact.

On average, GES produces nearly 200 events per year in Los Angeles, she stated. [For] one of our larger Los Angeles events, we hired nearly 400 union partners (Decorators, IBEW, and Teamsters) on peak days and approximately 25 management team members. Move-in, through run

of show, through move out is 21 days, Page explained.

For each exhibition, GES always budgets for labor, equipment rental and graphics. According to Page, labor constitutes the largest part of its budget while creating electronic exhibitor kits is the smallest.


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LABOR

The need for non-union labor has always existed, especially for compa-nies that diversified beyond supplying to tradeshows.

Past economic downturns af-fecting the tradeshow industry have demonstrated the risks of putting all eggs into one basket.

If they hadnt before, many companies took on retail and museum projects; special and private events; and sponsorship opportunities. These endeavors allowed companies to continue growing during the ups and downs of the tradeshow indus-try, which usually parallels the performance of the U.S. GDP, according to Center for Exhibi-tion Industry Research.

For the most part, unions dont have jurisdiction over non-tradeshow projects or right-to-work venues. There-fore, companies hired non-union laborers.

Theres always been and continues to be great demand for non-union, specialized workers. Union tradeshow la-bor experience and associat-ed hourly rates are not appro-priate [for] these projects, or venues, and actually cause an exhibit display house to both be excluded from bidding and lose the project, stated Frank Vavpotic, president & general manager, Specialized

Onsite Services (SOS).Vavpotic launched SOS

as a provider of specialized, non-union labor in 2010. The company formed as a co-op-erative. Its eight member companies are suppliers to the tradeshow industry. The SOS board of directors approves the addition of any new members, and each member receives monthly financials.

As tradeshow revenue remained flat, each of our SOS exhibit and event dis-play house members realized, and agreed that vital to their individual customer relation-ships was to become better stewards of their customers budgets through providing quality workers at an hour-ly rate appropriate to these non-tradeshow projects and venues, commented Vavpotic.

SOS has a more than 460-strong non-union labor force on its payroll. Additionally, the company reimburses its workforce for travel expenses soon after the project is complete, ac-cording to Vavpotic.

Were lean, utilize technol-ogy and respond quickly with both estimates [and] quick turnaround projects. Quite of-ten SOS is contacted to provide a team of specialized workers with one-day notice, he said.

Because of the specialized work required, SOS labor-ers must have a skillset as wide-ranging as the projects they undertake. In some instances, these laborers may be more skilled than trade-show laborers, said Vavpotic. He explained that tradeshow laborers have a difficult time adapting to non-tradeshow related tasks because theyre not accustomed to it.

We are the silent workers who support our members. Our members direct how and when we are used. There have been occasions where SOS has reached out to a member in a

certain city or area to provide SOS with sub-contracted quality workers for another member, he said.

Non-union workers help SOS members and their customers save up to 39 percent per hour in the companys direct cities, according to Vavpotic.

With a union, the billable hours range from $85 to $150 an hour, he added.

The companys busiest destinations are LA; San Francisco; Dallas; Chicago; Washington, D.C.; Orlando; Austin; Miami; and New York.

In other cities, SOS has part-nered with affiliates.

Savings through negotia-tions with our affiliate worker providers can range from 10 to 39 percent, he said.

No matter where SOS work-ers operate, Vavpotic assured that their qualifications are vetted by him and his staff.

SOS also has begun to provide workers to right-to-work tradeshow venues and venues where non-union workers are allowed to supplement union labor after certain union quotas are met, remarked Vavpotic. Denver is a good example.

An exhibit and display house member is able to lower I&D costs by hiring experienced SOS workers to supplement their usual union labor calls.

Whether its inside or out-side the tradeshow industry, the need for non-union labor will continue to exist. Com-panies like SOS are making it easier than ever to find qualified, trustworthy work-ers who can help ensure a projects success.

To learn more about Specialized Onsite Services, visit http://www.sosWorkforce.com

Duty Calls NON-UNION LABOR CALLS INCREASE BEYOND TRADESHOWSBY KRISTAN OBENG

Theres always been and continues to be great demand for non-union, specialized workers.


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Exhibit City News34

PART 1: INTRODUCTION

words by Lesley Martin | photos by Corey Johnson

PART 1:HISTORYInstallation and dismantle (I&D) companies are some of the most vital suppliers to the tradeshow exhibit industry. For every tradeshow, there is a labor crew that laid out the show, divvied up the booth spaces, delivered the components, installed the electricity and rigged the signs. They install and dismantle booths from the smallest portable displays to gigantic multi-level custom exhibits. Some of them also produce the exhibits in fabrication shops, then install and dismantle them onsite. Labor crews of men and women are able to create a miniature, functioning city in just a few days, then break it down and pack it up for the next destination in even less time.

Although other countries can also boast large cen-ters for fairs and expos, the I&D industry is distinctly American, with deep roots stemming from the historical union movement. However, the work that these men and women do is mostly unknown to the public because the workers are invisible during the events that they help create. They work until the hour the tradeshow opens, and then return to work when the show closes.

Seeing how a tradeshow can drastically stimulate the

local economy within a short period of time, cities all over the world have built convention centers and are constantly improving facilities to attract show manag-ers and visitors. Tradeshows continually prove to be a valuable marketing channel for all industries as meeting customers face-to-face is the age-old way of trading.

And as the exhibiting market grows, so do the com-plexity, demands and expectations. Evolving from the temporary wooden structures held together by wing-nuts, tradeshow exhibits today represent a business traveling office and is complete with carpet, electricity, custom furniture, cool lighting, refrigerators, TVs, monitors and a fleet of people to make it happen. With competitors facing each other across the aisle, a tradeshow floor can seem like an arms race. And every player makes an appearance, lest their competition takes advantage of their absence.

The exhibitors responsible for planning their compa-nys tradeshow program are entrusted not only with huge budgets, but also with the full weight of expectations from management and coworkers that their event is a success. They are under intense pressure to pull off perfection in a medium where as is the case for anything thats live anything can go wrong.

Yet despite the fact that tradeshows have become more complex, there are fewer tradeshow managers today than 20 years ago. In 2015, the average tradeshow manager may be the time-strapped marketing director who is re-sponsible for several other marketing initiatives and does

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not fully understand how tradeshows operate. Or she may be the young marketing coordinator who is in her 20s and just learning the ropes. Then theres the inter-national exhibitor who is surprised and overwhelmed by the complexity and costliness of exhibiting in the U.S.

Yet few exhibitors understand the installation and dismantle business. It is often misunderstood and thought of as a commodity or an economic service, which has no qualitative differentiation across a mar-ket. Referring to a commodity good, the saying goes, From the taste of wheat, it is not possible to tell who produced it, a Russian serf, a French peasant or an English capitalist. In relation to I&D labor, exhibitors regard I&D labor services as nearly equal with no re-gard to the people who produce the work.

Whether time-strapped or inexperienced, a tradeshow entails too much for the already overworked exhibitor to manage or know. With I&D labor rarely seen or even con-sidered until the show, there are many misconceptions about labor. For example, that tradeshow labor is all the same. Or that its just an assembly of pieces. Yet these are the workers that exhibitors entrust with their companys properties worth thousands of dollars. They trust that these properties will arrive at a distant location, and that an onsite crew that they never meet will make it all come together on the show floor within a few days.

The I&D crews who put it all together also face extreme challenges. Sometimes properties show up

late, and when they do arrive, theyre damaged, in need of repairs or missing pieces. Unfinished exhibit properties arrive and the labor crew must finish them onsite. The drawings may be inac-curate or incomplete. And despite all the complications, the I&D crew is given no extra time to complete the assembly.

Exhibitors need to understand I&D and to know whos on their crew. From labor readily available from general contractors who partner directly with show managers and associations, to boutique labor compa-nies that are part of the exhibitor-appointed contractor segment, quality labor service is critical.

The best I&D companies have the best people, train-ing, processes and equipment to provide exemplary levels of service. Besides the basic installation skills, the I&D team needs organizational skill, tools of the trade, specialized training in systems, interpersonal skills, and safe and efficient work practices.

In this special I&D series, we will explore the I&D industry to help readers understand the business and attempt to dispel misconceptions. This series was made possible by the contributions of several experts in the field, who were willing to volunteer their time and ma-terials to Exhibit City News.

TABLE OF CONTENTSp. 36 HISTORY OF TRADESHOWSp. 40 GC VS EAC SIDEBAR: RIGHT TO WORK STATES

p. 44 EVOLUTION OF EXHIBIT BOOTHS AND BUYER BEHAVIOR

p. 48 COMMON MISCONCEPTIONS ABOUT TRADESHOW LABOR SIDEBAR: ROLE IN THE TRADESHOW INDUSTRY

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Americas Tradeshow RootsInstallation labor traces its

roots to the 1930s, when the latest fashions and styles were promoted in department store windows in New York and Chicago. Window dressers or decorators created and assembled displays for retailers like Macys, Saks and Marshall Fields. Industrial designer Raymond Loewy spent a portion of his career as a window dresser at Macys and Saks in Manhattan and Wannamak-ers in Philadelphia.

When the International Amphi-theater opened in Chicago in 1934, the venue was designed to host the International Livestock Exposition for the stockyard industry, and its opening quickly established Chicago as the convention capital of the world.

After the victory in WWII, Amer-ica entered a time of consumer

optimism and economic growth. Large showrooms appeared in the 50s as well as special interest shows for industries like automobiles and boating. Similar to contemporary exhibits, cabinet shops were build-ing displays and structures for these marketing environments and a niche industry emerged.

Chicagos McCormick Place, the largest convention center in North America, ushered in the era of large convention centers across the coun-try. Seeing the commerce generated by tradeshows and conventions, municipalities in New York, Atlanta, Orlando, New Orleans, Dallas, Hous-ton, Denver, Las Vegas, San Fran-cisco, LA and Orange County, Calif., found ways to enter the profitable industry. The opening of convention centers drove the rising demand for tradeshow labor to supply the practi-cal work for these events.

Portables appeared in early 1960s when Jack Downing of Downing Displays began building and selling lightweight portable displays that could quickly and easily be trans-ported and assembled with few or no tools. He went on to invent the folding panel exhibit in the early 70s. Then in the mid-70s, Theodore Zeigler of Nomadic Display invented the instant pop up, and Erik Ahlberg of Outline invented the Original 8 folding frame exhibit around the same time.

GCs and EACsAs the convention centers ex-

panded throughout the 60s and 70s, the general contractors (GCs) were the primary providers for all labor services at tradeshows. During this same period, a small number of companies identified themselves as exhibitor-appointed contractors

HISTORY OFTRADESHOWSAND I&D

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(EACs) or I&D contractors, but their business model was purely oper-ational and they earned business from relationships with builders or by serving specific shows or indus-tries, such as auto shows. Growth for EACs at this time was slow and organic as they attracted new customers among exhibitors who experienced problems with GCs and wanted an alternative labor source. The EAC companies at this time wrote orders, but they did not think beyond the services for which they were hired. The idea of selling and marketing labor services never oc-curred to any of the existing compa-nies. And relative to the volume of work that the GCs had, the business earned by independent contractors was barely noticeable.

Joe Toback, president of Local 510 Sign & Display in San Francis-co, was fresh out of high school and

needing a part-time job when he paid $20 to join the union in 1972. He immediately had three days of work. All installers were part-time during this time, and even though exhibits rarely came with blueprints, they were simple wooden struc-tures held together by wingnuts. The commitments were short, and a part-time laborer could choose to take the job or not, come and go at will, and collect a paycheck for a weekend of work. For a young man studying film at UC Berkeley, the job offered Toback the freedom to go to school, pursue special interests or travel.

I&D Grows NationallyThis changed in the early 1980s

with the advent of the company known simply as I&D (now Nth Degree). I&D was the first labor company to institute nationwide

sales and marketing efforts by em-ploying a salesforce who cold-called exhibitors and offered premium service. The results were incred-ible growth was approximately 200 percent per year for the first 5 or 6 years, and the business kept mushrooming because I&D took the initiative to reach out and ask for business.

Jack McEntee started I&D with his friends, Tony Amodeo and Pat Alacqua. As a school teacher with a young family to support, Jack ap-proached his business like a school teacher. He instituted training and created a customer benefit that influences EACs to this day: We work for you.

Jim Wurm, who was I&Ds first sales and marketing manager, remembers calling from a list of potential customers for the Na-tional Homebuilder Shows. When

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he reached the display builder for the Caloric Modern Maid account, Wurm told him, We work directly for you. You can fire us. This was the opposite of the labor supplied by the general contractor, who would provide labor by default. In addi-tion, Wurm would point out that I&D promised that the same people who installed the exhibit would also dismantle it and that I&D would match appropriate skill sets to the demands of the job. Also, the team who would work with the exhibit properties would come to the build-ers facility and preview the exhibit in advance, yet still charge the show rate. Basically, the EACs promised accountability and excellent service. This level of service is expected today but was revolutionary in the 1980s and established a new stan-dard for the business.

Roadblocks to GrowthWith low competition and few

barriers to entry, I&D booked approximately 400 jobs from 1983-1984, and other labor companies saw the opportunity. And thats when the GCs took notice. There were then some roadblocks to slow the growth of EACs, such as the EAC notification form, a letter from clients authorizing the EAC to work for them on the show floor, which some shows required an unrea-sonable 90 days before move-in. Show managers claimed that the extended notification was necessary because the GC needed this infor-mation to make the labor call, de-spite the fact that the labor call was never made that far in advance, but show managers protected their view of the general contractors role as supplying people.

Yet the EAC segment kept grow-ing, and soon they began setting up their own service desks at trade-shows, which was a position usually only held by the GCs as a service and sales center. When EACs set up their desks, the perception was that they were also selling from the desk, so some show organizers would try to create special packages in con-junction with the GC and mandate that exhibitors had to use the GC for these packages.

Keys to SuccessDemanding the option for an

alternative service, the exhibitors would object to the roadblocks and advocate for their hiring of

the EAC. Serving a customer need in the industry, the EACs contin-ued growing. What was the key to the EACs success? The an-swer is simple: The focus was on customer service and cultivating top-quality workers.

The EACs realized that the real task before them was not only to at-tract good people but to keep them as well; people had to be kept busy but not overworked. The formula was to find good talent and commit to them a promise for a definite amount of work, and at the end of the year, to make sure they were paid accordingly. The result was that the EACs began attracting larg-er clients and better employees.

Basically, the EACs promised accountability and excellent service. This level of service is expected today but was revolutionary in the 1980s and established a new standard for the business.


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HISTORY OF TRADESHOWS AND I&D

Trade Shows / Exhibits / Events > Skilled Installation & Dismantle Labor > General Contracting & Event Decorating > Furniture, Carpet, & A/V Rentals

Boston, MAWorcester, MA

Springeld, MA

Concord, NH

Providence, RIHartford, CT

Montpelier, VT

Upstate NY

(508) 366-8594

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General ContractorA general contractor (GC) is

hired by the tradeshow organizing association and is responsible for the physical set-up of the trade-show. General contractors coor-dinate most of the labor and work required for decorating and coordi-

nating a tradeshow event through-out the facility, such as rigging signs, laying aisle and registration carpet, installing A/V, material handling, applying aisle signs and larger facility graphics, moving furniture and equipment as well as providing services for exhibitors on

the show floor. In the U.S. some of the GCs include Arata Expositions Inc., Freeman, George Fern Expo-sition and Event Services, GES and Teamwork Inc.

For the exhibitor, the GC is a convenient option because they can arrange for labor services di-rectly through show management. If an exhibitor chooses to work with an EAC, there are addition-al steps required, such as EAC approval by show management (sometimes up to 90 days prior to move-in). Also, the GCs labor crews and equipment are avail-able as soon as you need it, which helps prevent idle time while the clock is ticking. While larger EACs

Whats the difference between the GC and EAC? Both the general contractors and the exhibitor-appointed contractors hire from a regions local labor pool. The companies assign forepersons and lead-persons, and the unions assign stewards for the contractors. Although they are similar, there are distinct differences between the two types of suppliers. Here is a deeper look at their roles and responsibilities, including factors exhibitors should consider.

A Tale of Two Types of Suppliers

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may also have workers and tools on standby, smaller or mid-sized firms may not.

Traditionally, the GC also dis-counts its labor up to 10 percent less than some EACs. Having earned a signed contract from show management for overall show setup, the GC has secured a considerable amount of money without the business from individ-ual exhibitors. And in the agree-ment, the GC also reserves the rights to specific jobs and equip-ment use, such as any sign rigging, use of a forklift, installing electric-ity and other safety-related tasks.

As the saying goes, however, You get what you pay for. With a

work crew stretched across the en-tire tradeshow, the GC labor is not specialized in exhibit I&D. A crew member who installs one exhibit may receive an entirely different work order upon completion, such as applying graphics to an escala-tor. Thus, they have less experience installing exhibits than the EAC, which sometimes results in errors or slower service. Also, the crew who installs an exhibit may not be the same crew who dismantles it, increasing the risk for inefficiencies and mistakes.

Nonetheless, exhibitors with a substantial exhibit that requires a large crew with extensive rigging and forklift use may find that GCs

are the most efficient and cost-ef-fective option. In such cases, the GC gives them priority and makes readily available the required equipment and personnel, whereas an EAC labor crew is often forced to wait for the GC to make the same team available.

Note: GCs are also known as GSCs.

Exhibitor-Appointed Contractor (EAC)

An exhibitor-appointed contrac-tor (EAC) is hired by the exhibi-tor, and its services are limited to the installation and dismantle of exhibits on the show floor. Unlike the GC, they do not service the contractual needs of the associ-

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Source: https://en.wikipedia.org/wiki/Right-to-work_law

WHAT IS A RIGHT-TO-WORK STATE? A right-to-work law is a statute in the U.S. that prohibits union security agreements, or agreements between labor unions and employers, that govern the extent to which an established union can require employees membership, payment of union dues or fees as a condition of employment, either before or after hiring. Right-to-work laws do not aim to provide general guarantee of employment to people seeking work, but rather are a government regulation of the contractual agreements between employers and labor unions that prevents them from excluding non-union workers or requiring employees to pay a fee to unions that have negotiated the labor contract all the employees work under.

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AlabamaArizonaArkansasFloridaGeorgiaGuamIdahoIowaKansasLouisianaMississippiNebraska

NevadaNorth CarolinaNorth DakotaOklahomaSouth CarolinaSouth DakotaTennesseeTexasUtahVirginiaWyoming

RIGHT TO WORK STATES & TERRITORIES

ations and show managers. EAC companies include Eagle Management, Momentum Management,TS Crew and Willwork Inc.

The EAC business grew out of the need and demand from exhibitors for more personal-ized, quality and accountable labor service. The EAC will usually provide the exhibitor with a lead person and their direct phone number. They often act like a conductor in an orchestra, ensuring the dif-ferent players are in sync and coordinating the moving pieces to create a show-ready trade-show exhibit.

The EAC labor crew is also usually more skilled in install-ing and dismantling exhibits because the EAC provides steady work and training for their crew members. Thus, the labor crew may be familiar with specific exhibit systems, such as Octanorm or Triga USA, and are able to work more quickly and with greater care. The EAC often assigns the same crew for both instal-lation and dismantle, further ensuring efficiency, accuracy and accountability.

However, in their contrac-tual agreement, the GC and show management guaran-tee work for the GC, and the exhibitor usually has to hire the GC for specific jobs and equipment use.

There are also different rules, restrictions and fees for hiring EACs that vary by state, city and even venues within the same city, that make the


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On Location is Exhibit, Event, & Environment Labor

Install & Dismantle

Road Tours

Retail Environments

Warehousing

Complete On-site Management

Nationwide Resources

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EAC a less convenient option. One extra step includes registering the EAC, sometimes up to 90 days before the move-in. Sometimes, there are fees associated with hir-ing an EAC, which are passed on to the exhibitor. In 2014, Hanley Wood, the show management for the CONSTRUCT show held at the Baltimore Convention Center, charged a $200 fee to each exhibi-tor who hired an EAC.

Every exhibitor and their team should check the tradeshows rules and regulations months in advance so that they are aware and can plan ahead. Each part of this series will dive deeper into exploring I&D.

The EAC labor crew is also usually more skilled in installing and dismantling exhibits because the EAC provides steady work and training for their crew members.


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Big Budgets, Big DemandsIn the 1980s, convention centers

were in existence across the coun-try, tradeshows had grown, and it seemed that there would be enough work for everyone. Under Reagans presidency, corporations had big budgets, low taxes and minimum documentation requirements, lead-ing to the rise of large exhibits and increasing demands.

Joe Toback, president of Local 510 Sign & Display in San Francis-co, remembers an instance when, after a labor crew spent three days hanging streamers across a ceiling, the exhibitor decided to change the color of the streamers and the work had to be redone. Another time, a businessman was willing to pay the labor crew to paint a ceiling three

football fields long from grey to white, then repaint it to grey once the show closed. He was denied the request only because there was not enough time before the event for the paint to dry.

There was a feeling of invincibility at this time. The thought was that marketing in this form would always be needed because there have been marketplaces where people gather to trade goods and services for as long as businesses have existed. Even during a recession, compe-tition drove businesses to trade-shows, and some tradeshows grew. The labor crews benefitted from the steady work and occasional bonus-es, such as when a business would add four hours of time to every guys paycheck for a job well-done.

Demand for Lightweight Exhibits

Into the next decade, tradeshows were finding their constraints. Businesses had new taxes and documentation requirements that made them accountable for their spending. At the same time, the cost of fuel was rising, which meant that fewer people were traveling to tradeshows and heavy wooden exhibits packed in huge crates were more expensive to ship.

Then digital textile printing was invented, a technology that revolu-tionized tradeshow exhibit design. In 1992, Skyline Exhibits was the first exhibit producer to sell these printing services, offering more creative possibilities for light-weight exhibits.

EVOLUTION OF EXHIBIT BOOTHS AND BUYER BEHAVIOR

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Adding Tech Tools to Tool BeltsThe tech industry boomed in the late 1990s, changing

shows like COMDEX, which was born from a small gather-ing in 1979 for computer dealers to preview new offerings, into mega-shows with exhibitors like IBM, Sun Microsys-tems, Microsoft and HP. COMDEX drew an attendance of approximately 220,000 in 1997. Other large tech shows included MacWorld, Interop, Networld, PC Expo, Con-sumer Electronics Show (CES), Internet World and E3.

Although the personal computer was becoming rapidly accessible, technology was not sleek and sexy like it is to-day. This was a time before flat screen monitors, portable laptops and iPads. Computers brought to show site were towers accompanied by huge monitors and keyboards, and installation crews were given the challenge of install-ing gigantic and heavy TVs inside exhibit structures.

Large crews were needed to set-up these tradeshows. When Freeman was designated the official service contractor for the COMDEX Fall 2000 show, they were given three months to prepare the 1 million square-foot exhibit hall. Production involved 11 account executives,

two dedicated designers, 145 supervisors and labor calls in excess of 1,600 union workers. The show hosted more than 200,000 attendees.

These tech companies were leading the world in inno-vation, and they were the exhibitors who expected more from their labor service providers. Exhibits were large, incorporating new technology that not even the average consumer had access to. Installers had to step up and add tech tools to their tool belts. Now I&D companies needed MacGyver-type workers who are not only good at carpentry, but also had the ability and willingness to learn new technology.

If we dont have tech tools, the tools in our tool belt arent important. Our customers expect that of us, said Scott Bennett, executive vice president of Nth Degree in 2012. Early on, in the days of Comdex and all the big tech shows, we were scolded by many of our technolo-gy customers and told that if we couldnt keep up with them, we would have a hard time dealing with them. So we stepped up. Theres no going back.

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Housing to the Show Floor and More Ser-vices for Medical Industries

In the late 1990s, the housing market was booming and attendees were flocking to shows like International Housewares, Kitchen & Bath, the Builders Show and P

Documents

Exhibit City News - September 2015