Avoid Overexposure

September 12th, 2011

Reduce Insurance Costs without Increasing Risk?
You Can if You Buy Smart.

Published in Night Club and Bar Magazine Sept. 12, 2011

I’m often asked by trade publications to comment on areas of the hospitality industry that might be generously categorized as “necessary evils.” Donna Hood Crecca, editor of Night Club and Bar asked me to shine some light on the subject of insurance. I asked Dean McSherry at Preferred Restaurant Services to add his expertise and Steve Spalding at CSI Risk Management contributed insight as well.

From the article:

The idea of purchasing all of these policies can seem daunting, pricey and/or overwhelming, but there are a number of ways to cut insurance costs without cutting back on coverage. Spalding suggests that any business owner, whether a newbie or a veteran, go through his or her leases and policies line by line to make sure the plan suits the business.

Avoid Overexposure – Nightclub & Bar

September 12th, 2011

Avoid OverexposureView Source Article
September 12, 2011 By: Matthew Mabel

Reduce Insurance Costs without Increasing Risk? You Can if You Buy Smart

The list of fun activities for nightclub and bar owners and managers does not include buying insurance. Many put it in the “necessary evil” category. If you ever have circumstances that lead to a claim, the “evil” portion of that phrase disappears. You realize your coverage is essential and necessary, and you are immensely grateful you have it.

In response to the Great Recession, operators are looking at every possible way to cut costs while maintaining an enticing product for their guests — a logical response to changing business conditions. Some think about reducing the number of employees, spiking prices or switching distributors, while others are reevaluating their insurance policies. Because guests do not see the insurance plans, is costly and excessive coverage necessary? The answer varies from one establishment to the next. Some coverage is optional; some is dictated by your landlord or financing method. You may be able to reduce your coverage plan safely or need to upgrade depending on your unique position.

Going without any insurance is never recommended. If you are mega-rich, you might choose to self-insure. Even then, there are drawbacks because you could lose all of those millions if an action was taken against you.

It’s better to have minimal coverage than nothing at all. It might surprise you that you can cut costs without cutting back by simply educating yourself. Some kinds of insurance truly are nonnegotiable. According to Dean McSherry, president and CEO of Dallas-based Preferred Restaurant Services, a single-source provider of specialized restaurant-industry services, all owners “must have general liability, liquor liability (if selling alcohol), property and crime coverage.”

Liquor liability in particular is paramount for bars and restaurants. Steve Spalding, president of CSI Risk Management, an independent insurance brokerage in Dallas, states, “If the lease doesn’t specifically mention ‘liquor liability,’ then there is no requirement to have it; however, it is highly recommended to carry at least minimal limits. A liquor-liability claim typically involves a lengthy legal fight, and possibly a settlement amount. If you choose lower limits, it is important to try and find a carrier that has legal defense costs outside the limits of your coverage. That way, you are defended without having your liquor-liability limit depleted.”

Obtaining basic types of insurance means you have your bases covered; however, that doesn’t make you bulletproof. If you want to thoroughly protect yourself and your business, consider business-interruption insurance, network-risk coverage and employee-theft coverage.

The idea of purchasing all of these policies can seem daunting, pricey and/or overwhelming, but there are a number of ways to cut insurance costs without cutting back on coverage. Spalding suggests that any business owner, whether a newbie or a veteran, go through his or her leases and policies line by line to make sure the plan suits the business.

“Read and negotiate your insurance requirements before you sign a lease agreement,” he says. “Many lease agreements have been put together over the years via the cut-‘n’-paste method, and lots of them have either vague or onerous insurance requirements.”

Review your plan with an agent who either specializes in or consistently deals with bar and restaurant insurance. If your current provider more commonly sells home, auto or other types of general insurance, it’s time to start shopping around for someone new. Ask for references — operators that have needs similar to yours. Check those references to ensure you are working with the right people. Agents who specialize in this field know the ins and outs of the type of insurance you need. Their advice can result in a more tailored plan and cash savings as well. You also can use Websites, such as netquote.com, that allow you to compare quotes from numerous agencies across the country.

McSherry reminds us that, “In achieving the lowest premium … keep in mind that all carriers are assigned a rate which assesses that carrier’s financial strength and credit worthiness.”

Another way to get your premium down is to have your staff go through a safe-alcohol-server program. Many carriers offer a discount if completed, possibly 15 to 20%.

You also might be spending too much money if you’re operating under an umbrella policy in a multi-business building. Umbrella policies can cover between $5 million and $10 million in damage a year, which will cost between $7,000 and $15,000 a year. This amount of insurance is extreme and unnecessary for most bars and restaurants. By negotiating your coverage down to $1 million, you can save your business thousands of dollars while maintaining a safe amount of protection.

As McSherry sums it up, “All lines of coverage are important and play a role in the overall protection of an operator’s livelihood.”
Each establishment has its own unique needs. As the owner or manager, it’s vital for you to review and revise insurance policies regularly, updating as your business and rates change. Make sure you’re not only getting the best rate, but also the proper amount of protection. Even though your “fun quotient” will lower while you do so, the risk involved with foregoing or skimping on necessary insurance is far too dangerous to be a viable option. NCB

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One Night Only – Nightclub & Bar

September 7th, 2011

One Night OnlyView Source Article
September 7, 2011 By: Jeffrey Yarbrough, Matthew Mabel

It takes a lot of skill to be a successful professional nightclub and bar owner. It’s unlikely that you are going to be both an expert in your core profession and an expert in booking live talent. Still, you need to know enough about booking talent to make smart decisions.

If you have access to a professional talent buyer who will keep your needs and interests in mind, use him or her to help you navigate the complexities of hiring talent. If you go it alone, it can be risky; the entertainer’s agents will detect right away that you’re inexperienced and be ready to take advantage of the situation or, as they would call it, “leverage their client’s assets.” However, a talent buyer is an expert in dealing with agents, is an extension of the club or bar and is paid by and works for the venue.

According to Richard Pollock of Rainbow Entertainment, “The talent buyer should know the entertainer — along with their fees and habits — to perform. The talent buyer should also know what kind of draw a particular act can bring at the door and their performance reliability.”

Can’t find a professional to buy your talent? Then you have to seek out a lot of information before you make the buy yourself. Here are some crucial questions to explore:

How does the comedian, performer or band you are booking drive traffic in equivalent venues in your town and other towns on the days of the week they will be performing for you? Make a reasonable assumption of attendance — not the attendance that could occur if the entertainer draws to gross potential — and determine what your projected door revenue is going to be. For established talent, be prepared to give up almost all of your ticket sales or cover charges to them, as well as production and promotion. If you have an event promoter who packages entertainment, you can afford to allocate the door money to him or her in exchange for taking all of the risks, such as the possibility of low patron attendance.

Find out when the talent last played and will play next in your area. Ask for a “radius clause” or “barring clause” in the contract, which prevents them from playing your market for a quantity of days before and after your gig; 60 to 90 days would be fair.

How much gross profit is their appearance going to push to your bottom line? Multiply that reasonable attendance number you computed previously by your per person average (the average amount each guest spends), then subtract your variable costs, including cost of goods sold and extra labor scheduled for the event.

Marilyn Drag

Assume ticket sales will cover the costs of the event. Determine if you have the financial wherewithal and stomach to attribute some of the cost of the event to boosting the overall profile of your nightclub or bar, because if all does not go to plan you still have that opportunity.

Once you’ve done your legwork and run your numbers, written contracts are very important. Any deal worth doing is worth writing down. So many times bookings are done by the seat of our pants or over a quick phone call, which can cause room for error or misunderstandings to occur.

“A simple written agreement on who, what, where, when and for how much is necessary to ensure no surprises come your way on the night of the show,” Pollock states. “The entertainment has the upper hand until the show starts. Venues should insist on paying the act after the stage is set.

Entertainers should insist on being paid in full before the show begins. It all needs to be in writing: from the length of a show with how many breaks to the number of green M&Ms in the entertainers’ rider that accompanies a contract.”

Once you have made the buy and the day of the show arrives, switch your perspective from being a smart, skeptical buyer to treating the talent like the rock stars they think they are. The marginal cost of being friendly and welcoming are small compared with the value of being successful with an act or agent who would prefer to work with you over others in your market in the future. Often, we look at the talent as the enemy, as the guy who just wants to come in and collect a check. The reality is they are artists who have as much passion for their craft as we have for selling whiskey. Don’t you think that if the artists are happy they would do a better job on stage and maybe even offstage?

CrossroadsHere are a few things you can do to ensure your bookings go well from start to finish:

First, create an environment that makes the artist feel welcome. Start by making the dressing area clean and inviting; if it’s messy or unkempt, he or she might get the impression that you don’t view him or her as a serious artist, which could affect a performance.

Second, buy the performer a meal and a drink. They aren’t called “starving artists” for nothing, and being hospitable will make him or her feel appreciated. The more they get to know you and see that you care about setting talent up to give a good performance, the harder it will be for your competitors to book the same acts in the future. Show you care, and you will start building great relationships and making talent happy. And if talent is happy, that spreads to your guests…

Lastly, hold yourself accountable. When the event is over, compare the actual numbers to the ones you relied on to make the buy. How entertained are you feeling now?

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