Thursday, March 04, 2010
Qantas appear to have lifted their game with processing passengers checking in but then there is an unacceptable wait in another queue to go through the security checking system.
Returning from AIME on Wednesday I experienced a wait of around 15 mins to get through
Tuesday, March 02, 2010
The venue was great - utilising old/unusual buildings for events is always a great idea and the public transport goods shed on Collins St (extended) is just great for events. Plenty of space and a historic aspect to it as well.
The food by Atlantic Group was excellent - plenty of it and plenty of variety.
The entertainment was the big letdown - it was mostly youngsters doing hip-hop dancing - so last century! It was also too loud. The main focus of these events is meant to be on networking and while many persisted it was oftentimes too hard - so people just moved as far from from the stage as they could so they could converse.
Last year's event at the Victoria Markets was in a very similar venue to this year's - so unfortunately that detracted from the spontaneity of the choice of venue for this year. But that would not have mattered if the entertainment had been chosen more carefully to suit the event.
The benchmark for AIME welcome functions was set 2 years ago when Jon Smith produced the event at Atlantic Group's then new venue at Central Pier.
more pix from the welcome reception
Wednesday, January 06, 2010
William H. “Billy” May, world-renowned entertainment producer, director and composer, died on New Year’s Eve at St Vincent’s Hospital in Melbourne, Australia. May’s death follows a recent illness.
He created Melbourne’s iconic special events centre in an 1890s warehouse in Kensington, which became one of Melbourne’s top special events venues. It was known as No12.
William May, dinosaur creator, dies - The Age 6th Jan
WILLIAM H. ''Billy'' May, the theatrical producer who created the Walking with Dinosaurs arena show, died in St Vincent's Hospital on New Year's Eve, aged 56, due to complications from pneumonia.
A showman who trained at the New York High School of Performing Arts, May moved to Australia in 1972 at the age of 19 to be with his life partner, producer Malcolm Cooke. Together, the two men worked on more than 40 productions in Australia, London and New York, including the Arts Centre's 2002 production of The Lion, the Witch and the Wardrobe, a 1983 Broadway musical about Marilyn Monroe (Marilyn - a Fable) and a 1997 West End musical, Always, about the love affair between Edward VII and Wallis Simpson.
Tuesday, December 08, 2009
Michael Milburn passed away on 3rd of December 2009 following an extended illness.
Michael spent over two decades in the restaurant, catering, venue and event management industry and was highly regarded for his innovation and involvement.
In 1990 Michael joined Epicure Catering as Executive Manager Brand & Marketing Development. He soon took the business to a pre-eminent position in the off-site catering industry.
As part of his commitment to the industry Michael served as board member of Restaurant & Catering Victoria and ensured the business’ continuing involvement in industry associations including the Melbourne Convention + Visitors Bureau (MCVB), Meetings Events Australia (MEA) and the International Special Events Society (ISES)
Michael was a driver of innovation in the catering industry especially in promoting the use of seasonal and as far as possible, locally grown produce and then ensuring that food wastage could be minimised by entering into an agreement with Second Bite to assist those in our community who are less well off than ourselves.
The Green table imitative was launched in
Friday, August 21, 2009
During the presidential handover at the RSVP breakfast incoming chapter president Jeremy Garling promoted the next ISES connect as one that would feature a stunning announcement regarding the future development of the Sydney Chapter.
The August ISES connect proved to be extremly popular, particularly as it featured the creative brains behind the recent hugly successful Vivid Sydney (not to be confused with Canberra's Vivid National Photography festival, also hugly successful by the way) and of course members were there to hear Jeremy's announcement.
So with much fanfare chapter president Jeremy unveiled The Gold Standard.
Well this got quite a bit of discussion going among those present - would this be a new form of accreditation for event managers - along the lines of a Gold Licence caterer? who would administer such an accreditation system? why just Sydney? how about the rest of Australia?
MEA have an excellent system for Accredited Meetings Manager (AMM) so why not something similar for ISES.
We were advised that all our questions would be answered in a media release to come out the following day the following day - and here it is.
But hello - did we miss something?
So first up let's consult wikipedia - "The Gold Standard is a monetary system in which a region's common medium of exchange are paper notes that are normally freely convertible into pre-set, fixed quantities of gold". Nope don't think that's it!
So what about just plain standard?
The OED provides eight meanings for the noun.
1 a level of quality or attainment. 2 a required or agreed level of quality or attainment. 3 something used as a measure, norm, or model in comparative evaluations. 4 (standards) principles of honourable, decent behaviour. 5 a military or ceremonial flag. 6 an upright water or gas pipe. 7 a tree that grows on an erect stem of full height. 8 a shrub grafted on an erect stem and trained in tree form.
So back to the media release:
The Standard focuses of three main principals:
Creative: ISES people represent the highest echelon of creativity in events. Event specialists, they continually challenge the boundaries of what is possible in event concepts, quality, experience and communicating messages to our audiences.
International: We are the conduit to the international group – the largest association of event professionals in the world. We draw on the experience of our globally diverse colleagues and keep abreast of the latest trends, technologies and developments.
Connecting: To be connected is to be ‘in the know, to be ahead of trends and to lead your industry’. We connect with each other, our clients and the latest ideas to continually deliver innovative and well executed solutions.
and then: The ISES Gold Standard is a symbol that informs clients and peers that they are working with someone who is committed to providing the highest quality of service and ethicsWell that fits with OED meanings 1 to 4 and maybe versions 6, 7 and 8 don't apply at all.
But what about OED meaning number 5? - a ceremonial flag - like a banner perhaps? - or a symbol maybe?
But yes, there it is after all "The ISES Gold Standard is a symbol" - just like a ceremonial flag - gold in colour.
I'm glad we cleared that up.
Tuesday, July 28, 2009
The overall feedback appears to be a very resounding yes!
The two shows managed to maintain a different look and feel with RSVP really buzzing on both days while exhibitors in ABEE reported that the quality of visitors was just what they wanted.
While both shows had space to spare they each managed to sell more floorspace than they could in Melbourne.
Interestingly the attendance figures for RSVP were considerably greater than for ABEE. I assume this meant that more visitors came in via the RSVP entrance than via ABEE and it is interesting to see just what crossover ensued (I did note that there were ETF staff clicking counters at the crossover entrances). see ETF media release
Two exhibitors stood out in RSVP. Staging Rentals who once again sponsored The Hub which was built with their AllyStage and Decorative Exhibitions (the new expo stand division of Decorative Events) who custom built nearly 30 stands in RSVP and ABEE.
What's in a name? Most people are pronouncing the name of the former Sydney On Sale as Abby - no! it is A - B - E - E (Gab will reinforce that)
One of the notable exceptions on the exhibition floor was Staging Connections who were absent from both Sydney shows and RSVP Melbourne. Considering that SC owns ETF who in turn own RSVP and ABEE one would have expected them to be there with bells on. But they are now promoting a 10% + 10% discount offer so I guess that works better for them than promoting themselves through their own trade shows.
One of the issues is that private buses are not allowed to park in George St – hence they have to go all around the town to get into Pitt St
The GPO bar is located in the basement of the old Sydney GPO with a large bar area and the smaller nightclub style Crystal Room. Guests were certainly ready for a drink following the scenic bus tour to the venue.
GPO served their signature food – a sushi train and pizza.
Plenty of networking opportunities were presented as the guests mingled then entertainment by the excellent Velvet Set – very impressed by a group of young musicians who can deliver the Miles Davis classic “Kind of Blue”.
Following a floorshow by The IT Girls featuring Natalie Conway (very Cabaret and Chicago) it was off to the Crystal Room for the after party – very loud and raucous.
Friday, June 26, 2009
The opening session of the RSVP Event Talks in Melbourne was entitled Life's A Pitch.
This was a real life pitch to be delivered by three leading event producers for a real product for a real client.
It opened with Georgia Hobart - Events and CRM manager for MINI who went through the history of the marketing strategy that has been used to promote MINI outside the Motor Show. Essentially they took the product out of the Motor Show and created experiential events to attract buyers - I won't go into all that but essentially it has been a very successful strategy.
Hobart then detailed the target demographic, desired outcomes, budget, etc to the three contestants, who until now had no idea what the brief would be.
Then contestants had 15 mins to brainstorm with their teams and to come back to make the pitch.
The teams were Peter Jones Special Events, Jack Morton Worldwide and Great Southern E-vents.
During the 15 min brainstorming session MC Nic Yates kept the interest up for the audience by quizzing Georgia Hobart on the marketing of MINI and taking questions from the audience.
Then came the pitch - each team leader had 5 mins each to put their case and they were then voted on by the audience using responders.
Hobart was obviously impressed by each of the pitches and you could tell that she now has an extended pool of event producers to call on for future events.
So what were the pitches - here are just some highlights...
Peter Jones' started with cars on a platform at Southern Cross station that then headed off down Collins street which has been closed for the event (on a business day). Teams of dealers then had to "kidnap" potential buyers and take them to a location where they could experience the Mini first hand.
Jeremy Garling from GSE had potential buyers taken to an indoor test track in the shape of the Union Jack - this was in acknowledgement of the 50th anniversary of the launch of the original Mini. The main selling points would reflect the attraction of the original Mini - fuel efficient, compact, etc.
The pitch from Katie Chatfield of JMW was based on street art and very funky feel.
Everyone involved got their money's worth out of this session.
Interesting to note how most of the bigger players have scaled down the size of their stands this year and more interesting was the absence of some of the bigger players from previous years - especially Staging Connections - not a great vote of confidence from a division of the company that actually owns the show. (RSVP is owned by ETF which in turn is owned by Staging Connections Group)
And I don't see Staging Connections in the exhibitor list for Sydney RSVP either.
The exhibition this year appeared to be at about 80% occupancy of floor space compared to last year.
So in a couple of weeks time we will see how the co-location of RSVP goes with the Australian Business Events Expo. It would appear that both shows still have floor space available.
The real test for the organisers will be how well they can attract quality buyers - and lots of them.
See you there anyhow
Tuesday, June 16, 2009
Film and book awards are pretty straight forward – the judges get to view or read the entries and base their judgment on what they observe first hand.
This also applies to sports, singing, dancing, etc. Even hairdressing and other esoteric pursuits are judged by people who actually see the creations.
However in our industry awards are presented for the production of conferences and events of all sorts and in a huge variety of locations. Those hoping for an award put in a submission to a panel of judges who are most unlikely to have observed any of the process of the production of the nominated event.
People are also nominated (or nominate themselves) for best sales, marketing, technical, operations, etc person of the year and for the most part the judges would have know idea who they are or how accurate their submission actually is.
Then there are awards for various venues – at least venues get visited by more people.
Now while I appreciate that judging panels for the various industry awards do the best they can based on the information before them, surely, in the end it comes down to who can produce the most convincing awards submission.
I’m not suggesting that there is a better way – just that the system is flawed.
The most established is the Australian Meetings and Event Industry Awards run by MEA and they are only open to members – but let’s face it the membership fee could just count as part of your submission costs.
ISES members are encouraged to enter into the Esprit Awards conducted by the international office, and a number of Australians have been successful in this competition.
MICE.net run another competition - the e-awards - that is open to all comers no matter what association they may or may not belong to and according to their latest bulletin they have increased entries over last year.
So along comes the Australian Event Awards to fill a void that no one knew was there.
MEA and ISES have released a joint statement stating in part “Awards programs that are run for industry by industry have established a high standard of submission guidelines and judging process that ensures winners are true industry leaders and professionals in their field.”
The Australian Event Awards team struck back with a media release stating “The 23 Award Categories are the only opportunity for Australian events, event organisers, products and services to be acknowledged across the entire industry regardless of event type, size or association membership.”
The Australian Event Awards appear to follow the commercial model of the many business award programs around such as the Small Business Champion Awards run by Precedent Productions – even their award logos have a similar feel.
Incidentally the entry fee for the MICE.net e awards is $110, for the Australian Event Awards the fee is $220. The MEA awards entry fee ranges from $120 - $230 depending on the category.
In other award news a winner in the Telstra Business Awards for 2008 is Atlantic Group [v] who won the 2008 National Winner of the Panasonic Australia Medium Business Award. Atlantic are the owners of the very successful specialist event venues at Melbourne’s Central Pier Docklands
I look forward to industry feedback on the subject.