By Terry Charles

PMI Entertainment Group Chief Operating Officer Brendan Bruss announced the following promotions:

Paula Kirchman has been promoted to Senior VP of Administration and Organizational Resources. Kirchman oversees finance, information technology, human resources, and PMI’s Lambeau Field operations.

Kathie Mickle has been promoted to Senior VP of Marketing and Strategic Communications. Mickle oversees marketing, ticketing, and strategic communications.

Brad Foytik has been promoted to Senior VP of Revenue and Operations. Foytik oversees food and beverage services, facilities, conversion, housekeeping operations, and security.

Through its mission, PMI Entertainment Group generates economic impact and enhances the entertainment offerings in Northeastern Wisconsin. PMI Entertainment Group manages the Meyer Theatre, Resch Center, and owns the Green Bay Gamblers hockey team. PMI Entertainment Group also produces several shows and events including Nicolet Bank Tall Ships, The Wedding Show, WBAY Home & Garden Show, Boat Show, RV & Camping Expo and Pet Expo. PMI Entertainment Group will also manage the new $91M Brown County Expo Center upon completion in January of 2021.

Terry Charles is senior corporate communications manager for PMI Entertainment Group.

By Ian Cox

Kentucky Venues announced Carrie Bauer was hired as the organization’s General Counsel.

Bauer brings years of experience to the role. In her most recent position, she spent more than five years as the Associate General Counsel for Farm Credit Mid-America. There she worked with various business partners, from agricultural lending to facilities and real estate management to government relations, advising the organization on a broad range of business and legal matters.

Since graduating from the University of Kentucky School of Law, Carrie has worked in the Louisville community as an associate attorney then as a partner at Adams Law Group before joining Farm Credit Mid-America.

With her experience as a lawyer and business partner, Bauer will be able to guide Kentucky Venues in building collaborative relationships, improving processes and enhancing the customer experience. During her tenure at Farm Credit Mid-America, Bauer developed a passion for agriculture that will serve her at Kentucky Venues.

“With our many clients, exhibitors and guests, it’s important to have someone with the knowledge and experience that Carrie brings to our organization. We’re excited to have her on board,” said David S. Beck, President and CEO of Kentucky Venues.

With two different facilities, the Kentucky International Convention Center and Kentucky Exposition Center, Kentucky Venues hosts more than 280 events, all leasing space, each year. Those shows generate $360 million in estimated economic impact for Louisville and the surrounding area.

“I am excited to join the Kentucky Venues team to serve Kentucky and the local Louisville community. I’ve loved working as part of a team and look forward to working with everyone,” Bauer said.

Ian Cox is assistant director Of communications at Kentucky Venues.

Please welcome our newest members who joined IAVM in November 2019. Thank you for being a part of the association!

Also, let us get to know you better by participating in the I Am Venue Management series. Please visit http://www.iavm.org/i-am-venue-management-share-your-story to share your story and photo.

 

Jennifer Abplanalp, Duke Energy Convention Center, Cincinnati, OH, United States

Jen Adams, Ocean Center, Daytona Beach, FL, United States

Roberto Alabat, Centro de Convenciones y Poliforum Chiapas, Tuxtla Gutierrez, Chiapas, , Mexico

Fabiola Aldave, ICC Baja Sur, Los Cabos, , Mexico

Andrew Allen, AT&T Stadium, Arlington, TX, United States

Nicole Andrews, Matrax Inc., Columbia, MD, United States

Luis Angeles, Expo Santa Fe Mexico, Mexico City, , Mexico

Ashley Aspinwall, Duke Energy Convention Center, Cincinnati, OH, United States

Gerardo Avina, Expo Chihuahua, Chihuahua, , Mexico

Chelsea Baker, Columbia Metropolitan Convention Center, Columbia, SC, United States

Cari Baker, St. Augustine Amphitheatre, St Augustine, FL, United States

Linda Baldonado, Expo Reforma, Ciudad de México, DF, , Mexico

Kim Bledsoe, Raleigh Convention and Performing Arts Complex, Raleigh, NC, United States

Hayley Burkhardt, Raleigh Convention and Performing Arts Complex, Raleigh, NC, United States

Meghan Carannante, Tyson Events Center/Orpheum Theatre, Sioux City, IA, United States

Enzo Carannante, Tyson Events Center/Orpheum Theatre, Sioux City, IA, United States

Martha Castellanos, WTC Veracruz, Boca del Rio, , Mexico

Marisela Cordero, Poliforum Leon, Leon, , Mexico

Ben Craig, MassMutual Center, Springfield, MA, United States

Chris Culpepper, St. Augustine Amphitheatre, St Augustine, FL, United States

Angel Diez, Centro Expositor Puebla, Puebla, , Mexico

Eleonora Ferrell, Expo Guadalajara, Guadalajara, Jalisco, , Mexico

Mickey Francois, Wisconsin Union, Madison, WI, United States

Magali Fregoso, Centro Internacional De Convenciones De Puerto Vallarta, Puerto Vallarta, , Mexico

Gustavo Garcia, INFORUM Irapuato, Irapuato, Guanajuato, , Mexico

Thelma Garcia, Centro Internacional de Congresos Yucatan, Merida, , Mexico

Joel Gerrits, Wisconsin Union, Madison, WI, United States

Mauricio Gil, CIEC WTC Cd. de Mexico, Ciudad de Mexico, , Mexico

Tyler Gilmore, UTA Special Event Facilities, Arlington, TX, United States

Elizabeth Glasgow, St. Augustine Amphitheatre, St Augustine, FL, United States

Shannon Goffe, Portland’5 Centers for the Arts, Portland, OR, United States

Mark Gruber, Bankers Life Fieldhouse, Indianapolis, IN, United States

Kara Guambo, Valencia College School of Arts and Entertainment, Orlando, FL, United States

Eduardo Gutierrez, CIEC WTC Cd. de Mexico, Ciudad de Mexico, , Mexico

Laura Hadley, Century II Performing Arts & Convention Center, Wichita, KS, United States

Krista Hansen, Arizona State University, Tempe, AZ, United States

Connor Hansen, Wisconsin Union, Madison, WI, United States

Mark Hanson, Wisconsin Union, Madison, WI, United States

Emilie Hatch, Wisconsin Union, Madison, WI, United States

Natassia Hernandez, Stadium People By Innovative, Dallas, TX, United States

Shawn Hill, Merestone, Scottsdale, AZ, United States

Marlee Jessen, Arizona State University, Tempe, AZ, United States

Blake Jones, Raleigh Convention and Performing Arts Complex, Raleigh, NC, United States

Blanca Juarez, Centro de Convenciones Morelos, Xochitepec, Morelos, , Mexico

Samantha Kerr, Duke Energy Convention Center, Cincinnati, OH, United States

Deborah Kime, Kime Advantage Consulting, London, ON, Canada

Richard Kostopoulos, NewGen Business Solutions, Warrenville, IL, United States

Joshua Levy, SUNY Delhi, Delmar, NY, United States

Jolina Li, BuzzyBooth, Culver City, CA, United States

Sarah Lucas, Raleigh Convention and Performing Arts Complex, Raleigh, NC, United States

Luz Maciel, INFORUM Irapuato, Irapuato, Guanajuato, , Mexico

Nicolette Manning, Wisconsin Union, Madison, WI, United States

Dianya Markovits, St. Augustine Amphitheatre, St Augustine, FL, United States

Nigel Marshall, Walter E Washington Convention Center, Washington, DC, United States

Brandon McAllister, Florence Center, Florence, SC, United States

Nestor Medina, Centro de Convenciones Morelos, Xochitepec, Morelos, , Mexico

Ryan Murray, Omaha Performing Arts, Omaha, NE, United States

Jose Nunez, Baja California Center, Tijuana, , Mexico

Amber Parker, AE International, San Diego, CA, United States

Alejandro Parra, CIEC WTC Cd. de Mexico, Ciudad de Mexico, , Mexico

Gabe Pellicer, St. Augustine Amphitheatre, St Augustine, FL, United States

Luis Pichardo, Centro de Convenciones y Poliforum Chiapas, Tuxtla Gutierrez, Chiapas, , Mexico

Derek Pinnock, Freeman, Dallas, TX, United States

René Flores Ríos, Expo Guadalajara, Guadalajara, Jalisco, , Mexico

Alejandro Rodriguez, Centro Citibanamex, Mexico, D.F., , Mexico

Patricia Romero, Centro Internacional De Convenciones De Puerto Vallarta, Puerto Vallarta, , Mexico

Jacqueline Salazar, Centro Cultural y de Convenciones de Durango, Durango, , Mexico

Stella Salyer, Virginia Beach Convention Center, Virginia Beach, VA, United States

Rosalie Sanchez, GRAMMY Museum, Los Angeles, CA, United States

Sara Shevlin, Xfinity Center, Mansfield, MA, United States

Alli Slater, Honey Training Center, Playa Vista, CA, United States

Paige Smith, Monterey Conference Center, Monterey, CA, United States

Fernanda Snellings, Arizona State University, Tempe, AZ, United States

Tiffany Stephens, St. Augustine Amphitheatre, St Augustine, FL, United States

Christopher Stockton, Bert Church LIVE Theatre, Airdrie, AB, Canada

Shelbi Stofer, Allen Event Center, Allen, TX, United States

Federico Trevino, Centro Internacional de Congresos Yucatan, Merida, , Mexico

Luis Valdez, Expo Chihuahua, Chihuahua, , Mexico

Andrea Vargas, Palacio De Convenciones Zacatecas, Zacatecas, , Mexico

Eric Velander, EMSEAL Joint Systems, Ltd., Folsom, CA, United States

Catherine Walsh, Portland’5 Centers for the Arts, Portland, OR, United States

Melissa Werner, Arizona State University, Tempe, AZ, United States

Bjorn Westlund, Pepsi Center, Denver, CO, United States

Vincent White, Duke Energy Convention Center, Cincinnati, OH, United States

Nancy Whitman, Monterey Conference Center, Monterey, CA, United States

Tanner Wyse, Indiana University, Bloomington, IN, United States

 

In September, the U.S. Department of Labor (DOL) issued its much-anticipated Fair Labor Standards Act (FLSA) Final Rule.  On January 1, 2020, all employers—including nonprofits–must do business in a regulatory environment where the minimum salary level for exemption from FLSA’s overtime rules has been raised almost 50 percent.

The final rule updates the earnings thresholds necessary to exempt executive, administrative, or professional employees from the FLSA’s minimum wage and overtime pay requirements, and allows employers to count a portion of certain bonuses (and commissions) towards meeting the salary level. The new thresholds account for growth in employee earnings since the currently enforced thresholds were set in 2004. In the final rule, the Department is:

• raising the “standard salary level” from the currently enforced level of $455 to $684 per week (equivalent to $35,568 per year for a full-year worker);
• raising the total annual compensation level for “highly compensated employees (HCE)” from the currently-enforced level of $100,000 to $107,432 per year;
• allowing employers to use nondiscretionary bonuses and incentive payments (including commissions) that are paid at least annually to satisfy up to 10 percent of the standard salary level, in recognition of evolving pay practices; and
• revising the special salary levels for workers in U.S. territories and in the motion picture industry.

 

The increases to the salary thresholds are long overdue in light of wage and salary growth since 2004. Nearly every person who commented on the Department’s 2017 Request for Information, participated at listening sessions in 2018 regarding the regulations, or commented on the Notice of Proposed Rulemaking agreed that the thresholds needed to be updated for this reason.

The Department estimates that 1.2 million additional workers will be entitled to minimum wage and overtime pay as a result of the increase to the standard salary level. The Department also estimates that an additional 101,800 workers will be entitled to overtime pay as a result of the increase to the HCE compensation level.

More information about the final rule is available at https://www.dol.gov/whd/overtime2019/.

 

By R.V. Baugus

The Tonight Show Starring Jimmy Fallon came to the University of Texas at Austin for its first-ever college campus show on November 17. The taped show was held on campus at the Bass Concert Hall and before 2,500 students who won tickets in a lottery.

Will Shirey, talent buyer – concerts and strategic programming for Texas Performing Arts, caught a breath to talk about the event, how it came together, and just how dang cool it was for the university to have the distinction of hosting the show.

How did Mr. Fallon’s appearance come about?

As Jimmy Fallon tells it, he was watching ESPN College Gameday live from the University of Texas at Austin and he loved the students’ energy so much that he wanted to take the show on the road to a university for the first time. The NBC producers reached out to the University of Texas President’s office first and were met with a warm reception so then we all got to work to figure out how we could make it happen together. The same day we cleared the production needs and confirmed the dates with NBC, Fallon announced the UT taping on his show.

How was it decided which venue on campus to use?

On NBC’s first visit to the UT campus, they scouted a few locations, but once they walked onto the Bass Concert Hall stage it was the clear front-runner from a production standpoint as well as aesthetically for the audience shots during the show. We were also able to move some dates around and figure out a way for the production schedules of the shows that were already onsale in their seven-day load-in, three-day load-out window to coexist and fulfill everyone’s needs.

How much preparation/lead time did you have to prepare for the appearance?

We officially confirmed and announced in mid-September and load-in started on Halloween, so about a month and a half of committed, official preparation and execution time. We had a few weeks prior to the announce to establish the tentative plan with NBC, but it was definitely a sprint to the finish.

How was it determined who could attend?

Similar to the tapings for the show at the studio in New York, the university ran an online ticket application for UT students that was open for 48 hours and ticket winners were chosen randomly from the list of applicants. We had 17,418 unique student applications for over 30,000 tickets with +1 requests. Ticket holders entered the building first for the show and at a pre-set deadline any empty seats were filled with people waiting in a separate standby line. We had about 10 times the capacity of the usual studio audience so we worked closely with the NBC Audience team to make sure every seat was filled before Jimmy ran onto the stage.

What did the exposure mean for the venue and the university?

I think it was a huge win for everyone involved. It was a unique, entertaining, and high energy college taping for The Tonight Show, a once in a lifetime opportunity for 2,500 UT students and an hour-long national commercial for the University of Texas and Bass Concert Hall. It made current students and alumni proud and I can only imagine how many prospective students interest it piqued to apply to UT. Bass Concert Hall got a few shoutouts on the show, some beautiful shots from inside the hall and images of the outside of the building that showcased the room at its finest. Hosting the show has definitely added momentum to our programming and development efforts.

Anything different logistically you had to do for the appearance inside the venue?

Outside of making sure all of the seats were filled for the show and pulling some seats for the various camera platforms on each level of the house we didn’t change much look of the hall itself. The show brought in quite a bit of additional lighting for the audience shots, but most everything you see on camera is the existing look of the room.

What was Jimmy’s take on the venue, if he shared that with anyone?

He was overwhelmed with the energy and size of the audience that was there for the show. On multiple occasions he pointed up to the top of the second balcony and got the people all the way in the back of the house worked into a frenzy.

Word of advice to any campus venue preparing for an event like this would be to (fill in the blank!):

Have something to offer to people who waited for hours in the standby line and still aren’t able to make it into the show. We knew we would have far more demand from students than seats in the room so the university set up a huge LED screen on the LBJ Lawn right across the street from Bass where students could watch the taping live from the stage before it aired that night. Once we hit capacity in Bass and had to close the doors it was great to have a place to send students where they could still feel like they were a part of the action. Otherwise I think we may have had a riot on our hands!

Photos by Andrew Lipovsky/NBC