Wednesday, March 31, 2010

Review: Music Nightlife Handbook

Things to consider from the handbook available here.

In August of 2006, the Seattle City Council passed an ordinance requiring all nightclubs (defined for this purpose as “any business open to the public in which liquor is served between the hours of 10:00 p.m. and 6:00 a.m., except where service of liquor is incidental to an event that is not open to the public; and has a maximum occupancy capacity of two hundred (200) or more people”) to file a written Safety Plan with DEA. Ordinance Number: 122474

CONTACT: Rachel White to see if these Safety Plans (for venues that have all-ages shows) are open to public

Seattle nightlife Business technical assistance program at 206.684.8504

All-Ages Dance License
An All-Ages Dance License is required for anyone operating an all-ages dance of 250 or more patrons, and for all persons operating an all-ages dance venue. This license is not required when fewer than 250 patrons are admitted, or if the dance is sponsored by an accredited educational institution.

Performers as Employees
According to Washington State case law, any performers or DJs
contracted to provide a service in liquor establishments are considered
employees of the establishment and are therefore prohibited from
consuming alcohol while performing that service either on stage or in a
DJ booth.

Maintaining Safety & Security
Your best strategy for maintaining safety & security is to develop
and maintain a comprehensive risk management program and strategy.

The terms “safety” and “security” are often used interchangeably to describe the concept of protection from injury, danger and loss. However the practical applications of safety and security are guided by different principles in achieving this goal.

The provision of safety necessitates the prevention of potential risks and hazards through precautionary tactics. Safety measures often address environmental stimuli that may encourage excessive consumption of alcoholic beverages, contribute to violent or aggressive behavior in patrons, or interfere with an economically viable business.

In contrast, security tactics can be characterized as more reactionary than precautionary in nature. The primary role of security staff within an establishment is usually to survey the crowd’s conduct and to confront intoxicated and/or aggressive patrons.

Generally, people act in a way that is irresponsible for one of three reasons: They don’t know the rules or boundaries; they know of but don’t know how to follow the rules or boundaries; or they know how but don’t care. Effective management requires an understanding of these basic principles and works to support all three types.

Ongoing training of service, security, and management staff is crucial to the effective implementation of policies and procedures. Selecting the proper training requires an understanding of risk, the level of training required, appropriateness of curriculum to the needs of the business, qualifications of the instructors, and the integrity of the agency or organization providing the training.

Hiring Off-Duty Seattle Police Officers
Department policy prohibits, under any circumstances, Seattle Police from working for or on behalf of establishments that sell or dispense intoxicating beverages. This policy is in place to prevent any actual or perceived conflicts of interest.

However, SPD recognizes that under certain conditions, the augmentation of on-duty officers with the presence and services of off-duty officers may enhance public safety in specific areas. Areas with a high concentration of liquor establishments have the opportunity to join together and work closely with SPD to provide additional security officers to specifically defined areas.

SPD may grant permits for the employment of off-duty SPD officers, in a secondary employment capacity, to business associations meeting eligibility requirements and agreeing to be bound by specific terms and conditions. Applications are considered on a case-by–case basis.

All-Ages Dance and Underage Performers

All-Ages Dance
If a liquor licensed premises is open to the public for food service, and not restricted to minors, minors must be off the entire premise after 11pm if there is live entertainment. If the liquor licensee obtains an exception to this restriction, through the WSLCB, then all-ages shows are permitted only when minors may not be present in or have access to any area where they have access to alcohol. There must be an established system for keeping alcohol away from minors - such as restricting alcohol service and consumption inside a lounge area, and not allowing it into the restaurant or live entertainment area.

For dedicated all-ages events or venues where no alcohol is served, performers of any age are allowed at all times during regular operating hours. The City of Seattle requires you to have a license for all-ages dance. See the ‘Special Licenses and Permits’ section of Section II.

Instituting a ‘no re-entry’ policy is strongly encouraged when holding all-ages events. This eliminates the possibility of underage patrons leaving, only to return intoxicated after consuming alcohol off-premises. You are still responsible for an intoxicated person on your premises, even if they drank outside. This includes an intoxicated minor on your premises during an all-ages event regardless of where that minor consumed the alcohol.

There are special concerns when a 21+ venue holds an all-ages show, and a special license is required as well. Consultations regarding all-ages events are encouraged and can be arranged through the Nightlife Technical Assistance Program. If you would like further information on policies and procedures for conducting all ages shows, including how to stage and monitor separation of 21+ from underage patrons, please contact the Film + Music Office at (206) 684-8504.

Underage Performers in 21+ establishments
Performers 18 and older are allowed to play in 21+ liquor licensed venues. State Law dictates that underage performers cannot be present in a venue where alcohol is being served at any time prior to their set, during breaks, or after playing their set.

Performers 17 and under are not allowed in 21+ venues to perform at any time for any reason (unless it is an all-ages show as explained above). The RCW addressing this issue can be found here

RCW 66.44.316 specifically provides:
"It is lawful for: (1) Professional musicians, professional disc jockeys, or professional sound or lighting technicians actively engaged in support of professional musicians or professional disc jockeys, eighteen years of age and older, to enter and to remain in any premises licensed under the provisions of Title 66 RCW, but only during and in the course of their employment as musicians, disc jockeys, or sound or lighting technicians;..."

Hiring underage musicians doesn’t have to be a hassle if you take a controlled approach. ID every band member and clearly stamp or wristband both 21+ and underage performers so staff can clearly identify them. You may be able to provide a designated area where there is no access to alcohol, but if that is not possible your staff will be able to easily recognize who should not be present in areas where alcohol is being served. Either way, be consistent in implementing your plan in order to remain in compliance with liquor laws.

CONTACT: Seattle Police Department Nightlife Security Training: Det. Bob Peth at or (206) 684-8661

People I might want to interview


most likely:
- JP, Vera
- Kevin, AMP
- somebody doing shaka training, 206 Zulu
- Stephanie, Ground Zero
- sound engineer, Vera
- show manager other than myself, Vera (if I can't do Stephanie)

- somebody, El Corazon
- somebody, Neumos
- somebody, Show box

- somebody, Security Training for NightLIFE Employees
- somebody, SPD/off-duty SPD

Monday, March 29, 2010

Things to consider from meeting with Dom

- how I communicate this will be as important as what I'm communicating.
- explain current role of youth involvement clearly (background), before explaining what I propose youth engagement in security will look like
- cite as much as I think is necessary for my audience-- no need for a legit works cited! :)

Work Plan for this quarter

4/04: Research & Interview outline done
4/05–4/30: Reading
& Interviewing
4/12: Research Update (blogged) & refined research plan
4/14: Presentations
4/21: Poster Templates Concept Crit
5/01: Research done
5/03: Interim Presentation #2
5/05: Poster Draft #1 Due
5/12: Jury Submissions Due
6/02: Final Presentation
6/07: Digital copies of presentations & posters due

Thursday, March 18, 2010

Interim Presentation

- Music is important.
- However, there is a subset of the population that is, in this society, barred from experiencing live music. Because a lot of live music happens in bars, and other venues that also serve alcohol and therefore are limited to those 21+, it discriminates against those under 21.
- One of the things that has happened in response, is the development of all-ages venues–spaces which are dedicated to providing a space for music to be experienced by people of all-ages, including the under 21 set.
- These all-ages spaces (often youth-focused spaces) face a lot of challenges, one of which is security.
- [insert my background]
- Two examples to illustrate what I mean by security issues:
- Vera no longer hosts high-school aged hip hop/club dances due to violence and gang concerns.
- [story of drunk girl in bathroom]
- The three questions I hope to address, through my experiences and talking with others that deal with this issue, and the three corresponding objects:
1. What characteristics make youth different from the standard crowd? Identify and define key differences between all-ages/youth-focused and standard events. (To develop something addressing this population, you need to first understand it)
2. What implications does these differences have on security issues? Discuss implications of the differences on security issues and policy.
3. How do you engage these very youth in these issues that impact them? Identify ways to engage youth in these very issues of security. (These youth-focused music scenes are often about empowerment and giving youth ownership. To be able to develop security recommendations that can be successfully implemented, you must have buy-in of the group you are trying to influence.)

Q & A
Q How do you anticipate design influencing the rest of your project, as you head into the final quarter?
A Focused less on tangible deliverable, but about a body of work that informs. Haven't thought much about the form of the tangible deliverable, but anticipates that the research to follow will inform the best form to deliver this research.

Wednesday, March 10, 2010

Poster feedback

Thanks Erin for the summary! It's a bit hard not being there to respond to it and asking you guys to imagine a bit of what the poster would look like because it's not complete yet, but I do appreciate the feedback and will actual read it over and respond tomorrow.

"-though as a class we were able to figure out the whole moat/castle thing, we felt that the imagery of fantasy and castles was a far stretch from what your project is actually about. We all thought it would be very relevant for your audience to see REAL pictures of what you're dealing with because those pictures definitely strike a chord in people (the one mentioned in class was the girl passed out in the bathroom and similar photos showing what youth concert security problems might actually look like because it's a strange concept to grasp right off otherwise).

-The title "Boy turned bouncer" confused us a bit. Some liked it because bouncers are supposed to be like big, mean people... but some thought there was too much of a disconnect.

-In terms of design and text, you have a definite title (Boy turned bouncer), but the subtitle, objectives, and quote at the top all seem to be fighting for the next most important spot. The class thought you had a lot of text in general and that one of these chunks of text could probably be taken out.

-Overall, the poster feels like you know what text you want, but you don't know what poster you want. You say here that your poster concept is to look like the sort of poster kids would be responding to today, so I want to see that! What do posters look like today? When I think of band posters, I usually image lots of textures, black background, and some sort of drippy logo thing. Hahaha. I think by coming up with a solid concept and making that FIRST, you can then apply the text and they will work more soundly."

Poster, in progress

I won't be in class tomorrow because I'll be in my last interview of the quarter! However, I'd appreciate any feedback on my poster.

I want to make it LOOK stylistically like a band/show poster, which I will illustrate over the weekend, but for now, I have the content mapped out. What I mean stylistically here. The visual concept will include a fantasy-style castle, surrounded by a moat (trying to get at ideas of security and bridging the gap... get it?)

"music has an abstract quality which speaks to a worldwide audience in a wonderful way that nourishes the soul." -Jim Henson

Like house parties, bars, galleries, and cafes for adults, youth music spaces are the places for young people to be social and mix their personal growth within the cultural context they are most comfortable with. Outside of these spaces, young people have few other venues to participate in music and art, develop leadership skills, and discover and define their cultural identity on their own terms.
- All-ages Movement Project

(Title) Boy Turned Bouncer
(Subtitle) Understanding issues of security in youth-focused live music spaces & how to engage youth in making it safe

1. Identify and define key differences between all-ages/youth‑focused and standard music events
2. Discuss implications of those differences on security issues & policies
3. Identify ways to engage youth in these ssues of security

Monday, March 8, 2010

Ponder this.

Ambitous and unrealistic thoughts on Poster, 12:34AM

I should silkscreen it!

Sunday, March 7, 2010

the extent of responsibility

Drunk drivers kill somebody? It's the bartender's fault so sue the bar too. For serving the driver too many drinks.

Somebody gets shot? It's the club down the street's fault. Nevermind the fact that they left the club already.

To what extent are venues liable for things that happen outside their space? IMO, probably more than they should be. Yet in this sue-happy society, no man (women, or child) are ever held liable for anything if they could merely place the blame on something or someone else.

What are the implications for venues that are youth oriented? I'm not sure. It's never far from the front of our minds though.

I remember when a shooting happened at that night club just-east-of-Seattle-Center-and-does-some-under-21-events-but-keeps-changing-names-because-they-keep-getting-in-trouble-and-shutting-down. Although Vera is located on the other side of Seattle Center, there was a bit of worry that the trouble happening over there would be tied to our name somehow. Finger pointing is often not pointed in the right direction.

Last night, when I was locking up after a show, some of the last stranglers from my volunteer crew were dispersing into the dark streets. A clump were off to another show, but one was heading home, catching the 358 on Aurora. And I couldn't help but wonder if they would be ok. And if not, would it be my fault?

I might just be getting old. I was in exactly their shoes a few years back. I don't doubt some of the show mangers back in those days had some of the same thoughts I'm having now. Those kids are our responsibility when they're at Vera, but are they our responsibility once they walk out our doors?

Research into best practices in related fields

Wednesday, March 3, 2010


The relative youth of intentionally using popular music and culture to engage youth partially explains why there is little literature that specifically documents and evaluates these organizations role in the nonprofit, youth development, education, public health, civic engagement landscape, or the music industry. Fortunately, this trend is shifting as the nascent field of cultural organizing is being further developed and explored.
- AMP's findings, 2006