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									SPECIAL EVENTS PLANNING GUIDE
        AND CHECKLIST




              HQ USAFE/A7SPME
                Unit 3050 Box 160
               APO AE 09136-0160
         06302-67-7509 OR DSN 496-7509
Table of Contents
CHAPTER 1 – OVERALL STRATEGY                           Action List
   Overview                                           Performance Location
   Goals of USAFE Event Programming                   Indoor Procedures
   Planning Guide                                     Outdoor Procedures
   Key Elements of Each Event                         Hangar Procedures
   Working Committee                                  Performance Facilities
   On-Going Development and Refinement                Electrical Requirements
                                                       Equipment Requirements
                                                       Backstage/Dressing Rooms
CHAPTER 2 – GENERAL TIPS
                                                       Audiences
   Systematizing the Approach to Program
                                                       Funding
    Planning & Documentation
                                                       Logistics
   Setting Program Goals & Measurements
                                                            o Lodging Requirements
   Brainstorming the Possibilities & Matching to
                                                            o Transportation Requirements
    Goals
                                                            o Meals/Food
   Developing the Budget
                                                       Event Evaluation Form
   Event Sponsorships
   Creating the Marketing & Promotional Plan       CHAPTER 4 – GENERIC CHECKLISTS
    Creating the Timeline for Action: The Action    & WORKSHEETS
    Plan                                               Overall Planning Worksheet
   Accessing Installation Support                     Setting Goals, Measurements & Tactics
   Confirming Roles and Assignments                    Worksheet
   Internal Communications Plan                       Action Plan Worksheet
   Tips on Project Management                         Event Checklist
   The Secrets of Scripting                           Job Description Worksheet
   Guide to Using Graphics                            Arrival Checklist
   Documentation of Results for Evaluation            Dressing Room Checklist

CHAPTER 3 – LOGISTICS FOR A
                                                    CHAPTER 5 – RESOURCES
SUCCESSFUL SHOW
   Action Plan and Timeline
1
Chapter




Overview
The USAFE Marketing Office (USAFE/A7SPM) wants to support the vision of “improving Services to
our internal and external customers.” To create new excitement and meet this vision, USAFE/A7SPM
has updated this Air Force Event Planning Guide. This Planning Guide will serve as a resource to
Marketing staffs to help them fulfill Marketing standards and to position them as a hub of action.

This Planning Guide has been edited into an easy-to-use format with overall tips and planning forms. The
three ring- binder format is flexible enough to accommodate almost any promotion/event you plan.


USAFE Event Programming & Tactics to Meet the Goals
G O A L    1 :


To create events and related programs that position Services facilities as the visible hubs of base activities.

Measurements of Success

         Number of people who attend the show/event to participate in activities.
         Feedback about the event experience.
G O A L    2 :


To standardize and streamline the process of event planning, focusing on sharing best practices and
saving the time and energy of base-level staffs.

Measurements of Success

         Feedback from base-level staffs about this event planning guide.

    Tactics

         Create a standard format and planning process to use for most events.
         Stress simple procedures with clear communication and documentation.
         Create checklists that are easy to use and that can be used for a myriad of events.
G O A L    3 :


To create opportunities to generate revenue for USAFE Services activities.

Measurements of Success

         Revenue generated from events and associated activities.

Tactics

         Offer ideas for additional fundraising for each USAFE-level event held/hosted at the base level.
         Include ideas for participation of corporate sponsors.
         Attempt to find corporate sponsors for each USAFE-level event held/hosted at the base level.
         Share fundraising success of participating bases to document best practices.
G O A L    4 :


To share „ownership‟ of USAFE-level events with key contacts at each base to increase support and
participation.

Measurements of Success

         Participation from Services members, and from the base community and associated organizations.
         Feedback from participants.
         Creation of best practices for participation.
Tactics

         Solicit input from other successful Services (and other) events and their planners.
         Refine inputs/suggestions from field feedback and incorporate into future versions of this
          Planning Guide.


Planning Guide
This program includes the following sections:

    1. Overall strategy.

    2. General tips on event creation, planning and implementation.

    3. Checklists, forms and samples for planning and implementation.

    4. Resources to support your events.




                                                          3
Key Elements for Events
Below are several key elements necessary for the successful planning of *all events.

1.   Suggested Event Goals & Measurements                      9. Proposed Event Script
2.   Space Requirements                                        10. On-site Activities
3.   Pre-prep Activities                                       11. Staffing and Volunteer On-site Roles
4.   Pre-Event Operations Checklist                            12. Promotion and Publicity Ideas
5.   Supply List                                               13. Problem Solving
6.   Budgeting Guidelines                                      14. Post Event Activities
7.   Revenue Generating Ideas                                  15. Frequently Asked Questions
8.   Safety Considerations                                     16. Commander Briefing Notes


Before beginning any large-scale program/event, take time to go over these key elements and answer any
questions these elements may raise. In addition, Chapter 4 contains generic checklists and other
worksheets that can be used to flesh out the key elements listed above.

* EXTREME SUMMER and Tops In Blue have their own program guides that should be used to implement those programs.



Working Committee
Representatives from these organizations are suggested as basic members for all show/event committees.
In addition, consider appointing and having present a „volunteer coordinator‟ if a large number of
volunteers are required for your event.

        Services Commander or designated                               Vehicle Operations
         representative                                                 Public Affairs/AFN/AF News
        Lodging                                                        Security Forces
        Marketing                                                      Performance Site
        Food Services/Club                                             Protocol
        Honor Guard                                                    Medical
        Civil Engineers (Fire Marshal &
         Electrician)




                                                          4
2
Chapter




General Tips on Creating, Planning
& Implementing Events

Y
        our team or Special Event Committee will assist in completing tasks and making all support
        organizations aware of their part in the overall success of the event or show. Depending on the
        size/scope of the event, hosting responsibilities usually CANNOT be completed by one or two
        people. Events such as AFE Shows, USO Entertainer tours, Operation Season‟s Greetings
Tours or EXTREME SUMMER Role Model Tours are base-wide. Special Events coordinators who
ensure the involvement of base professionals in all areas of support usually produce the most successful
shows.

No matter how great the ideas are, no event will be successful without meeting the desired results and
having a successful planning process. Use the tips and worksheets that follow in the next section to refine
the systems you use in planning your events and communicating your plans to key people.

To make this planning process simple, use the “Overall Planning Worksheet” in Chapter 4 as a prototype
to create your own planning documents. The process begins with the basics of:

       Event overview including name, date, time, place, general description and event demographics.
       Brief history of event.
       Project management details.
       Documentation details.
Also in Chapter 4 are worksheets/checklists for setting goals, tactics and measurements of success,
determining needs, budgeting and volunteer planning. Using these worksheets leads you through the
planning process outlined in this section. As you create your own document, customize each worksheet to
be specific to your installation.




                                                    5
The Action Plan
Once the overview and budget are done, the next critical task is to formalize an “Action Plan.” This plan
gives each activity a goal date and an assignment of who is responsible for completing the action. The
action plan is usually written in chronological order by month, week and day. This plan is then used to
create a timeline for planning and eventually the on-site script (discussed later in this section). The key is to
communicate every action item and the critical dates for each activity whether you are two months away
from or on-site at your event. See Chapter 4 for a sample action plan and timeline.
C O N F I R M I N G    R O L E S   A N D   A S S I G N M E N T S


In doing the action plan, you will need to create assignments for staff, volunteers and others who will be
involved with the event. One of the most important jobs is to communicate the specific duties and the
expectations of timelines, budgets and reporting systems to everyone. Try grouping activities into „job
descriptions‟ or „role descriptions.‟ In this process, list all of the activities you need the person to do and
the key deadline dates. See Chapter 4, Generic Checklists & Worksheets.
T I P S   O N   P R O J E C T   M A N A G E M E N T


Everyone has their own style of project management. Here are some tips that might be helpful to add to
your own management plan:

         Set all meetings at the beginning of the planning process. Consider teleconferencing when
          schedules and/or travel times are factors.
         Try to keep the meeting time and location consistent.
         Keep meetings to one hour. Always have an agenda and keep all action steps on an Action List.
          See Chapter 4, Generic Checklists & Worksheets.
         Distribute minutes and/or action lists quickly.
         Hold people responsible for their commitments. If it‟s not done don‟t get mad, but do ask for a
          follow-up plan to meet the commitment.
         Increase meeting frequency as you near the event.
         Hold a final briefing for all staff, volunteers and vendors where you walk through every detail of
          the event – including the event script where applicable.


Scripts/Itineraries
The script or itinerary is the document that covers all event details from set up through completion. The
more complete the script/itinerary, the more controlled your on-site management can be. To create a
script or itinerary:

             State the event name, date, place and times. (To alleviate confusion use military time instead
              of a.m. and p.m.)
             Begin with the names of every key contact with addresses, business phone, fax, work phone,
              cell phone and e-mail addresses.
                                                       6
           Create a timeline beginning with set up. Organize a format that is easy to read and includes:
            time, who is responsible, activity and notes.
           Record every detail - even if they are at the same time.
           Script all the way through clean up. (This step is usually left out of most plans!)
           Attach site maps, radio assignments, entertainment schedules and other important
            information.
Distribute scripts/itineraries to all committee, staff, volunteers and vendors as needed. Walk through the
script at your final briefing. Answer questions and be confident that everyone understands their role and
responsibilities.


Setting Goals and Measurements
The place to begin after completing the Overall Planning Worksheet is setting specific goals, each with
measurements of success. It is critical to set measurements with each goal you create. You then have a
guide as you develop your plan of tactics to be used in the project.

The event or project goals are the results you plan to deliver. It is important to write goals down and to be
able to communicate them clearly, as they are the building blocks of your overall success.
B R A I N S T O R M I N G   T H E   P O S S I B I L I T I E S   A N D   M A T C H I N G    T O    G O A L S


After the goals and measurements are set, get creative and brainstorm possible ideas – referred to as tactics
in this guide. In the initial brainstorming process, there are no bad ideas. Use plenty of people and get a
variety of viewpoints. Write each idea down, then go back to the goals and match each tactic to a goal.
Organize all tactics by the goal they support and analyze to see if the tactic is measurable. Under each goal
choose the best tactics - ones that fit in your budget and can be accomplished by your staff and volunteer
resources.

You now have the specific elements of your program. See Chapter 4, Generic Checklists & Worksheets for
the „Setting Goals, Measurements and Tactics‟ worksheet.


Developing the Budget
Once you have your tactics you can create the budget for the project. It is very important to budget for
every detail, even if you expect you can get in-kind or sponsorship support. For your later evaluation, you
will want to be able to see the real cost of the entire event and the full value of the sponsorships you
obtain. To begin, be sure you remember everything you might need by using the “Event Checklist” in
Chapter 4, Generic Checklists & Worksheets.




                                                      7
Event Sponsorships
Finding sponsors to support your events will not only help your bottom line, but will also bring new
resources and energy to your project. It is important to understand the basics of sponsorships and how it
works, then to work closely within the USAFE rules. It is recommended you coordinate your
sponsorship efforts with your marketing/commercial sponsorship office.
S P O N S O R S H I P :    E X C H A N G I N G   V A L U E   F O R   V A L U E


The basic idea behind sponsorship is exchange of value for value. Each side of the partnership has
something of „value‟ to the other side. Both sides agree to „trade‟ and the sponsorship is the details of that
agreement. To begin the process, an event manager must audit what the event may have that has value to
potential sponsors and specifically what that value could be. Examples of valuable assets of an event
might be:

           Access and exposure to USAFE personnel.
           Opportunity to showcase/sell goods or services.
           Logo recognition on event materials or on displays at Services Activities.
           Recognition in promotions, media, posters, entry forms, etc..
           Lists of attendees for follow-up marketing and sales.
           Positive association of product/service with event theme or activities.
In exchange for the „value‟ you offer through the event, you want value returned either in cash or budget-
relieving in-kind support from a sponsor – “value-for-value.” The amount of support depends on the
value of the trade and is contracted in the “Sponsorship Agreement,” a formal document between your
command and the sponsor.
S P O N S O R S H I P     ‘ T U R F ’


Sponsors like to have turf – the specific area of the event they are associated with or „own.‟ An example
might be that a sponsor would support USAFE Idol volunteers with t-shirts. Their volunteer
sponsorship would pay for the t-shirts and refreshments, and their recognition might be mentioned in the
program and associated specifically with that segment (i.e. “volunteers sponsored by „x‟”).
S P O N S O R S H I P     L E V E L S


Another way to organize your sponsorship program is by levels. Usually the presenting or title sponsors
are at the top – the most expensive level – and are associated with the entire event. The recognition is in
the title of the event (i.e. USAFE Services and Exchange New Car Sales proudly present…”). The host
can be the next level and the supporter the lowest level.

Other names for sponsor levels include but are not limited to:

           Platinum, Gold, Silver, Bronze, Supporter or Honorable Mention
           Exclusive, presenting, title
           Prime, supporting, associate

                                                      8
B E   S P E C I F I C    A B O U T   B E N E F I T S


A sponsorship is a business deal and must be documented and managed in a professional way. Be very
specific about every benefit. Never over-promise but always over-deliver! Be realistic in your promises of
attendance and participation. Contract for recognition in advertising and promotional materials that you
produce, but never contract or promise media coverage. It is your responsibility to document and record
every detail of the sponsor benefits and to give your sponsors an after-event report showing total benefits.
F I N D I N G   S P O N S O R S


To find sponsors, begin with organizations that are currently involved with your base or USAFE and have
a history of sponsorship participation. Again, it is critical to work closely with your commercial
sponsorship and marketing professionals, who will properly approach these contacts.
P R O F E S S I O N A L L Y      M A N A G E   T H E   A G R E E M E N T S


Create written sponsorship agreements that document the specific details of the trade of value-for-value.
Note the timing of the support and the specific responsibilities of each party. State all USAFE-specific
rules and guidelines and include as many details as possible to cover changes in the event due to weather
or other delays.
D O C U M E N T ,       D O C U M E N T ,   D O C U M E N T


Document every detail with your notepad and your camera. Record the ticket sales and the placement of
all media coverage. Take pictures of sponsor signage and logo use. Keep copies of every advertisement
and promotional piece. Record the feedback of attendees for next year. Every detail is critical in telling
your story to your sponsor. Documentation is key for keeping old relationships and for making new ones
in the future.


Creating the Marketing and Promotional Plan
The Marketing and Promotional Plan is crucial since it contains the elements that are critical to the event
success. The plan might include all of the following:

            Communication tools                                      Creative cross-promotions
            Use of media                                             Turn-key promotions


C O M M U N I C A T I O N       T O O L S


Communication tools are those materials that get the word out to your targeted audiences about the event
and how to participate. These materials should match in color and style and are called “collateral
materials” or the “marketing campaign materials.” Such materials may include but are not limited to:

            Event logo and graphics with event name, date, time and place.
            Posters, flyers, table tents, newspaper inserts.

                                                        9
             Banners, signage, point-of-sale displays, theme decorations.
             Giveaways such as buttons, hats, T-shirts, jackets.
             Participation forms, tickets, prize registration forms.
             Website with program information.
At the event you may also need other materials such as more signage, credentials, maps, programs and on-
site promotional flyers. It is then critical in the planning to determine the number of each printed item,
the placement of all signage and the distribution of other pieces. It is also best to use the event logo and
to keep the collaterals in the same color pallet used for the rest of the artwork.
U S E   O F   M E D I A


It is important to work with your Public Affairs office to meet with local media (including print, radio and
television) to see what types of partnerships you can form with them to support your event. Media is
obviously a tool that can draw publicity for your event, but it can also help recruit volunteers, promote
sponsors, tie-in with contests and promotions, and generate an audience at your event.

If you meet with your local media and they are not interested in a sponsorship or partnership of the event,
then you need to focus on press releases, buying ads or pitching stories to the news and/or local AFN
affiliate to get your audience. For more detail on this topic, see “The Public Affairs Component” later in
this section.
C R E A T I V E    C R O S S - P R O M O T I O N S


Cross-promotions enable you to extend the impact of your event and give your sponsor extra value while
giving you exposure. In addition to your own ideas many sponsors already have cross-promotions
designed to fit programs that they have running. Ask your sponsors what has worked in promotions in
the past to develop your own cross-promotion plan.

Don‟t limit your cross-promotion to just your SPONSORS. There are hundreds of ways to cross-
promote events with other Services activities. For example:

       Working with your Child Development Center to plan and advertise your event/show in
        conjunction with the “Parents Night Out” program.
       Place copies of take-out menus for all Services activities in your Child Development Centers –
        remind parents in a rush they have alternatives to cooking at home.
       Arranging a “Dine with a Role Model” theme meal at a Club or dining facility in conjunction with
        an Extreme Summer Role Model visit.
       Work with ITT to plan a trip from your installation to another base to see an Armed Forces
        Entertainment (AFE) show or other event not coming to your area. Have participants meet at a
        Services Activity for a meal prior to departure.
       Passport to Services promotions where you win prizes for visiting various Services activities and
        getting your “passport” stamped.
Cross-promotion ideas are limited only to your imagination and are „win-win‟ for all parties to get
something of value.

                                                       10
T U R N - K E Y     P R O M O T I O N S


Turn-key promotions are usually packages that are ready to go. You host them at your venue and add
your own targeted promotions and media support. One example might be a snack company who offers a
turn-key promotion for a big sporting event such as the Super Bowl. The snack sponsor might offer a
package of signage, banners, games, prizes, and even the entry forms for the contests. In exchange, you
agree to a minimum amount of promotion and, of course, sales of the sponsoring product or service.
Like cross-promotions, turn-key promotions are win-win, as long as you meet your program goals and can
follow through with the requirements of the agreements.

Work with your commercial sponsorship contact to get help on cross- and turn-key promotions
T H E   P U B L I C    A F F A I R S / M A R K E T I N G        C O M P O N E N T


To complement the communications tools, the next step is to develop the publicity strategy to get the
word out to as many people as possible. The good news is that coverage from publicity is „free,‟ although
it takes hard work and follow-through. Contact with outside media sources should be coordinated with
the installation Public Affairs Office (PAO).
T H E   P R E S S     K I T


The publicity plan usually starts with a press kit. A *press kit usually includes some or all of the following:

        Special letterhead with event logo, name, date(s) and point of contact (this may also include
         sponsor logos).
        Fact sheet with basic details, an overview and point of contact information.
        Press release(s) with the event details in copy form explaining how to participate and other
         activities.
        Reproducible black and white and color copy of the event logo.
        Folder or container to hold the materials; envelopes to mail the folder.
        General marketing materials featuring other programs and services.
        Photographs of event elements, site or other details.
        Business cards of the point of contact.
Your Services Marketing Office and/or Public Affairs Offices will be able to help with your publicity.
The press kits you create are then sent to the key contacts who determine coverage in local newspapers,
magazines, radio and television. Work with Marketing/PA to make follow-up calls to each person to
ensure the information was received and to answer any questions they might have.

These follow-up calls are also a time to offer opportunities to meet celebrities and special guests, as well as
offering interviews with installation leadership or opportunities for special features.

*Think outside the box – press kits can be packaged as a multi-media CD, which is easier to mail, and provides electronic
copies of all items for ease of use by various media outlets.



                                                           11
T H E   I N T E R N E T   A S   A   P U B L I C I T Y   T O O L


Create a web site for your event! Check with your Services webmaster for details on adding your event to
an existing site, or creating a site specific to your event. Some ideas on using a website to enhance your
event include:

       Get the basic event information (date, time, place) out to the public.
       Help recruit volunteers.
       File entry forms electronically – if you have the technology to do this task.
       Give sponsors added value.
       Post winners after the event.
       Provide contact information.
       Show highlights from previous years.
       Offer links to event sponsors.
       Post „frequently asked questions.‟
The key to having a web page is getting the word out so people know to go there. If you create a web
page, be sure you put the address on every fact sheet, flyer and poster. Email a link to the site on any
other emails generated by you or your Marketing department.
I N T E R N A L   C O M M U N I C A T I O N S     P L A N


There are many people who need to have timely updates on your planning process. As you involve
commanders and others in management, they definitely need to feel like they are in the know. The staff,
committee and volunteers all need to know the progress. There are many ways to communicate
including:

       E-mailed mini-newsletters.
       Basic communication record forms (to record changes/progress).
       Action lists with assignments.
       Basic meeting minutes or memos.
       Teleconference calls.
Choose the style and format that fits your needs.


Staff Briefings and Debriefings
Briefing – Before each event the staff/volunteers must be briefed on:

       Participant specifications, including the names, ranks, job positions, reason why they are doing
        this event, number of participants, etc.....
       How the event is going to flow.

                                                        12
       Their responsibilities or „job description‟ during the event.
       General policies and procedures (smoking, eating, drinking, discipline, etc.).
The staff must be recognizable in uniform, staff sportswear or with a hat or button that stands out. The
event area must be set and ready to go, and all breaks must be completed at least 30 minutes prior to the
event start time. This extra time will be used to greet early guests and leave time for any last minute
changes.

Debriefing –After the event/show, ensure the area has been thoroughly cleaned and returned to the pre-
show condition. The event manager should debrief the staff on the day‟s events. This debriefing process
should be part of each event evaluation to help improve the event for the next time.

Possible topics to discuss during the debrief session:

       What did you like best about the event? Least?
       What activity do you need to redesign?
       If there was a challenging situation, discuss how it was handled. Could it have been avoided? Was
        there an easier way of dealing with it?
       Do you feel that you were adequately briefed on the day‟s event?
       What can you do differently next time?
Always point out to the staff/volunteers what a good job they did during the event. Give them as much
positive feedback as possible before they leave. If the guests give you a rave review of the event, share it
with your staff. Everyone works hard during the event and is exhausted by the time they finished. You
want them to feel good about their experience working on your event. Praise them as much as you can
and take sincere interest in their concerns.


Equipment Management
Equipment is a costly piece of operating an event. When you are in charge of an event you have become
personally responsible for the equipment provided for that event. It is important that you and your team
be extremely careful to protect this investment.

Here are some tips:

       Handle all equipment with care. Take caution in using the equipment to protect it from nicks,
        scratches and broken parts.
       Pack to minimize damage during transporting to and from the events. Take your time loading and
        unloading to make sure nothing gets broken or scratched.
       Before each event create a supply checklist. When unloading and reloading, use this as your
        guideline
       Check off each piece of equipment to insure it has been returned. Lost equipment is a waste of
        money and can hinder the next event.



                                                      13
       Equipment occasionally breaks from wear and tear. If the item is non-fixable, DO NOT discard
        it. Present it to the event manager and let him/her know the equipment needs repair or
        replacement.


Working with a Master of Ceremonies
The Master of Ceremonies (MC) will be representing your organization at the event. This means that the
first and biggest impression the guests will have of your event will be that of the MC. Therefore, you need
to be absolutely sure the MC possesses the highest standards possible. Some of the desirable
characteristics are: dependable, creative, energetic, well-spoken, charismatic, organized, able to think on
their feet, resourceful, congenial, extraverted, entertaining, insightful (able to read the crowd‟s mood),
flexible, fun, and very comfortable at a microphone and in front of a lot of people.

These qualities need to be pre-existing in the person you have chosen to be a MC. Do not hire someone
for this role who does not possess a majority of these qualities.
T H E   M C ’ S   R U L E S    O F   B E H A V I O R


The MC is in charge of making sure the program/event is kept flowing and the program is kept on script
and on time. This can be accomplished by reminding the chosen MC of the following:

       Be positive and enthusiastic. Energy and smiles are contagious and the rest of the staff will take
        your lead in conveying this message.
       Build trust, respect and friendship with clients, vendors, team members, installation and
        community representatives, and anyone else you work with on events.
       Uphold a professional image. This includes adhering to dress code policies, using proper
        language and performing to a high code of ethics.
       Make the best of every situation. This position requires flexibility and trying new things, which
        means you will make some mistakes.
       Always speak with enthusiasm and have a positive attitude about the events.
       Be educated about the program you are leading.
       Perform with a sense of humor, charm and passion for what you do.


The ‘Event Bag’
A helpful tool for any event team is the “event bag,” the container filled with the little things producers
need to help any show run smoothly. This bag can be a plastic box or container, a metal briefcase, or any
portable carry-all that can fit your tools and supplies. A large fishing tackle box works well!
C O N T E N T S    O F   A    R E A D Y   E V E N T    B A G


Event Bags are meant to have items to help in production. These tools are to be checked before the event
and restocked after the event.

Items to consider including are:

                                                       14
- Stop Watch                                                - Disposable camera with flash (400 speed)
- AAA batteries; AA batteries; 9 volt batteries             - Band-Aids and mini-first aid supplies
- Zip ties in many sizes                                    - Scissors
- 10-12 Small flashlight or maglite                         - Screwdriver or pocket tools
- Whistle                                                   - Sunscreen
- Roll of black electrical tape                             - Aspirin (staff only; not for attendees)
- Roll of duct tape                                         - Wire
- „T‟ pins                                                  - Emergency phone numbers (fire, medical, etc.)
- Crescent wrench; 6.                                       - Sharpie black markers
- Hammer                                                    - Large magic markers
- Nails and misc. screws; nuts and bolts                    - Clear tape
- Tape measure                                              - Glow-in-the-dark safety tape for marking stage
- Fishing line and clothesline or string                    stairs, etc.


Evaluate
Although the event is crazy and there is plenty to do, it is critical to document key details along the way.
Documentation is important when you evaluate the project to see if you reached your goals. It is much
simpler to keep track of things when they happen, and the process is easy if you add it into your overall
system.


Things to keep for documentation include:

       Timing and sales figures for ticket sales.
       Copy of all press releases and the publicity they generate.
       Names and contracts of all vendors; notes on their quality and results.
       Event script, maps and attachments.
       Photographs of point-of-sale displays, banners, promotional signs, etc.
       Copies of all collateral materials (take slides or photographs to keep for files).
       Photographs of event site, all set ups, sponsor recognition, VIP area, signage and activities.
       Committee job or role descriptions; organization of project team.
       Feedback from sponsors, staff, volunteers.

Through careful documentation, you can best track the true success of your hard work and efforts, and
build on these successes for future projects.




                                                      15
At-the-Event Tips
The event is where everything comes together. Here are some tips for producing the event:

      Manage by walking around.
      Visit your volunteers.
      Check your security.
      Get a first-hand look.
      Use bold signage that is easy to read.
      Put signs everywhere including restrooms, volunteer headquarters and ticket booths. Keep signs
       up high.
      Provide refreshments for staff and volunteers - have plenty of water and a first aid kit with the
       basics.
      Never forget communications – Get with your Communications Squadron to secure radios for
       your event.
      Be extra nice to volunteers - they are the backbone of your special event.
      Never assume anything! Check every detail. What you think you said may not have been heard.
      Write it all down.




                                                   16
  3
   Chapter




Logistics for a successful show
Events and performances come in all shapes and sizes, as do the requirements for each event. While a
large production such as a USO tour might work well in a hangar, a smaller AFE show might be better
suited for a Services Club or Community Center. But, that‟s only the beginning in a laundry list of
logistical items to be considered when planning your show event.


Choosing the Event Location – The VENUE
Events and performances should be scheduled in a venue that best meets the needs of the FUNCTION.
That is, the one that best matches the show/event‟s stage and electrical requirements. Consideration
should then be given to the facility with seating capacity to match the expected audience.

Next, ask about the availability of the facility. Does the event require the facility be made available prior to
the event/show to set up staging, lighting, and sound equipment? Have you established those times and
added them to the overall set-up schedule? Don‟t forget to ask about AFTER the event. Will the
event/show equipment be packed immediately following the performance or at a later time? For large
military audiences, performances in hangars, physical fitness centers, outdoors, and at off-base sites are
encouraged.
O F F - B A S E   F A C I L I T I E S



The following guidelines should be followed when using facilities off base for an AFE, USO or USAFE
show/event:
       Local community facility must have unrestricted admission.
       Site should be in close proximity to the host base military community.
       Adequate seating for anticipated military audience should be ensured.
       Special transportation should be made available for on-base personnel.
O U T D O O R     S I T E S


If planning an event/show outdoors, always book an alternate indoor facility in case of inclement weather.
If no indoor facility is available, ensure you have a “rain date” set aside and advertise that date as well.


                                                      17
S H O W S   I N   A A F E S   T H E A T E R S


If you are using an AAFES or Base theater for your show/event, be sure to coordinate early with the local
theater manager and the regional AAFES office to ensure cancellation of the motion picture
performances scheduled on the event/show performance date. Also discuss with the AAFES
representative whether or not you want the concession stands opened at events. Be sure to find out if
your show/event allows concessions and then coordinate your response with your Services
Commander/chain-of-command prior to contacting the theater manager. Be sure to request the theater
marquee be changed to publicize the show/event on the day of the performance.
C L E A N L I N E S S   O F   F A C I L I T Y


No matter where you hold your show/event, be sure to ask about cleaning up the venue after the show.
The facility should be well cleaned before your guests arrive – check the house, the backstage area AND
the restrooms! Ensure your before and after-show checklists include checking the cleanliness of the areas
before your guests arrive and prior to departing the facility. Items to consider when booking a venue
include:

       Is there a cleanup clause in your contract with the venue?
       Does the venue have a custodial crew available for clean up or will your organization be
        responsible for cleaning the venue and returning it to its pre-show condition?
       Will your organization be responsible for paying the man-hours of the custodial crew if it does the
        cleaning?
       Can your organization clean up instead and avoid the additional charge?
       Have you lined up volunteers for the cleanup?
       How soon after the event must the cleanup take place?


Stage Requirements
Before selecting a venue, ask about the size of the stage (if any) needed. Staging can be simple or
complex, depending on the type of entertainment, the specific stage requirements and the venue. Be sure
to ask for specifics with regard to the stage width, depth and height, as well as any ceiling clearance
requirements over the entire stage area. Stage requirements should be a consideration when selecting a
facility (venue).
P O R T A B L E   S T A G E S   A N D    F L A T B E D    T R U C K S


Portable stages and flatbed trucks have been the preferred staging for most USO and USAFE
entertainment acts. When using a portable stage or flatbed:

       Ensure stage/trailers are level and squarely aligned.
       Provide at least two sets of stairs (one for front entry, one for side entry to stage). Ensure
        steps are marked with reflective/glow-in-the dark tape.
       Provide black curtain or bunting for skirting the front and sides of the stage.
       Be sure to leave open space for equipment storage behind and/or beside the stage.
                                                     18
Back Stage
D R E S S I N G     R O O M S


Are dressing rooms required? If so, how many? Do you need separate rooms for males and females?
What, if any special set-up instructions have been requested in the personal rider?

There are dozens of items that make up a good dressing room. Before booking a venue, ask about any
back stage area requirements for your show/event. This is especially important for large productions such
as Tops in Blue, USO shows, and OSG, since some facilities – such as AAFES theaters, school
auditoriums, and most Community Centers – have small stages with minimal backstage area. If your
selected venue has limited dressing room/changing areas backstage, ask about using adjacent facilities or
putting up tents (inside hangars and for outside venues).

For more information, see the Dressing Room Checklist in Chapter 4, Generic Checklists & Worksheets.


Front Stage – ‘The House’
A D M I S S I O N    T I C K E T S


Admission tickets are a good way to ensure every organization on base has an opportunity to see your
show/event. However, passing out tickets also limits the number of people who can see the show.
Whichever you choose, it is important to ADVERTISE the process to your populace as soon as possible
so that ticket distribution is done quickly and smoothly.

When distributing tickets, consider the following:

           How will you distribute the tickets?
           How will you account for the tickets given out?
           Is seating on a first-come, first-served basis, or are seats assigned?
           Do you have signs directing ticket holders to a designated area?
           Do you have a standing-room only or waiting area for people who don‟t have tickets but
            show up anyway?
           Do you have a system to “count” your tickets or attendees to ensure you have enough room
            at your event?
S E A T I N G


Work with Protocol to coordinate reserved/DV seating and seating charts. During setup, or the day of
the event, ensure Protocol provides a final seating chart and marks all designated seats with the names of
your honored guests. Ensure all ushers and volunteers have a copy of the reserved/DV seating chart and
are ready to escort your special guests to their seats. For large events, it is recommended to have a
separate entrance for DVs.

Also, plan ahead for audience members with special requirements, including handicap-accessible seating.
Be sure to mark your handicap-accessible areas with signs and ensure all ushers/volunteers know where
the designated handicapped seating is located to ease the entry of patrons with special needs.
                                                      19
If your event is open to the general public, consider opening up the seating 30 minutes early for active
duty members and their families, etc. Be sure to advertise the advance seating to both your internal and
external audiences to alleviate confusion, and ensure this information is printed on all signage at the event.
O P E N I N G   T H E     D O O R S


Ensure all participants, including volunteers, know the time that the doors open and the time the show
begins. Prior to opening the doors, ensure the stage is completely set and the talent and tour coordinators
know the house is “open.” Work out in advance who has the authority to open the venue to the
audience.

Also work out in advance with your guest artists and your volunteers/participants any special
arrangements (i.e. a special DV entrance; contingency plans to open the doors earlier should a large crowd
form or if the weather is inclement.


Electrical & Equipment Requirements
E L E C T R I C A L     T E C H N I C A L   R E Q U I R E M E N T S   &   U S E   O F   G E N E R A T O R S


Ensure an electrician from your base Civil Engineer Squadron is involved with planning large-scale
performances – especially ones inside where the facility‟s power source will be used. For large groups
with lights, audio and other equipment, ensure you request a copy of the technical rider (see below) and
run these requirements by the electrician to ensure there is enough power in the venue to handle the
requirements.

Generator power should be used any time the quality or quantity of power in the selected venue is
questionable to support the event/show requirements. Lack of preparation in this area has resulted in
canceled performances due to power shutting down. Upon arrival of the event/show, a decision should
be made as to which source of power will be primary or back-up. The decision should be determined
based on location of the power, cable runs, etc.

If an adequate power source is available, a backup generator is still a good idea (depending on the amount
of equipment being used). If a generator is used for the performance, always have an additional
generator and extra fuel on hand as backup.

Remember: Noise baffling for the generator also will be necessary at outdoor performances.
E Q U I P M E N T


Will lighting, audio, set equipment, wardrobe, and musical instruments be provided by event/show? If
not, will existing house audio and/or lighting systems be used as a stand alone system or in conjunction
with the event/show systems? This often can be determined prior to the event/show coordinator prior
to arrival at the venue. Any available information pertaining to facility equipment should be provided to
the coordinator well in advance of the performance. Any additional equipment required for an outdoor
performance should be addressed based on the actual performance location.




                                                      20
Arrival/Welcoming Information
Consider setting up a welcome reception for your show/event if warranted on an off-performance
day. At a minimum, the Project Officer or designated representative should meet the performer(s)
and accompanying entourage as they arrive at your installation, to ease access onto your base and to
ensure the tour is escorted to the Lodging Office.

For larger groups – 6 or more – the arrival goes smoother if the project officer secures all lodging keys
in advance and hands them out to the group. The same is true when the base is providing U-drive
vehicles and radios. Have the vehicles in one location, with each vehicle clearly marked with a
placard. Hand out keys and radio call signs with the welcome packages. Also include in the packages
the locations and hours of operation for all establishments serving food.
E Q U I P M E N T     A R R I V A L


If a tour is arriving by military air, ensure you have coordinated with your Aerial Port Squadron to have the
equipment offloaded and the pallets moved to a secure storage facility or to the venue until the established
setup time. Work out in advance any requirements for dunnage, as well as any requirements for breaking
down the pallets at the venue.

R O U T I N G   T O    B A S E


For certain events, such as AFE shows, the gaining base might be asked to provide ground transportation
routing from the previous performance location. This should include local knowledge of detours and
construction, as well as hours of operation for all bases gates. Be sure to indicate at which gate the Project
Officer or designated representative will be to meet the team. See “Arrival Checklist” in Chapter 4, Generic
Checklists and Worksheets


Riders
Most established bands and entertainment groups have what are known as „riders‟ for equipment, sound
and personal needs.         These documents specify what the entertainer/band requires for a
show/performance. These documents are negotiable, but the negotiations must take place PRIOR to
accepting the entertainer/band. Once the band has committed to appearing at your installation, your
installation is committed to providing whatever items are included on these riders.
T E C H   R I D E R


A technical or „tech rider‟ stipulates specific requirements for a gig. Some tech riders are simple, one-page
documents with basic outlines, stage diagram, minimum acceptable backline, etc. Some are several pages
long and very specific. For obvious reasons, the simple riders are easier to accommodate and most often
cheaper, too. Other important gig-specific requirements which may not appear on a group‟s general tech
rider could be room/venue size, expected audience, indoors/outdoors, seated or standing audience, need
for CD playback, etc. In addition to the tech rider, some bands and entertainment groups also provide a
„sound rider.‟ The sound rider will usually include all equipment being provided by the band/entertainer,
as well as all equipment that must be provided by the host. (NOTE: ALL sound equipment that is
brought into Germany and/or rented for a performance must be approved by the USAFE Frequency
Control office prior to use.)

                                                     21
P E R S O N A L   R I D E R


A „personal rider‟ is the band/entertainer‟s personal requirements for a gig. This rider usually includes any
back-stage food and beverage requirements, as well as lodging, transportation and dressing room specifics.
Many high-profile entertainers have personal riders that are several pages long and will include specifics
for their managers, assistants, staffs and road crew as well. When playing on base, most entertainers will
submit an “abbreviated” rider. If a complete rider is submitted, negotiate the rider down prior to
accepting the entertainer. Once your base has accepted a group, all items submitted/negotiated on the
personal rider (or a suitable substitute) must be supplied.

REMEMBER: Many artists include food and beverage requirements for their entire entourage in a
personal rider. Just because there are only three artists in the group, don‟t assume they really don‟t need
the 15 sandwiches and two cases of beverages they have asked for.


Other Items to Consider
L O D G I N G


When accepting a tour, ask about lodging requirements and costs up front. For USO tours, the USO
usually billets the stars off-base and pays for the billeting. Most AFE and USAFE-sponsored tours
require the hosting base to pay for on-base lodging in billeting where applicable or pay for off-base
lodging.

For tours, the rule-of-thumb is to work directly with your lodging office to secure room reservations
immediately upon accepting a tour. ALL AFE and USAFE-sponsored tours will include a lodging list
indicating the number of rooms required. (NOTE: Never obligate your base to a show or performance
without getting this information up front, especially if your installation is footing the bill for lodging.)

For tours arriving from the states in the early morning, consider blocking the lodging rooms the night
before so your guests do not have to wait until afternoon check-in.
T R A N S P O R T A T I O N     R E Q U I R E M E N T S


ALL USO, AFE and USAFE-sponsored tours will include transportation requirements. If no
requirements are mentioned up front, ask! Transportation could include everything from rental cars,
U-drive vehicles, buses or trucks to transport equipment. If asked to provide a vehicle for
transportation, ALWAYS ask for specifics such as: how many people will need to be transported;
how much luggage/equipment will they have; if the vehicle is a U-drive, does the driver have a valid
USAREUR license.

Don‟t forget to RESERVE parking for your guests – especially in front of the venue where the
performance is taking place.
F O O D   B E F O R E   A N D    A F T E R   S H O W / O T H E R   M E A L S


As with all other aspects of most USO, AFE and USAFE entertainment shows coming to your
installation, required meals for performers will almost always be outlined in advance. This includes who
pays, what meals are to be served (and when), and what type of food is required/requested by the
performers.

                                                     22
However, do not let your meal planning stop with what is in the entertainers‟ personal riders. In addition
to any required meals as outlined in the rider – or in the absence of a rider – many installations provide
food and beverages as a courtesy for those personnel „working the show‟ including tech crews, services
personnel, Security Forces members and volunteers. The types of backstage „spreads‟ are as varied as the
bases who provide them. Some installations work directly with their Club Catering staffs and put together
full meals, others have sandwiches, light snacks and/or hors d‟oeuvres. All are acceptable and appreciated
by these behind-the-scenes personnel – especially if they have shown up a few hours before an event and
work until after the event is over.

If you do not have the resources or the requirement to do the above, at a minimum have backstage a
coffee service, cold water, and a few other beverages for your guests and volunteers.

NOTE: Most performers do not like to eat a heavy meal PRIOR to going on stage. If your base does
not have funding to provide back-stage refreshments before and/or after a performance, ensure you
provide information to the performers about locations on and off base where food is available. Include
menus (in English if possible), and provide hours of operation for both on- and off-base facilities.

For shows like Tops In Blue and OSG, ensure you also provide the hours of operation for your Dining
Facility, including after-hours take-out times. Also consider providing menus and hours of operation for
your Flight Kitchen so groups can order boxed meals if necessary.
C A L E N D A R S


Before finalizing your event/show date, time and location – especially for large wing or base-wide
functions – check the base/wing calendar for conflicting events taking place the same day as your
function. Also check the local community for events taking place downtown that might draw your
audience away. Once you ensure no conflicts exist, get your event on the wing/base calendar as soon as
you have a fixed date set. Always ensure you contact your wing/base commander‟s office and „save the
date‟ on his/her calendar to ensure leadership participation in the event.




                                                   23
       4
        Chapter




Generic Checklists & Worksheets
Although no two events or performances are identical, initial planning for all events is the same. The following
checklists will help you decide WHAT you need, WHEN you need, WHERE to get it and from WHOM.

The OVERALL PLANNING WORKSHEET is ideal for the first-time event planner, or for those who have
been event planning for years! It allows for setting goals and objectives for the event, gives event planners a
head start on any presentations that must be developed for the event, and is a good record of what took place.

Use the SETTING GOALS, MEASUREMENTS AND TACTICS WORKSEET to outline what you hope
to accomplish.

The ACTION PLAN gives each activity a goal date and an assignment of who is responsible for completing
the action. The action plan is usually written in chronological order by month, week and day and can be used
to write your overall itinerary.

The EVENT CHECKLIST is an all-purpose list of requirements for any event, regardless of size. This list is
not all-inclusive, but contains those items that should be considered when planning an event. This form can
be fill out on the computer or printed and filled out in pen and ink. Use this form to build your budget, as well.

Once you have planned your event, use the EVENT JOB DESCRIPTIONS worksheet to assign tasks and
deadline dates to each volunteer/committee member and to gather information about your POCs.

The ARRIVAL CHECKLIST is handy to ensure all pertinent information is readily at hand for anyone
designated to work the arrival of your tour/event entourage.

The DRESSING ROOM CHECKLIST includes the numerous of items that make up a good dressing room.




                                                       24
Overall Planning Worksheet

Event/Program Name:

POC Info:

Phone:

E-mail:

Date(s):

Time:

Location:

Description – Overview of Program:




Event/Program History – Year started and background on previous year’s attendance
number/ demographics/success of program, etc.:




Past Sponsors – List all past sponsors with amounts given:




                                          25
Setting Goals, Measurements & Tactics

Name of event:______________________________________________________________________

Key Planning Team                     Phone Number/Contact Info

1.

2.

3.

4.



What are your goals and objectives?

Goal 1:______________________________________________________________________________

_____________________________________________________________________________________

Measurement of Success:______________________________________________________

_____________________________________________________________________________________

Tactics:
      1._____________________________________________________________________

      2._____________________________________________________________________

      3._____________________________________________________________________

      4._____________________________________________________________________

Goal 2:______________________________________________________________________________

_____________________________________________________________________________________

Measurement of Success:____________________________________________________________

_____________________________________________________________________________________

Tactics:    1._______________________________________________________________________

            2.______________________________________________________________________

            3.______________________________________________________________________

            4.______________________________________________________________________
                                         26
Action Plan

Event/Promotion:_____________________________________________ Date:____________________

        Who                         Activity/Action                      Due Date




                                           27
Date                                                                                 page   of              pages

EVENT CHECKLIST                               Required       Internal/External     Costs         Task Complete

                                                                                    How          Do you have the
                                              Yes/No      List POC name & Number
                                                                                   much?         item(s) or info?
FACILITY / INSIDE EVENT

       Rental
       Stage
       Utilities (110v or 220v)
       Fixed lights
       Backstage area
       Backstage dressing rooms
       Backstage restrooms
Misc.
Misc.
Misc.
FACILITY / OUTSIDE EVENT SITE

       Designated parking
       DV parking
       Reserved parking for entertainment
       Shuttle Service
       Reserved parking for shuttle
       Lights for parking area
       Security for parking area
       Parking attendants
       Signage designating parking area(s)
Misc.
Misc.
Misc.
PRODUCTION

       Stage rental
       Specific size stage required
       Skirting/bunting
       Steps (how many sets/located where?)
       Light trees
       Lights
       Sound system
                                                     28
    Stage monitors (what type/how many)
    Microphones (what type/how many)
    Podium
    Backdrop
    Special banners/signage
    Video Projection (front or rear)
    Production communication
    Special electrical wiring
Misc.
Misc.
Misc.
EVENT RENTALS

    Tables
    Tents
    Tent pole draping
    Chairs
    Linens
    Canopies
    Pipe and drape
    Props/decorations
    Carpeting/flooring
    Air conditioning/heating
    Floral arrangements/plants
Misc.
Misc.
Misc.
ON-SITE TRANSPORTATION

    Golf Carts
    U-Drive Vans
    Buses
    Movement of Entertainers
    Staff vehicles
    Trucks
    Hand-trucks
Misc.
Misc.
Misc.
FOOD SERVICE


                                          29
    Coverage for food areas (tents)
    Seating area (tables & chairs)
    Water hook-up
    Public Health Permits
    Service area (tents/counters)
    Storage for supplies
    Trash cans
    Ash cans (for hot coals)
    Fire extinguishers
Misc.
Misc.
Misc.

WASTE MANAGEMENT

    On-site restrooms
    Porta-Potty rental
    Cleaning restroom facilities
    Stocking facilities (paper/supplies)
    Trash receptacles
    Extra bags for receptacles
    Labor for trash removal
    Vehicles for trash removal
Misc.
Misc.
Misc.
UTILITIES / WATER

    Additional water access required
    Special hook-up for production
    Generator(s)/how many
    Extra gas for generator
    Sound bunting for generator
    Additional lighting (outdoor events)
    Covers for wiring
Misc.
Misc.
Misc.
WEATHER CONSIDERATIONS

    Alternate location (for outdoor show)
    Alternate date (for outdoor show)

                                            30
    Additional canopies
    Additional tents/flooring/siding
    Additional labor
    Umbrellas/rain gear for VIPS
    Alternate days/locations advertised
    Who decided weather delay?
    How far out from show start time?
Misc.
Misc.
Misc.
SIGNAGE / PRINTED MATERIAL

    Overall signs and/or banners
    Directional signs (site markings)
    Food service prices/menus
    Sponsor recognition signs
    Special signage (parking/VIP parking)
    Back-stage passes
    VIP passes
    Volunteer passes/badges
    DV / sponsor invitations
    Tickets
Misc.
Misc.
Misc.
PROMOTIONAL MATERIALS

    Logos (design)
    Ads (design & publishing)
    Flyers (design & printing)
    Programs (design & printing)
    Radio Spots (write & submit)
    Photography of event
    Videotaping of event
    Web site (create/update)
    Communications Plan (write)
    Hi-res photos of entertainer(s)
    Bios for entertainer(s)
    Press release announcing show
    Radio/TV Interviews w/entertainers

                                            31
Misc.
Misc.
Misc.
ENTERTAINERS

    Prepared itinerary
          - Special Appearances
          - Autograph signings
    Rider(s)
          - Equipment
          - Sound
          - Personal
    Transportation
          - special vehicle
          - driver
          - escort
    Office call w/senior leadership
    Reception
          - welcome reception
          - hosted meal/hors d’oeuvres
          - no-host meal/hors d’oeuvres
    Show day meal requirements
          - food back stage
          - food before show
          - food after show
          - special dietary requirements
Misc.
Misc.
Misc.
LODGING

    # of rooms
    On or off base
    Standard or Suites
    Smoking or non-smoking
    Gift baskets in rooms
    Welcome letter/package in rooms
    Room key pick-up prior to arrival
Misc.
Misc.

                                           32
Misc.
DVS / SPONSORS

    Lodging
    Meals
    Hospitality suite w/food & drink
    Suite rentals & decor
    Special signage
    Printing of passes/tickets
    Additional security
    Hosts/escorts
    Special giveaway items
    Reserved seating @ event
    DV invite list to check-off names
    DV seating placards for chairs
    DV seating chart for ushers/escorts
KEY RESOURCES                             NAME        PHONE #




NOTES:




                                                 33
Event Job Description Worksheet
Event Overview

Name:_________________________________________________________________________

Date:__________________________________________________________________________

Location:_______________________________________________________________________

Design your “job descriptions” using their specific tasks and deadlines. You should then add the key
dates for these tasks.

Job Title:

Task                                                               Deadline date

1. ________________________________________________                _________________________

2. ________________________________________________                _________________________

3. ________________________________________________                _________________________

4. ________________________________________________                _________________________

5. ________________________________________________                _________________________

6. ________________________________________________                _________________________

KEY DATES: _______________________________________

             _______________________________________

             ________________________________________

NOTES:




                                               34
Arrival Checklist

Arrival date: ________________________                Expected arrival time: _____________________

Mode of arrival (milair; bus)                         If arrival via milair, coordinate with Airfield Ops to
                                                      ensure flight is on time, etc.

                                                      Airfield Ops #: __________________________

Arrival Location: (visitor center gate/off base lodging, etc.)



POC meeting group/tour upon arrival:

POC Cell #: __________________________                POC work #: ____________________________

                                                      POC home #: ___________________________

Additional personnel greeting group/tour:             1. ____________________________________

                                                      2. _____________________________________

                                                      3. _____________________________________

Welcome Reception/Briefing Location                   Bldg. # ________________________________
(if applicable)
                                                      POC: Name: ___________________________

                                                      POC Phone #: __________________________
Phone # at arrival location: ______________

NOTES:




                                                 35
Dressing Room Checklist
                                                             Borrowed from/return to   
Need   Have   Item                                                                       Returned


              Is dressing room located close to venue/stage?
              Is dressing room near a gender-appropriate
              restroom?
              Is dressing room clean?
              How many outlets does the room have?
              Are they 110v or 220v?


              Transformers?

              Tables (How many?)

              Mirrors (How many?)

              Lights (How many?)
              Does the room have exposed windows? (Do they
              need to be covered?)
              Does door lock? Key?

              External doors locked/secured?

              Signs outside doors? (Name of person using
              room)

              Towels?

              Personal rider items?

              Catering items?




                                                    36
     5
        Chapter




Resources
Below are recommended sources for Marketing products and services. This list is not all-inclusive and will be
updated as we receive inputs from users. The listing of companies in this section is for information only. No
federal endorsement of these establishments is intended or implied.


HQ USAFE/A7SPM-recommended
A F N                                                     P U B L I C   A F F A I R S


AFN-Europe                                                USAFE/PA
HQ AFNE                                                   DSN: 480-6558/6559
CMR 418                                                   Phone: (49) 6371-47-6558/6559
APO AE 09058                                              Fax:: (49) 6371-47-2705
DSN: 389-4xxx                                             e-mail: pa.ops@ramstein.af.mil
Comm: (49) 6621-46085xxx
e-mail: first.last@afne.army.mil


S I G N A G E / B A N N E R S


GERMANY:
POPS Print Shop                                           Buecker Druckstudio
435th Services Squadron                                   Philipp-Reis Strasse 14A
Unit 3240, Box 535                                        66849 Landstuhl
APO AE 09094                                              (Phone: (49) 6371-12890
DSN: 480-6202                                             Fax:: (49) 6371-12811
Phone: (49) 6371-47-6202                                  e-mail: info@dsbuecker.de
e-mail: john.stanchfield@ramstein.af.mil                  web address: http://www.druckstudio-buecker.de
Website: www.435thservices.com
                                                          UNITED STATES
                                                          Huber & Associates, LLC
                                                          Phone: (001) 940-482-7030

                                                     37
Fax: (001) 940-482-3275                             web address: www.huberusa.com
e-mail: ralf@huberusa.com

S T A G I N G / P R O D U C T I O N


    ENGLAND:                                          Skipholt 11-13
    Kinetic                                           IS-105 Reykjavik
    Unit 10                                           Iceland
    Camphill Industrial Estate
    West Byfleet                                      AZORES:
    Surrey                                            Alianca Musica
    KT14 6EW                                          Rua Da Graca No. 44
    England                                           9760 Praia Da Vitoria
    Telephone: 01932 336 447                          Terceira-Acores
    Mobile:07973 838 090                              Portugal
    E-mail: sales@kinetic-uk.com                      Tel: 295-542269
                                                      Fax: 295-542269
    ICELAND:                                          Cel: 96 28 149 71
    Exton                                             E-mail: alianca.musica@omninet.pt
    General enquiries:
    Tel: +354 551 2555                                ITALY:
    Fax: +354 562 6490                                Assogroup
    E-mail: exton@exton.is                            Renato Mantello & C.s.a.s.
                                                      C.so Garibaldi 43
    Audio Rental:                                     33170 Pordenone
    Tel: +354 552 8083                                Italy
    Fax: +354 562 6490                                Tel: 0434-523324
    E-mail: oli@exton.is                              Fax: 0434-521107
    Mailing & Shipping address:                       E-mail: assorm@iol.it
    Exton – Kastljos ehf

    T R O P H I E S


    GERMANY:                                          UK:
    Trophy Center                                     Lakenheath Trophy & Awards
    67685 Weilerbach                                  Arts & Crafts Center
    Danziger Strasse 4A                               48 SVS/SVRA
    Phone: (49) 06374-1666                            Building 906
    Fax:: (49) 06374-3729                             Unit 5185, Box 70
    e-mail: tcmail@mail3.bunt.com                     APO AE 09464
    web address: http://www.trophy-center.de          DSN: 226 2827
                                                      Comm: 44 (0)1638 522827
                                                      FAX: 44 (0)1638 532086




                                               38
GSA-approved resources
Logo Uniforms/shirts                                           http://www.westernbadge.com
GS-06F-0032K
Noble Sales Co., Inc                                        Facility signage, Vehicle graphics, vinyl graphics
104 Longwater Drive,                                        decals and logos, vinyl banners, window graphics
Norwell, MA 02061                                           GS-07F-0087K
   http://www.noblesales.com                                Creative Signage Systems
                                                            9101 51st Place
Logo promotional give-aways, bags. Large variety            College Park, MD 20740
of ANSI catalogs online                                     301.345.3700
GS-07F-0257K                                                   http://www.creativesignage.com
Cal-Joy Concepts, Inc.
2695 Villa Creek,Suite 207                                  Banners, Vinyl lettering & signs, LED signs,
Dallas, TX 75234                                            Window lettering, Magnetic signs, Boat lettering,
   http://www.caljoy.com                                    GS-07F-0220J
                                                            Speedy Sign Company
Graphic design/webpage design                               1832 Decatur Pike
GS-23F-0239L                                                Athens, TN 37303
Allen Wayne                                                    http://www.signwithus.com
14121 Parke Long Court,Suite 104
Chantilly, VA20151                                          Custom, logo floor mats
   http://www.allenwayne.com                                GS-07F-0429J
                                                            Continental Flooring Company
Full graphic design, marketing, public relations and        5111 N. Scottsdale Road, Suite 208
web services                                                Scottsdale, AZ 85250
GS-23F-0259L                                                   http://www.cfc4u.com
S&C Advertising & Public Relations
4204 Gardendale St.,Suite 320
San Antonio, TX 782293141
210-614-7000
   http://www.scpr.com/

Large variety of standard promo items, banners,
most major ANSI catalogs
GS-07F-0041J
Manufacturer’s Direct
52 Main St
Maynard, MA 01754 or PO Box 2345 Acton, MA
01754
PHONE: 978-897-6072 • FAX: 978-897-5982
   http://www.allpromotionalproducts.com

Magnets, stickers, key chains, buttons, business
card magnets
GS-07F-0142M
WBT Promotional
Western Badge & Trophy Co.
1716 W. Washington Blvd.
Los Angeles, CA 90007
Phone: 1-800-367-4332

                                                       39

								
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