final stretch!

So close!

Over the course of the last week, the articulation of my project has continued to change. I think the fact I basically wrote a book has really pushed the my articulation of my project. Guidebook production troubles (no surprise there, I'm DS, not VCD!) aside, I feel much better about my project than I did a week ago.

This quarter has been quite the exercise of fitting into the mold (or template, literally), and one of the most frustrating in terms of time management and efficiency in aspects outside of my own control. It's really cemented some of my own beliefs on the type of person I am and my personal working style. Despite the struggles, I truly do love design studies and think the removable of the DS track starting next year will be of significant loss to the SoA. The 3 year journey has been everything; blood, sweat, tears, and then some, but one that I have no regreats about.

And now I'm off work, skipping class (sorry, art h 318!), and off to studio for the final stretch!

final object

I've settled on making a booklet/guidebook thing, still keeping with the print medium. I'm envisioning a different (read: more complicated, and possibly regrettable) way of binding rather than the simple saddle stitch staple binding I originally planned for. I think it will better help organize and present the information I am trying to present. It'll be two separate sections (one on the background, philopshy, and objectives of the project, etc, and the second more the how-to) bound into one larger one.

So there it is, I'm sticking with it, and going to get it done.

Are there printer shops out there that can print double sided, or even single sided ink jet? or should I just buy my own printer now, haha sooo late in my design education track to do so. lame.

research symposium reflections

The research symposium was definitely an interesting experience. Luckily, I was displaying next to Kelsey and Anthony, so I didn't feel too out of place amidst the many scientific research projects.

There were a couple types of people that came and talked with me. Firstly, were the ones that were interested in the project itself, the goals of the project, the work I hoped to put out into the real world, and how the research informs it. Some of them were familiar with the concept of all-ages music, some were not, but all of them seemed to appreciate the fact that the policy I was writing was something that would actually be put out into the community.

There were also a couple music enthusiasts that came by, many of which have at least heard of The Vera Project. We chatted about the health of the scene in general, the challenges, our favorite bands and shows, etc. Most of them admitted they never thought too much about the issue of security, although most have seen fights/illegal happenings, etc. I was glad to be able to draw attention to something they have experienced but is rarely top-of-the-mind. Collective consciousness and recognition of the issue can only be good for the bottom-up push towards a safer community and events.

The most interesting thing that struck me about talking to these people was the effectiveness of storytelling. My poster clearly lacked the standard sections of "methodology", "hypothesis", etc, so I think for many people, it was difficult to understand where the "research" was. However, I started telling the story of how I arrived at this project through my work with The Vera Project, and what I have planned going forward. And suddenly, it made sense to these people what was researched and how that helps drive the project forward. Nothing new to us DSers, but storytelling spans disciplines, and this ability to do so effectively is one that makes us the designers we are.

Lastly, which I found most amusing, were those that came by to see the poster itself. I didn't realize how different my poster was (which the black image and reversed out type, rather than the standard black text on light background) until I looked down from the second floor. I had a couple pretty interesting conversations explaining my poster design, why I did it the way it was, etc.

I also had quite a few people ask me about my major, after I explained the project to them. It clearly wasn't marketing research, and it didn't appear to be design research to most people. It's funny how people want to connect your research to your studies, as though that would validate your research, and I suppose, it makes sense.

Overall, a great chance to get some of my own thoughts in order.

realization

My capstone is a lot more writing heavy than I would like. I wish I had a way with words. It's amazing how text dependent we are in communication.

On a somewhat other somewhat related note, why didn't we partner with other people in our projects rather than individual projects? I mean, some of the VCD kids are designing booklets, magazines, etc, using text they copied off the internet about some topic. I would love it if they designed a booklet or something for my project! That way, I could focus on what DSers do best, and let them make it all pretty looking. Play to each of our strengths. Total win-win situtation. If the design devision wants to make itself revelant to the real world, we'll have to start collobrating with the larger community, but even so, it starts with collobration within our own devision of design, something which is sorely lacking atm.

me me me!

Personal Statement
Although a business major, design is my lifestyle. Creativity generating synergy, to produce impactful work regardless of industry.

Words
business
non-profit
marketing
consulting
branding
leadership
visual communication
collaborative
strategic
facilitation
change
style
music
international
cross-disciplinary

Ultimate Security Plan

After a couple weeks, a few meetings and revisions with JP and Greg, we have a solid outline drafted:

1) “Manifesto” how this security stuff reflects our mission as The Vera Project

2) Policies
a) Non-discrimination
b) Pyrotechnics & other stage gimmicks (smoke machines)
c) Money Handling (if robbery?)
d) Building Access (green room, catwalk, recording studio, backstage, etc)
e) Right to refuse entry/confiscate possessions
f) Capacity (including measuring capacity)
g) Extended absence
h) Key Holder policy
i) “Alone in venue” policy
j) Background check policy (who, when, how often, etc)
k) Communication with volunteer
i) Outreach
ii) Filling positions
iii) Volunteer follow up, disciplinary
l) Contact info (in case of emergency, who do you call for ____)

3) Staffing Considerations
a) Staff : crowd ratio
b) “Reflect the demographic” (gender balance, cultural sensitivity, etc)

4) Staff/Volunteer expected/responsibilities
a) Sober, friendly, ready to work
b) CPR
c) Diversity training
d) Conflict resolution/de-escalation
e) Shadow x number of times required
f) Filling volunteer positions in advance
g) Define where documents live, accessibility, regular check
i) Volunteer info logging/accessibility

h) Roles defined

i) Pre-production Staff
(1) Program Dir
(a) Relationship with local precinct
(2) Talent Buyer
(a) Report to local precinct upcoming events
(b) Value match
(c) What crowd will they draw?
ii) Lead Show staff
(1) Show staff meeting
(a) Debrief, monthly meeting
(2) Show Manager
(a) Night-of liaison with police
(b) Report to Program Director
(c) End-of-show log
(3) Sound Eng
(4) Steering

iii) Support Show staff
(1) Front Door security
(2) Side door security
(3) Greenroom/backstage security
(4) Roamers

iv) “Culture” of security”
(1) Fair, Friendly, Firm
(2) Define Security Positions as more than “bouncers”→ HOSTS
(3) Use of Force Continuum
(4) Incident/accident documentation & review
(a) Back up Plan
(i) Prioritizing of security positions/roles in case there isn’t the ideal # of people working that event
(5) How to have people “in the know” (Required items to cover during pre-show briefing)
(a) Tonight’s lineup & set items
(b) What relevant shows/events coming up in this community
(c) What types of issues should we look out for tonight
(d) Show strips
(e) Newsletter to volunteer list

v) What do I do If???? (Refer to show binder)
(1) Emergencies
(2) First Aid
(3) Facility
(4) Bands
(5) Volunteers
(6) Audience
(7) Close up

5) Non-security Safety
a) Emergency Evacuation Plan
i) Specific roles for each position
ii) Training
iii) Occasional review
b) Unsafe Building Conditions (spills, etc)

this weekend

I got to hear about and check out some of the senior projects from the students at Emily Carr. I love their space! But most importantly, I thought it was really valuable to see what our Canadian counterparts are up to. There was one project which I found somewhat similar in several ways.
It was an exploration of engaging youth in a rural/suburban community around a certain community issue where the student went in and taught basic design skills and the design process to the kids, and facilitated their creation of an artifact to bring youth and adults together. Based on the fun theory, their artifact took the form of an interactive maze game.

What struck me most about this project, and about a lot of their project in general, was that it really was more about the process of exploration and creation, rather than what came out in the end. Whereas we have a separate DS path from VCD and ID, a lot of their projects had a heavier DS component intregrated compared to many of our VCD. and ID projects.

Some of their projects are not finished, and being able to see how each person addressed that in showing a final exhibit was interest, especially since my own project will be in a similar unfinished state.

where to now?

Tonight, I'm meeting with JP at Vera to strengthen up our outline for this comprehensive procedural policy. (A true security policy is more than just security in the traditional sense, it becomes evident in every section of general venue procedure, and we have chosen to embrace that by creating a venue-wide procedural policy, rather than just show security policy, which will be merely a section of our large work)

Monday, May 10th, we're meeting with Greg again, to start getting the content into our outline.

This I am completely stoked for, and yesterday, had the chance to present the project to the membership's programming committee, and get them abroad. Feedback as been positive, and people are excited and already signing up for the membership-optional security training session we have tentatively planned for the 22nd.

However, I am no longer excited about my capstone project. I think the limitations of having to create something-- for an audience that isn't the audience I am working with and whom the final procedural policy is written for-- is, in my mind, too academic and not enough applied "to the real world." Based on my chats with people during my research, there isn't really anything tangible worth creating at this point. People in class want to see some sort of booklet thing basically illustrating how to give youth ownership. Which is ...nice (that's what we say about people/things we have nothing negative to say about but nothing else positive to say about either, isn't it?), and probably what I'll end up doing if I can't think up anything else more useful... but meh.

relationships

can be so powerful.

Another reason to give teach, nurture, and give youth ownership: because they develop a respect and appreciation of the place, in a way that motivates them to protect the place, and to support it rather than do harm.

even before

It's amazing the amount of preemptive steps that can, and should, be taken to prevent anything problematic from arising. From who you hire to making allies with the charismatic leader in the social group, most problems and situations can be discouraged and erased before they cause harm to anyone.

to inform

Phone tag finally came to an end, and Greg, Josh, and I had a meeting on Friday. Here is our timeline so far for rolling out the policy for Vera:

We timed the dates to coincided with our monthly meetings and quarterly members meetings because those are when we'll have the highest number of stakeholders all together to discuss, debate, and approve this project.

May 18: presentation of outline and open discussion at show staff/steering meeting

May 22: 3 hour show security training for staff (Tentative)

June-Sept: [meetings with various stakeholders (for sure staff and steering, potentially programming and board) at their monthly meetings, exact agenda and dates tbd]

Oct 14: Presentation at quarterly members meeting with proposed draft. By now, all stakeholders would have had a couple chances to give input on the policy between June-Sept, and a final committee vote of approval would have been taken to send the policy to a vote at this Oct 14th member's meting. Discussion would be on fine tuning and minor changes.

Jan 15: Presentation and vote of approval by membership at this quarterly member's meeting.

I'll have to revisit my plans on what to show for June. My project will very much be focused on bringing attention to the need for such a policy to be developed, but I'm not sure what tangible item is best for that, or if there's even need for one. I don't want to make something for the sake of having something to show...

I have another meeting this afternoon, so I'll see if that is useful in any way, and update later tonight!

showing process

Kelsey brought up in class today a great question on the topic of the design process.

It's hard enough to understand our "design process." But how do we portray it? In a discipline that prides itself on the process as much as, if not more, than our product, what would our "process book" look like? In VCD and ID, you'd see ideation from rough sketches to computer generated mock ups or prototypes, to the finalized product. In design studies...?

Perhaps that is what makes us unique. Our varied background and the different contexts in which we do our work, informs different processes for each of us, in a way that does not lend itself to an idealized, standard DS "processbook."

only logical

I think it's been hard to illustrate to others what makes youth different in a way that creates the need for my project. I don't know why I didn't do this early, but it's time to create a persona!

Meet Quinn!
Quinn is a 17 year old junior in high school, living in the suburbs of Seattle. He is taking sound production classes at his local community college. Quinn plays the guitar (self-taught), and jams weekly with a band formed of his high school friends. His favorite artist is John Vanderslice. He can almost always be spotted wearing a band shirt, showing off his musical preferences. Quinn attends 3-7 shows a month, most of which are local, small indie bands. He generally also attends Folklife, Capitol Hill Block Party, Sasquatch, and Bumbershoot. He attends in-stores at Easy Street whenever it features a band he enjoys. Quinn downloads a lot of music, but also owns vinyl of all his favorite artists. He owns some cds, but mostly his cd collection consist of mixed-tapes from his friends. Quinn also burns cds of his prefered artists for his friends and acquantiances, although he is slowly shifting from phsyical disks to posting links on friend's facebooks.

What is DS?

Back to the ultimate question.

DS IS ABLE TO
be an adaptable process
communicate with diverse audiences
gather and synthesize disparate information

TO
find new relevant problems
connect design to outside fields
change/influence behavior, ways of thinking, society, and context

SO THAT WE CAN
understand how designs fit into larger systems
produce novel frameworks for understanding information
produce products that may be more traditional graphic or physical design, or a design for a system

it will get done

After some more discussion with some people at Vera, I realize what I actually want to do is way out of scope of the capstone project. Vera will develop and publish something speaking to a the necessity of and development of a comprehensive security policy for all-ages music venues, and I'm leading the charge (otherwise it might be one of those amazing ideas we have but takes forever to get off the ground, or doesn't happen at all, due to lack of manpower)! Hopefully that will be done this year, and the education curriculum can be developed next year. I'm trying to get in touch with the man everyone raves about, and set up a meeting with him and the vera folks, to kick off some hard core discussion.

What does this mean for my project? I guess I'll just see how much we can get done, and think of something to show. I'm hoping by May I'll be able to present the issues and areas specifically that need policy/best practices to be developed for, if not actually be able to present policy/best practices. No idea what tangible take away I'll be able to create though. Without a doubt, I'm going to keep on this project as vera works through the issue in the next year or so.

kids deserve high expectations

speaking from experience

I was working a dance event, technically a rental, and had the chance to see a dance event by youth for youth that was successful. Here's what I learned:

Nothing like the presence of peers. The group had a youth staff of about 20 that organized the event, and was running the event on-site. There were two advisors of the groups, plus about 4 parent chaperons, and two off-duty officers, but the event logistics were handed by these teenagers. The effect it had was amazing. The youth attendees, knowing they were being watched by their own peers, and that any trouble they got into would be causing trouble for their own peers, was a powerful force in keeping the peace. The youth staff was not shy about asserting their presence, which is an important way of establishing themselves as a source of reputable authority which their peers could understand and respect. They wore event staff shirts, black with bright neon print, and were constantly around and visible event if there were not currently staffing a position (they worked on a rotation shift schedule).

First response, and clarity of roles.These youth staff members were also able to recognize trouble in its early stages and get them out of the crowd, and to somebody better able to handle it. One girl attended reeked a alcohol, and the youth staff member immediately pulled her aside and passed her off to the off-duty officers, advisors, and myself. This youth staff member understood that their role was to keep at her postilion doing coat check, and to serve as a filter. By understanding what was in and what was out of scope for her position, this youth staff member was able to contact the appropriate staff to handle it. Secondly, by getting the girl off to the side and removed from the crowd at large, it isolates it problem so that others are less likely to get involved and blow up the situation. This is crucial to preventing the problem from getting out of hand.

Support, but empower. The event went so smoothly not because there weren't problems, but because it was handled quickly and cleanly by everybody that was present. By empowering the 20-some youth staff members to plan and execute an event that meant a lot to them, it made them vested into the outcome of such an event. The advisors only advised them in plan the event logistics and chaperons were only present to support the youth staff and stayed upstairs (the event is confined within the downstairs space). Giving the responsiblity of running the event and keeping everybody safe to these young stakeholders, while making sure to support them as they learn how to, is what made the actual event itself so successful (from the security point of view, and they also made a profit to be donated to charity!)

themes echoed

A Review of Minneapolis’s Youth Violence Prevention Initiative

Abstract: This publication, from the National Center for Victims of Crime, describes an initiative started in 2006 by the city of Minneapolis to prevent and reduce violence by and against youth. To document the program and highlight its law enforcement innovations, NCVC staff visited Minneapolis in October of 2008, conducting a series of interviews with Minneapolis and Hennepin County officials, community leaders, and law enforcement officers.

Published: 03/05/2010

"The Blueprint initiative assumes that children are not born violent— that violence is a learned behavior that can be unlearned through strong, positive messages that counteract the many violent ones youth receive every day through their music, television, movies, video games,
and other media."
To make secure and safe, you must put out the message against violence in a way that can be learned and internalized by the youths whose behavior you are trying to influence.

"From the beginning of the Blueprint planning process, Minneapolis saw the importance of involving youth—particularly from the neighborhoods with the worst crime problems—in finding solutions to youth-related crime. " "The youth raised important questions and made many constructive suggestions that were later incorporated into the Blueprint. For example, one exchange about guns in schools and youths’ fears about reporting them led the city to recommend a confidential youth tip line as a Blueprint action step. The committee held a
subsequent meeting to let the youth know which of their ideas had been included in the Blueprint, which had not, and the reasons for the committee’s decisions. One youth continues to serve as a steering committee member, with a role in shaping how the Blueprint implementation unfolds. The MYC continues to facilitate youth input on a wide range of local policy issues. "
Nobody understand youth issues as well as the youth who experience them. While they might not always be able to articulate the specifics, they have a perspective that is crucial to truly understanding the problems at hand. Policy makers much engage and learn from these youth. Furthermore, youth engagement will increase their invest and buy-in of the efforts being made to improve these issues that relate to or directly influence their life and experiences.

Review: Best Practices from Music Nightlife Handbook

Employees

• Perform background and reference checks of all employees.
  
• Ensure that staff is trained to maintain clear stairways, exit routes, and aisles at all times.
• See that Shift Managers and/or Supervisors are responsible for checking all emergency exits at the beginning of shift AND for making sure that exits remain clear and unlocked for the duration of their shift.
• Ensure staff is trained on emergency policies
  
• Complete incident reports or log entries for every Security, Police, Injury, Use of Force, or other Public Safety incident that occurs in our around your immediate premises.

Event Promoters

• Hiring event promoters with a valid business license and professional references.
• Be aware of how and where events will be advertised, and do not allow excessive promoting of events, or promotion to "the wrong crowd"
  
• Venue is responsible for staffing, security, ID-ing, weapons screening, occupancy limits, drugs & contraband, finances, admissions tax, behavior, levels of intoxication. Maintain control at all times. Never allow a promoter or their staff to control ID checking at the door, the clicker, the bar, or collection of the cover charge.
  

Age Verification

• All-ages events makes it unnecessary to enforce age-limit and require checking ids.
  
• However, in case of will-call tickets, policies should be clear and consistent, and strictly enforced, ie requiring credit card used for purchase.
  
• Keep the line moving as smoothly as possible and ensure that a problem solver is always near the door to deal with issues.

Line Queues

• If you regularly have line queues for entry into your establishment, designating security staff to walk the line can be an effective deterrent against disruptive and/or illegal activity. Line security are tasked with assessing intoxication, reviewing dress code, ensuring line queues are not encroaching on other properties or businesses, monitoring smokers & littering, maintaining the 5 feet sidewalk clearance required by the ADA, and monitoring line mixing between cars and patrons. Patrons who fail to meet dress code, violate the code of conduct, appear intoxicated or have a prior record should be removed as soon as possible to avoid incidents.
• Multiple Line Queues: VIP lines and special entry privileges can create problems and are generally discouraged by law enforcement entities. If have another line for separate entry, ie one for cash sales other for will-call, make sure to have approver readily available at the each entrance to avoid conflict. and clearly indicate purpose of each line to reduce confusion by patrons

Code of Conduct

• Post a Code of Conduct prominently inside and outside your club. Ensure your staff knows the code and enforces it consistently, without exception. Patrons who violate the code should be removed immediately. If patrons resist or situations escalate, security staff should call for SPD assistance immediately. Contacting SPD for assistance will not be held against a club, and should be encouraged.

Re-Entry Policy

• Re-Entry Policy: Allowing re-entry without strict monitoring can lead to problems such as over-occupancy and over-consumption off premises. For these and other reasons, re-entry policies are discouraged. If you allow exiting for smoking, consider designating a secured or controlled area for this purpose. If re-entry is allowed, it is critical to require that every patron be re-screened and bags checked upon re-entry. Many violent incidents could be avoided if patron re-screening is maintained consistently and thoroughly. Remember, 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.

• Occupancy: Have a clear policy on counting patrons, and be sure to enforce it consistently. At a minimum, establishments regularly reaching their occupancy capacity should use both in and out clickers. You must decide how to count smokers who exit and re-enter, and be consistent. The best practice would be a “no re-entry” policy or possibly charging a re-entry fee for patrons who insist on exiting the premises. It is in your best interest to keep people inside, patronizing the business, and limiting access to any weapons or contraband that may be kept in vehicles.

Security & Staffing

• Training is imperative
• Weapons / Contraband Screening: Whether you decide to use wands, pat-downs, purse checks, or another form of screening, be sure there is no confusion about your policy. Maintaining clear, consistent enforcement is imperative. Weapons of any kind have no place in your business. Establishments have a duty to call 911 when weapons are discovered, in case of injuries and medical emergencies, or when any criminal activity is discovered. You may be liable for any criminal activity that occurs as a result of failure to report. Whether or not these instances are reported to police, an internal record should be kept at the very least.
• Staff Uniforms: Whether it is a shirt or jacket, consistency in identifiable club employees, security, and door staff is imperative for crowd control. Ensure that your staff are aware of each position’s responsibilities, and provide clear and concise job descriptions.

  Particularly, Security staff should all be easily identifiable in “Security” marked shirts or jackets. If you choose to employ plain-clothes security, they should not take action unless identifiable security staff is present, or if it is a dire emergency. In such instances, they should clearly identify themselves as security before engaging patrons “hands on.”

• Floor Roamers: Assign dedicated employees to roam the club, bathrooms, VIP areas, etc. Experienced, well-trained security staff will mediate and diffuse situations before they escalate.
• Security Staffing: In addition to entry security personnel (ID checks, weapon checks, line queues) it is crucial to have enough security staff monitoring your patrons inside. Consider a security:patron ratio for high volume events
  
• Security Staff Equipment: Special consideration should be given to the equipment your security staff will use:
  1. Firearms: Only licensed, private, outside security personnel are allowed to carry firearms, and never inside your premises.
  2. Flashlights: Security staff should carry relatively small high-powered flashlights in lieu of the Mag-Light style which are heavier and might become a dangerous weapon or be turned against security personnel.
  3. Handcuffs / Restraints: When properly used, handcuffs are the safer option for restraining patrons prior until SPD assistance arrives.
  4. Pepper Spray (OC): If you choose to outfit security staff with pepper spray, you must make it clear that under no circumstances should anyone discharge pepper spray inside your premises. Widespread panic and injury is inevitable as a result of indoor pepper spray use. If security determines pepper spray is warranted, it should only be discharged outdoors and away from exits or ventilation ducts. Certain types of pepper spray are not allowed, so consult with SPD before you authorize use by security personnel. For further information about pepper spray and its reaction when used with tasers, see the linked article from Law Officer Magazine.
• Two-way Radios: Internal radio usage is up to the establishment, and highly recommended, particularly if crowds consistently top occupancy limits. Security staff and management should be in constant contact, ready to resolve problems before they escalate. In addition, be in contact with other neighboring clubs to let them know when an unruly patron has been removed from your premises.
• CCTV: While there are no requirements for security camera monitoring, taking this measure protects you as much as is protects your patrons and assists law enforcement. Establishing a pattern of good practice is key. Consider cameras to monitor entrances, exits, and any other sensitive or problem areas. CCTV systems should have at least one weeks to a month of footage before they over-write, and any footage that exists must be immediately given over to law enforcement if requested for incident investigation.
• Lighting: If you have crowd control issues, it may help to bring up the lighting levels inside your establishment. Consider raising levels on the dance floor, in lounge areas, restrooms and entryways.
• Theft: Theft is one of the most reported incidents by patrons to nightlife establishments. Encourage patrons to check their coats and bags to prevent theft. Ensure that control and order are maintained in the coat check area at all times, especially at closing. Keep records of thefts occurring in your club for your protection as well as the protection of your patrons.
• Outdoor Monitoring: If your outdoor areas are a problem or you deal with repeated incidents outside your establishment, you might consider installing outdoor monitoring systems , extra lighting and posting signs clearly stating that patrons are being monitored in those areas.
• Parking Lots: If you have a parking lot, you are liable for this space and it is considered your premises. Your parking lot should be monitored by personnel or by CCTV at all times when your patrons may be present. Be sure sufficient lighting is in place to assist security in monitoring these areas. In particular, it is essential to monitor parking areas to prevent patrons from drinking in or around vehicles prior to entry or re-entry.
• Conflict Management: Clear policies and training on conflict management are imperative to your security plan. Institute an “Ask. Tell. Make.” Policy, (Ask them to correct the behavior; Tell them to correct the behavior; Make them comply) and be sure it is enforced consistently. If patrons refuse to comply or become combative, staff should immediately call for SPD. Calls for SPD assistance made in good faith and for the protection of patrons and neighbors alike, will not be counted against the establishment. Likewise, if you fail to call 911 to report a public safety incident you may be liable for that failure.
• Major Events: Invest in your patrons’ safety; hire additional outside security when you plan major events involving larger than normal crowds. Also, report large scale events to SPD ahead of time and/or request more frequent patrols if you anticipate the need for increased crowd control outside your establishment.
• SPD Trespass Agreement: You can request that SPD remove any problem offenders from your premises if you maintain a signed Trespass Agreement with the Seattle Police. This allows criminal charges to be filed if they return and are reported by you.
• SPD Relations: Meet with SPD Precinct representatives as often as necessary to discuss operational issues, solutions to common problems, neighborhood trends, security concerns, etc.
• Patron Removal Records: When at all possible, keep a record of patrons who are removed from your establishment, with photographs if possible.

Review: Definitions from Music Nightlife Handbook

Definitions:

A. "All-ages dance" means any public dance at (1) which persons under age
eighteen (18) years are allowed or permitted to attend or (2) at which each
patron is not required to show valid picture identification, showing that
patron's date of birth, as a condition of entry.

B. "All-ages dance venue" means any place or premises where an all-ages
dance is conducted or operated, including but not limited to all hallways,
bathrooms and other adjoining areas or the premises accessible to the public
during the dance.
C. A "concert" is any event at which live music is played or sung, and at
which the primary purpose of the person conducting or operating the event is
for patrons to view a musical performance.
D. A "dance" is any event at which the primary purpose of the person
conducting or operating the event is for patrons to dance as that term is
commonly defined. However, a "dance" shall not be defined to include an
event that is a "concert" as that term is defined by this chapter.

H. "On-site manager" is the person present at an all-ages dance or all-ages
dance venue who is responsible for the direct operation and oversight of the

J. "Public dance" means any dance that is readily accessible to the public.
dance or venue and supervision of other employees or workers.