#Exhibition Stand Contractors in New Orleans

[boothbuildersusa]

What are the three types of exhibition? - Exhibition Stand Manufacturers New Orleans.

Selecting the appropriate exhibition when you are trying to organize an event amidst a bustling city like New Orleans is critically important in order for your objectives to be well met. An experienced exhibition stand manufacturers new orleans, offers a comprehensive knowledge for design and implementation of stands that can fit to each kind of convention. A clear understanding of exhibition types not only helps in making your new product more engaging to an interested audience but also develops business relations with industry individuals.

Trade Shows.

Trade Shows - Trade shows are the most popular exhibition type and mostly deal with B2B. (hence no consumer presence is not needed) Most of the companies from various industry sector meet up to show, demo their newest and future wares. A professional company such as Booth Builders in USA, the top exhibition stands builders in New Orleans designs and constructs stands that grabs attention ease of business discussion. It is a place where businesses want to do these exhibitions because they can increase their market share, help them understand the industry scenario as well as allow for direct contact with potential customers and partners.

Consumer Exhibitions.

Consumer exhibitions, as opposed to trade shows, are aimed directly at the end consumer. It creates a perfect opportunity for B2C companies to interact directly with their customers, get feedback in real-time and build brand presence etc. Whether you want it on show the stand and black or custom designed whilst also experienced exhibition stand suppliers in New Orleans, Booth Builders LLC designs this type of stands with eye-catching visual aspects along enforced interactive features at its core. Ideal for launching a product, or live demo, direct sales and provide the most engaging experience to garner consumer interest in purchasing your services.

Museum Exhibitions.

Museum exhibits provide a unique taste that depend on other experiences of a similar yet different culture, history or science in general. Booth Builders LLC works closely with museums to develop exhibits that tell a story and teach the public about history. Being professional exhibitions stand design company in New Orleans, their designs are ensured to be as detailed and thematic aligned with what the exhibit is set-out to educate. Expositions such as these are vital in the operations of a facility seeking guests, education and presentation to artifacts or art collections.

Why Should You Choose Booth Builders LLC for Your Next Exhibition?

Booth Builders LLC is a trusted name; in no way, even similar to other exhibition stand manufacturers company new orleans - but an associate who knows the various deep-rooting nature of exhibitions. If you are at an event like a trade show, looking to educate consumer public or need booth construction for any other purpose, we have the capabilities and experience delivered through Booth Builders LLC which can inspire your vision. Their focus on quality, customer service and detail mean each stand is bespoke to the event at hand.

[thewestern]

Chapter 12.5

Now when he was a young man,

He never thought he'd see

People stand in line to see the boy king.

It’s true that as pharaohs go, Tutankhamon wasn’t really all that memorable. Not in terms of his achievements. Nor was he infamous for some or other empirical blunder. He was just a kid. Nine years old when he ascended the throne. Dead at nineteen. Perhaps then the Boy King captured the childlike imagination inside of us all.  

Or rather it was his toys. Because the real reason you and I know Tutankhamon was his tomb, and more specifically, all the wonderful things contained within it. Lucky for us, the entrance to his tomb had been obstructed by rubble and debris — likely the handiwork of some fly-by-night ancient Egyptian contractors in the course of their renovation of a neighboring tomb unit in the Valley of Kings (KV). As a result of his being hermetically sealed away as such, like in a storage unit, all of his royal stuff was preserved in near-mint condition. Likewise, the many looters who had plundered nearly every other crypt of note couldn’t get their grubby grave-robbing mitts on it. So that when KV62 was finally discovered, largely intact, in the early Nineteen Twenties, the public could be spellbound by the opulence of these his burial goods. Among the artifacts, a great many of them gilded, there was an iron dagger, rare for the Bronze Age, revealed by X-ray fluorescence to likely have been fashioned from a meteorite. Hell yeah. As well as there were luxury chariots, designer sandals, linens of ancient Egyptian cotton and of course his iconic funerary mask, forged of solid gold, baby. Those and hundreds of other treasures were buried there for what was supposed to be all-time with his diminutive teenage mummy. For he was a sickly boy king. And like Russian nesting dolls, laid alongside his there were a pair of sarcophagi which were tinier still, whose occupants were later proven by DNA analysis to be his daughters, probably stillborns.

(King Tut) How'd you get so funky?

(Funky Tut) Did you do the monkey?   

The media frenzy resulting from the find was unprecedented in the history of Egyptology. Newspapermen from all over the world reported breathlessly as contents were extracted from the tomb and catalogued somewhat haphazardly by the attending archeologists. Their readers simply had to know … What would they dig up next?

They had hit paydirt. Tutankhamon had arisen from his tomb, a popular cultural phenomenon reincarnate. Before there was Beatlemania, there was Tutmania. That was seriously the suffix by which they called his ascent to fame. Three thousand years posthumously, King Tut — as he was so affectionately nicknamed — had achieved -mania Mode. (Other previous and subsequent -manias include: Tulip Mania, a period during the Dutch Golden Age when the speculative price of tulip bulbs reached exceptionally high levels before collapsing dramatically, and Beanie Mania, a period during the American Golden Age wherein the same thing happened with plush toys stuffed with plastic pellets. Also Billy’s favorite -mania, Wrestle, which remains ongoing.) 

They composed big band songs about him on Tin Pan Alley. Cast him a leading man of the silent film era. Women flocked to department stores to purchase household goods, some modeled faithfully after the primeval appliances, others crudely appropriated of their exotic-sounding names and likenesses. 

You can bet your sweet ass that Big Museum cashed in too. Exhibited over the decades from Tokyo to Toledo, Ohio, London to New Orleans, Louisiana, Paris to St. Petersburg (Russia, not Florida), King Tut’s treasures became arguably the most well-traveled relics in history.    

Born in Arizona,

Moved to Babylonia (King Tut).

In the Fall of Seventy-eight, KT — or more specifically a life-size replica of his mummy — was subletting an unfurnished wing at the Metropolitan Museum of Art in New York City, the last scheduled stop on his three-year North American Tour. By that time his shit was hot, having already been cargo-shipped around the world and back again. Circumnavigations that included a visit to the former Soviet Union, which at the time harboured considerably friendlier relations with the Egyptian government than its Cold War combatants. As you may imagine, this constituted a great embarrassment to these United States. So much so, that following Secretary of State Henry Kissinger’s deft diplomatic interventions during the Yom Kippur War, President Nixon immediately cashed in the resultant political capital, boarded Air Force One to Alexandria and personally appealed to his counterpart Anwar Sadat to please, let his people look upon these magnificent things. Sadat relented, and years later, while Tut was lying in state at the Met, Sadat was himself stateside at Camp David, signing the as-titled Accords with Israeli PM Menachem Begin.

On that very same day that President Jimmy was brokering Middle East Peace  (okay … two things that Hayseed got right, Hank would have begrudglingly allowed), meanwhilst untold thousands of tourists were descending upon the Upper West Side like locusts with fanny packs, there was An American Band — nay, The American Band — kicking off a three-night run at the New Sound & Light Theater just outside Cairo, which from Tutankhamon’s down valley resting place was about the same length-drive from New York to D.C., albeit along the banks of the Nile, a Hell of a long way from the Hudson or the Potomac. The Grateful Dead gigging Giza and the Great Pyramid was mostly Phil’s project. Go figure. Like they had recently been to Stonehenge or something and he was on this kick about them playing Places of Power. The pyramids are like the obvious number one choice, he said, because no matter what anyone thinks they might be, there is definitely some kind of mojo about the pyramids. Fucking-a. But on the other hand, show me a place of power and I’ll show you one of suffering, someone might could have informed him. Live From Chornobyl. Europe 72 AD (recorded at the newly constructed Colosseum). At Folsom Prison. 

(Plattsburgh Air Force Base? Big Cypress?)  

Whatever. Hank wasn’t there if you were wondering. They’re weren’t hardly any capital-f Fans in the audience. Mostly members of The extedned Family. You know, usual suspects: Mountain Girl, Kesey, Ram Rod, Bill Graham, Bear, Portland Trailblazers’ center Bill Walton, Big Steve. As for local party crashers, the nearly blindingly nearsighted Lesh claimed to have caught out of the corner of his soda bottle-bespectacled eye some shadowy figures gathered on the crowd’s outskirts, swaying rhythmically in dark flowing robes. Somehow it was later backchanneled to him that these were Bedouin, the nomadic horsemen of the desert, and that they’d been drawn in by the lights and the music, falling on and echoing off the eroded profile of the mighty Sphinx. 

Hank did attend one of the shows they put on back home to help offset the cost of hauling all their crew and equipment, all the way to fucking Egypt. (Whereas aformentionedly he heard the debut rendition of Shakedown Street, the title track of the forthcoming studio album.) This had not been a treasure-hunting or even profit-seeking Arabian adventure. What meager proceed there was had been donated to the Antiquities Society. (It belongs in a museum!)

Hank had however seen the Tutankhamun traveling road show when it stopped through his town. Fucking everybody went. Even the Grateful Dead! The band members had been, in a way, so resurrected by their experience in Egypt, that they couldn’t hardly wait to visit the blockbuster exhibit for themselves. Conveniently its final destination was right down the street, at the M. H. de Young Memorial Museum in Golden Gate Park. (The U.S. tour had originally been announced without any San Francisco dates. Area Tutheads bombarded the Mayor’s office demanding that he wield the fullest extent of his executive power to Bring Tut To The Bay. de Young Museum trustees flew to Cairo shortly thereafter to negotiate the terms of his visit.) Let the good times roll!

By all accounts, Jerry had especially high expectations for Egypt. They were going to harness the power of that ancient place and levitate the pyramids, he was purported to have said. Of course, Abbie Hoffman and the yippies had attempted that same metaphysical feat on the Pentagon in the decade prior, granted the geometric parameters were incongruent. They were ten years on from the Summer of Love. Garcia had since forsaken the world-expanding properties of LSD in favor of heroin, which as we know constricts time and space down to a much more manageable plane. Although now the walls of his tomb were closing in on him. Maybe that’s what he felt that day at the museum. That the existential jet lag had set in, and the big trip was really over for good this time. All that was left was the sand in his pockets and all these souvenirs. 

Alas, the show must go on. Record company’s on line one. We got a studio album to cut. One of the lest-remembered tracks on Shakedown St. is its finale: If I Had The World To Give. As a fairly straight-ahead love song, it’s sort of an outlier in the Dead oeuvre, even for a Garcia-Hunter ballad. Okay, obviously, there’s TLEO, but isn’t that about love as a concept, conceptually, rather than the act of loving somebody? THEY love EACH OTHER. And it’s a warning. Their love is like a freight train, and boy they better take care it don’t run ‘em clean over. Easy for you to say, watching from the station.   

A true love song — it could be said — is about love in the first person. I love YOU. From my POV, where I stand astraddle these tracks, I can hear the whistle blowing, see the locomotive coming round the bend, smell the steam now as I feel the cattle guard sweep me off my fancy feet, launching me sky fucking high, to kingdom come. And, baby, I don’t care if I ever come down. Because even if I brought you back heaven and the moon and the shining stars above, you still wouldn’t love me back, would you? Don’t lie to me, baby. That’s alright. That’s just fine with me. Because I got something bigger and better. Don’t believe me? Wait till you hear this … (It could also be said that the best love songs are about romantic feeling unrequited. If he or she already loves you back, then really, what the hell are you strumming an acoustic guitar for, like an asshole? Wasting time which could be better spent screwing. That’s what.) This song that I sing to YOU, with these assembled here today as my witnesses: the acid heads and the speed freaks, the Jerry Side and the Phil Zone, the spinners and the tapers and the nomadic horsepeople. It is a divine force all too powerful and too pure for YOU and ME to keep locked away in this tomb of love. THEY have to know what WE have. It is something they can never understand but they can hear it so that they may feel an infinitesimal fraction of it for themselves. THAT is what all THIS is for. 

They only played it three times, all in that same Fall of Seventy-eight, the last of which rendition was performed in Cleveland, of all fucking places, arguably the third best city in Ohio (possibly fourth best, depending on your tolerance for the delicacy which is Skyline Chili), and undoubtedly a long fucking way from Cairo. (Famously, Cleveland is home to the Rock and Roll Hall of Fame. The city lobbied for the right to host the Hall by citing that local disk jockey Alan Freed had coined the term, Rock And Roll. Additionally it pledged sixty-five million dollars in public money to fund the construction. The building was designed by hall of fame-architect I.M. Pei, who drew up the blueprints for many-a-museum, including the Louvre, which like its Clevelandish cousin, also prominently features a glass pyramid for its plaza facade.) November the Twentieth. By then they were a poorly fucking lot. Bobby was purportedly backstage puking his guts out for the better part of Set Two. Phil, for his part, was by his own accounting a fully-blown drunk in Seventy-eight. Kreutzmann had a cast on his hand, which he busted getting bucked off a goddamn camel. Speaking of the Grateful Dead and their Great Pyramid scheme, the Rocking the Cradle live album they had planned to release as a means to pay for this boondoggle in full had to be scrapped. So here they were, a half a million in the Red Sea, all on account of some crew member had gotten into a row with the piano tuner, who then tendered his resignation in protest. So Keith was off-key in addition to being offbeat. The latter owing to his accelerating abuse of cocaine, which does a number on one’s sense of time. Hard on a marriage too. So, of course, he and Donna were on the rocks. What else is new?

On top of all that bullshit, before the curtain fell, the band’d just been informed of an unspeakable tragedy that had occurred only two days previous. Leo Ryan, a U.S. congressman representing California’s fightin’ eleventh, where indeed all the band members resided (and some of them paid taxes), was gunned down on an airstrip in Guyana. Murdered by an outfit by the name of the Red Brigade on the order of its commanding officer Jim Jones, another erstwhile San Franciscan and embattled leader of the Peoples’ Temple, which had fled to South America to escape persecution for their fringe religious beliefs and raised this settlement that they called Jonestown. (Congressman Ryan had launched this fact-finding mission at the urging of the loved ones of the alleged cult members, many of whom were his constituents. Upon completing his investigation, he was prepared to report back that living conditions were indeed adequate and that, by his judgement, no one was being coerced to remain there against their wills.) Anticipating swift reprisal for this slaying of a sitting U.S. congressman, the Reverend called upon his flock. Rather than be themselves slaughtered by the capitalist pig forces which had been conspiring against them (among whom Jones cited the CIA, the FBI, the U.S. Postal Service and others), he beseechethed thee to commit an act of Revolutionary Suicide. In single file they lined up — men, women and children … alphabetically by height — to be served red plastic cups of grape Flavor-Aid, ladled from a large metal vat. In place of LSD, this fruity concoction had been laced with a cocktail of chemical agents that which notably included the compound commonly known as Cyanide. Small children died within five minutes. Less for babies. (Mothers were instructed to administer their own infants’ doses via syringe.) Adults took an agonizing twenty-to-thirty minutes to succumb. Just over nine hundred people died that day. All but one — Jones was found with a self-inflicted gunshot wound to the left temple, his head cushioned by a pillow — died of the poisoning. The events at Jonestown constituted the greatest single loss of American civilian life in a deliberate act until the incidents of September the Eleventh.   

Maybe Jerry was thinking about that. Or, albeit less likely, he could have still been hung up on Ole King Tut, laid to rest beside his wife and half-sister Ankhesenamun, their two deadborn daughters — cherubs, elaborately embalmed — and all their fabulous worldly possessions, when he sang, presumably for the last time, these words: 

Well maybe I've got no star to spare, or anything fine or even rare,

Only if you let me be your world, could I ever give this world to you.

Could I ever give this world to you.

[1962dude420-blog]

Today we remember the passing of Daniel Johnston who Died: September 11, 2019 in Waller, Texas

Daniel Dale Johnston (January 22, 1961 – c. September 11, 2019) was an American singer-songwriter and visual artist regarded as a significant figure in outsider, lo-fi, and alternative music scenes. Most of his work consisted of cassettes recorded alone in his home, and his music was frequently cited for its "pure" and "childlike" qualities.

Johnston spent extended periods in psychiatric institutions and was diagnosed with bipolar disorder. He gathered a local following in the 1980s by passing out tapes of his music while working at a McDonald's in Dobie Center in Austin, Texas. His cult status was propelled when Nirvana's Kurt Cobain was seen wearing a T-shirt that featured artwork from Johnston's 1983 cassette album Hi, How Are You.

Beyond music, Johnston was accomplished as a visual artist, with his illustrations exhibited at various galleries around the world. His struggles with mental illness were the subject of the 2005 documentary The Devil and Daniel Johnston. He died in 2019 of what is suspected to have been a heart attack.

Johnston was born in Sacramento, California, and grew up in New Cumberland, West Virginia. He was the youngest of five children of William Dale "Bill" Johnston (1922–2017) and Mabel Ruth Voyles Johnston (1923–2010). He began recording music in the late 1970s on a $59 Sanyo monaural boombox, singing and playing piano as well as the chord organ. Following graduation from Oak Glen High School, Johnston spent a few weeks at Abilene Christian University in West Texas before dropping out. He later attended the art program at Kent State University, East Liverpool, during which he recorded Songs of Pain and More Songs of Pain.

When Johnston moved to Austin, Texas, he began to attract the attention of the local press and gained a following augmented in numbers by his habit of handing out tapes to people he met. Live performances were well-attended and hotly anticipated. His local standing led to him being featured in a 1985 episode of the MTV program The Cutting Edge featuring performers from Austin's "New Sincerity" music scene.

In 1988, Johnston visited New York City and recorded 1990 with producer Mark Kramer at his Noise New York studio. This was Johnston's first experience in a professional recording environment after a decade of releasing home-made cassette recordings. His mental health further deteriorated during the making of 1990. In 1989, Johnston released the album It's Spooky in collaboration with singer Jad Fair of the band Half Japanese.

In 1990, Johnston played at a music festival in Austin, Texas. On the way back to West Virginia on a private two-seater plane piloted by his father Bill, Johnston had a manic psychotic episode; believing he was Casper the Friendly Ghost, Johnston removed the key from the plane's ignition and threw it outside. His father, a former U.S. Air Force pilot, managed to successfully crash-land the plane, even though "there was nothing down there but trees". Although the plane was destroyed, Johnston and his father emerged with only minor injuries. As a result of this episode, Johnston was involuntarily committed to a mental hospital.

Interest in Johnston increased when Kurt Cobain was frequently photographed wearing a T-shirt featuring the cover image of Johnston's album Hi, How Are You that music journalist Everett True gave him. Cobain listed Yip/Jump Music as one of his favorite albums in his journal in 1993. In spite of Johnston being resident in a mental hospital at the time, there was a bidding war to sign him. He refused to sign a multi-album deal with Elektra Records because Metallica was on the label's roster and he was convinced that they were Satanic and would hurt him, also dropping his longtime manager, Jeff Tartakov, in the process. Ultimately he signed with Atlantic Records in February 1994 and that September released Fun, produced by Paul Leary of Butthole Surfers. It was a commercial failure. In June 1996, Atlantic dropped Johnston from the label.

In 1993, the Sound Exchange record store in Austin, Texas, commissioned Johnston to paint a mural of the Hi, How Are You? frog (also known as "Jeremiah the Innocent") from the album's cover. After the record store closed in 2003, the building remained unoccupied until 2004 when the Mexican grill franchise Baja Fresh took ownership and decided that they would remove the wall that held the mural. A group of people who lived in the neighborhood convinced the managers and contractors to keep the mural intact. In 2018, the building housed a Thai restaurant called "Thai, How Are You". Thai How Are You permanently closed in January 2020. The building remains empty

In 2004, he released The Late Great Daniel Johnston: Discovered Covered, a two-disc compilation. The first disc featured covers of his songs by artists including Tom Waits, Beck, TV on the Radio, Jad Fair, Eels, Bright Eyes, Calvin Johnson, Death Cab for Cutie, Sparklehorse, Mercury Rev, The Flaming Lips and Starlight Mints, with the second disc featuring Johnston's original recordings of the songs. In 2005, Texas-based theater company Infernal Bridegroom Productions received a Multi-Arts Production/MAP Fund grant to work with Johnston to create a rock opera based on his music, titled Speeding Motorcycle.

In 2006, Jeff Feuerzeig released a documentary about Johnston, The Devil and Daniel Johnston; the film, four years in the making, collated some of the vast amount of recorded material Johnston (and in some case, others) had produced over the years to portray his life and music. The film won high praise, receiving the Director's Award at the 2005 Sundance Film Festival. The film also inspired more interest in Johnston's work, and increased his prestige as a touring artist. In 2006, Johnston's label, Eternal Yip Eye Music, released his first greatest-hits compilation, Welcome to My World.

Through the next few years Johnston toured extensively across the world, and continued to attract press attention. His artwork was shown in galleries such as in London's Aquarium Gallery, New York's Clementine Gallery and at the Liverpool Biennial in 2006 and 2008, and in 2009, his work was exhibited at "The Museum of Love" at Verge Gallery in Sacramento, California. In 2008, Dick Johnston, Johnston's brother and manager, revealed that "a movie deal based on the artist's life and music had been finalized with a tentative 2011 release." He also said that a deal had been struck with the Converse company for a "signature series" Daniel Johnston shoe. Later, it was revealed by Dick Johnston that Converse had dropped the plan. In early 2008, a Jeremiah the Innocent collectible figurine was released in limited runs of four different colors. Later in the year, Adjustable Productions released Johnston's first concert DVD, The Angel and Daniel Johnston – Live at the Union Chapel, featuring a 2007 appearance in Islington, London.

Is and Always Was was released on October 6, 2009, on Eternal Yip Eye Music. In 2009, it was announced that Matt Groening had chosen Johnston to perform at the edition of the All Tomorrow's Parties festival that he curated in May 2010, in Minehead, England. Also that year, Dr. Fun Fun and Smashing Studios developed an iPhone platform game called Hi, How Are You. The game is similar to Frogger, but features Johnston's art and music. Johnston played it during its development and liked it, although he was not familiar with the iPhone.

On March 13, 2012, Johnston released his first comic book, Space Ducks – An Infinite Comic Book of Musical Greatness at SXSW, published by BOOM! Studios. The comic book ties-in with the Space Ducks album and an iOS app. Johnston collaborated with skateboarding and clothing company Supreme on numerous collections (consisting of clothing and various accessories) showcasing his artwork.

On March 1, 2012, Brooklyn-based photographer Jung Kim announced her photo book and traveling exhibition project with Johnston titled DANIEL JOHNSTON: here, a collaboration that began in 2008 when Kim first met Johnston and began photographing him on the road and at his home in Waller, Texas. On March 13, 2013, this photography book was published, featuring five years of documentation on Johnston. The opening exhibition at SXSW festival featured a special performance by Johnston along with tribute performances led by Jason Sebastian Russo formerly of Mercury Rev. The second exhibition ran in May and June 2013 in London, England, and featured a special performance by Johnston along with tribute performances by the UK band Charlie Boyer and the Voyeurs with Steffan Halperin of the Klaxons. On October 10, 2013, Jason Pierce of Spiritualized hosted the New York City opening of the exhibition, which included special tribute performances led by Pierce and Glen Hansard of The Swell Season and The Frames.

In November 2015, Hi, How Are You Daniel Johnston?, a short documentary about Johnston's life, was released featuring Johnston as his 2015 self and Gabriel Sunday of Archie's Final Project as Johnston's 1983 self. The executive producers for the film included Lana Del Rey and Mac Miller.

In July 2017, Johnston announced that he would be retiring from live performance and would embark on a final five-date tour that fall. Each stop on the tour featured Johnston backed by a group that had been influenced by his music: The Preservation All-Stars in New Orleans, The Districts and Modern Baseball in Philadelphia, Jeff Tweedy in Chicago, and Built to Spill for the final two dates in Portland and Vancouver.

On September 11, 2019, Johnston was found dead from a suspected heart attack at his home in Waller, Texas, a day after he was released from the hospital for unspecified kidney problems. It is believed that he died overnight.

[nextleveldisplays-blog]

Tips for Easing Trade Show Set Up

Here are some tips for your morning trade show set up that should help make things go smoothly. Yes, some things will sound obvious. Just consider them gentle reminders.

Arrive Early

Getting there early allows you the freedom to comfortably set-up and fix any potential errors. Things always can and always go wrong. Being rushed is awful, so get there early and feel relax and at ease.

Get the Necessities

Find the registration area and gather your staff badges, show map, exhibitor directory, maps, and all other necessary materials.

Check Your Area

Check your area for set-up errors. These happen. Don’t get too upset, though. There are a lot of exhibitors jammed into a small room and sometimes there are only a few people to do the work. There’s a lot to do and only a little bit of time. Everyone really does put forth their best. But, sometimes booth measurements are incorrect, electrical outputs are wrong, there isn’t enough event furniture, the carpets aren’t situated correctly, deliveries aren’t there, supplies go missing, etc. Getting there early gives you the time to find the errors and make corrections.

Scope the Surroundings

Look around. Locate the contractors’ desks (electrician, laborers, etc.) and introduce yourself. If you’re working with an exhibitor-appointed contractor (EAC), find out through the local city manager plan on having a desk at the show floor. A token gift, such as a box of cookies or some kind of treat goes a long way.

Pinpoint the public vending machines and food truck drivers. Food trucks are oftentimes pretty good and very reasonable. Locate taxis, Ubers, etc., so you can respond to questions from staff and potential clients. Do the same for restrooms, coat checks, and other areas important to the public.

Walk around the center and take note of places to eat, drink coffee, get a snack, charge phones, get cash, office supplies, and rest. This may be important to you, as well as the public. You’ll certainly need a break at some point, too.

Set-Up

Now, it’s time to set up your booth. Hopefully, you’ve secured your Trade Show Displays and Trade Show Exhibits from a reliable professional upon whom you can rely.

Next Level Displays

Next Level Displays provides the highest quality Trade Show Displaysand Trade Show Exhibits, as well as everything else you need to set-up your booth. It provides:

• Tension Fabric Displays

• Steel Truss Displays

• Retractable Banner Stands

• Multi Pack Banner Stands

• Indoor and Outdoor Graphics

• Trade Show Accessories

• Hanging Signs for Trade shows

• Custom Built Trade Show Displays

• Portable Trade Show Displays

• Event Furniture

• Custom Counters

• Kiosks

• Custom Display Cases

And, so much more.

Next Level Displays is your one stop, turnkey trade show shop, from concept to completion, installation and dismantling and round trip shipping.

You can leave practically everything to the skilled, trained experts at Next Level Displays. Its inventories are conveniently located in New Orleans, Las Vegas, Chicago, Orlando, and Riverside, so it offers full turnkey services throughout the country.

Next Level Displays just extended its services to include warehousing, so it now offers booth and pallet storage, inventory control, pick and pack, and shipping.

Call Next Level Display at (866) 796-6398 or email at sales@nldisplays.com.

See Next Level Display’s latest projects at: www.nldisplays.com/recent-projects/

[violetcrownchronicles]

Driskill Hotel Cornerstone

5 JUL 1885. Austin Daily Statesman.

LAYING CORNER STONE. SIX THOUSAND PEOPLE ASSEMBLED TO WITNESS THE CEREMONIES. The Banquet Tendered to the Invited Guests.

Last evening, as per announcement appearing in the Statesman a large crowd of people, estimated at from four to six thousand, assembled on Pecan Street, where the Driskill hotel is being built, to witness the ceremonies of laying the cornerstone of this magnificent structure.

The place was illuminated by electric lights, as well as by the beauty of Austin; and a fine brass band amused the large audience at intervals with excellent music. As long as the reporter started in by calling the attention to the young ladies, he cannot close this report without saying point-blank that if all the young and handsome ladies reside in Austin, the city well sustains its boasted reputation of having more pretty ladies and ugly men then any city on the American continent.

A temporary rostrum was on the spot for the use of the speakers and those of the guests who were to be honored with seats thereon. Aside from the speakers the Statesman noted on the stand Messrs. J.D. Driskill, owner of the house, R.M. Castleman, E.W. Shands, Col. Van Patten, J.H. Daniel, M. Butler, R.D. Cunningham, S.W. French, Rev. E.A. Goodwin, Gen. Shelly and Fred Peck.

After the entire crowd had assembled and become seated, Gen. N. G. Shelly arose, and in a few appropriate remarks, introduced Mayor John W. Robertson, who was down on the program to deliver the cornerstone to Mr. Driskill on behalf of the businessman of Austin, and his remarks were to the point, and the audience attested their appreciation by repeated encores.

The next speaker was Hon. Charles Gibson, speaker of the eighteenth legislature. Those who know Mr. Gibson know him to be an orator of no mean merit, and they say that on last evening he acquitted himself with credit. He was frequently interrupted by the plaudits of the people, who could appreciate a good thing when they had it in view.

Mr. Dudley G. Wooten, one of Austin’s brightest oratorical stars, closed the speech-making in his usual happy and interesting style. During the course of his remarks he scored several points, which captivated his hearers, and of course due appreciation was attested.

General Shelly then arose and stated that all who wished to could contribute articles to the corner stone. The invitation was responded to very freely as the following list of articles will testify.

History of the spot where the Driskill House will stand, by Wm. J. Oliphant.

Copy of the ceremonies of laying the corner stone of the new Texas capitol. March 2, 1885, by Will Lambert.

Copy of the Houston Telegraph of April 27, 1863, printed on brown wrapping paper and the wrapper stamped with ten cent confederate postage stamps, by J.N.P. Gammel.

Austin city directory of 1885-6 by Morrison & Fourney.

Ambrotype of Jno. F. Hart, contractor of the stone work of the Driskill House.

List of subscribers to the fund of this work with list of all committees, by J.L. Driskill.

Gold Room drink check by Dave Hunter.

Business cards, by Zimpleman & Bergen and Harry Hawkins.

Memorandum of the purchase of the half lot of the grand entrance to the Driskill House, executed in August, 1853, by John W. Blue.

Programme of the evening exercises, by J.H. Daniel.

Copy of the Daily and Weekly Statesman, by Wm. P. Gaines.

Photographs of Col. J.H. Driskill and wife.

Photos of Eclipse livery stable and Washington fire company, No.1, with constitution and by laws of the latter, by Monroe Miller.

Business cards of Lone Star Brick work, Pearl house, Austin Ice Factory, McCormick and Herreman and Mike Butler.

Copy of Austin Evening Dispatch, by E.T. Cornell.

Photograph of S.W. French and wife in bridle dress.

Bible by R.A. Johnson.

Ten dollar bill, (Confederate), by E.J. Barner.

Extracts from Austin Daily Statesman and Empire State Gazette, A.D. 2000 by E.W. Shands.

Souvenir card by A. Peterson.

Two cent piece by Master John WIlcox.

Stamp photos of Brown and Illingsworth, by Baldy.

Check of Southern Hotel, San Antonio, by Serf Melasky.

Una Centova (Mexican nickle) by Miss Bertie Lambert.

Constitution Texas Livestock association, by Miss Ella Lambert.

Catalogue Millburn Wagon works, by R.D. Cunningham.

Extracts from New Orleans Times-Democrat, by J.J. Lane, Austin correspondent.

Texas Livestock Journal, by Wm. Marchant.

Roster Texas Light Infantry.

Photos of architects J.M. Preston and son.

Coppers, by WIllie and Randolph Lambert.

Coppers of 1859, by Jule and Charles Daniel.

Souvenir card, by J.V. Williams.

Business card, by J.H. Peel.

After the ceremonies were completed those who were so fortunate as to have tickets to the Pearl house, where Mr. Cortissez had made ample arrangements for the entertainment of the guests. The tables were well laden with beautiful cheer in the shape of edibles, and conspicuous bottles of Mum’s extra dry graced the occasion. Shortly after the seating of the large number of guests General Shelly arose and said: “Uncover your dishes and go to work like honest men.” No second invitation was needed.

During the supper the following toasts were proposed by answered:

“The day and the occasion, the one associated with the memory of glorious achievements, the other articulating appreciation of the public spirited enterprise of one of our fellow citizens.”

Response by Hon. Charles R. Gibson.

“The Driskill hotel: The energy and enterprise of its projector, the artistic skill of its architect exhibited in the beauty and symmetry of its design, and the appropriateness of its appointments, give assurance of a hostelry for Austin unsurpassed by any in the state. May its cuisine always by as satisfactory as its external attractions.” Response by J.L. Preston.

“The Capital City: With the natural beauty of its location, the salubrity of its atmospherical influences, and a proper diversification of its labor and investment of its money, no city in the state has promise of a more healthful prosperity.” Response by Mayor Robertson.