2
TOUR PERSONNEL AND UNIONS

Anyone following the business of rock & roll touring has probably become familiar with the term roadie. I would like to counter the stereotype that this term has established and discourage its use in the future. The term roadie carries a certain degrading connotation, having its roots in the tradition that spawned another infamous rock & roll term—groupie. Many road crew members in the early years may have been little more than male groupies (family and friends of band members) who simply wanted to hang around with the band, but the industry and its requirements have changed dramatically in the past decades. Rock & roll as a whole has become more sophisticated and technically more complex. As a result, the persons charged with the care of the band's equipment possess technical capability and communication skills. These skills are absolutely necessary for today's touring groups and the ultimate success of a tour.

Although people like Michael Tait in England and Chip Monck in the United States were able to start very successful careers in the 1960s without theatrical training, it is much less likely today. Road crew members have evolved into trained technicians with specific expertise in electronics, musical instrument repair, lighting, sound, video projection, camera technology, and the allied theatrical arts. The untrained hangers-on of the early years have been replaced by dedicated, trained, touring professionals. Call them equipment managers, technicians, graphic artists, directors, or managers. The explosion in technology for both sound and computer lighting means that the people on the road today have received extensive training, usually by the rental equipment company, before they can go on the road. You can't just pick someone up off the street; there isn't a place for “grunt” labor anymore.

But, sadly, even after 45 years, we are in many ways still bridging new frontiers, and there are few standards or formulas in this business. Crew size, wages, titles, responsibilities, and equipment complexity are factors that vary with the nature of the show, the whims of the artists and their management, and the financial limits of the tour. The titles and duties listed herein are general definitions as applied to rock & roll touring and are subject to adaptation.

ROAD CREW DUTIES

At a minimum, a touring artist has a manager, a road manager, one or more truck drivers, band technicians, and lighting and sound technicians. As an artist's earning power increases, the production becomes more elaborate and the technical staffs increase in size. In addition to the aforementioned basic staff, a touring act may also have a production manager, equipment managers, security personnel, pyrotechnician, rigger, audiovisual specialist, set designer, moving luminaire operator, audio engineer, staging company, video director, master electrician, tour accountant, costumer, carpenter, and any of the other standard theatrical titles. As shows become more complex or egos grow, the crew becomes top heavy with “manager” titles. Dan Wohleen, General Manager of the Maricopa County Event Center in Scottsdale, Arizona, and formerly the production manager at the Greek Theatre in Los Angeles, related one tour roster that had the following:

• Tour Director
• Tour Manager
• Road Manager
• Production Manager
• Stage Manager
• Equipment Manager(s)

Dan said that he sees few tours with a specific stage manager. The tour manager has become the title of power. A road manager has little to do with the production side of tours that have extensive lighting and sound rigs but does maintain a very close relationship with the band members looking out for their personal needs and travel. A look at Figure 2.1 confirms how many positions may have to be filled to get a tour on the road. This particular Metallica tour, way back in 1996“97, listed no fewer than 90 people on the road. Unfortunately, the magazine from which this is taken, Performance, is no longer in operation, and its replacement, Pollstar, does not print crew and staff information for tours.

Artist's Manager

Like their namesakes in the theatre, managers are closest to the performers, often handling their contracts, bookings, and money, as well as acting as the performer's confidant in personal matters. Managers seem to come in an endless variety of styles: Some are deeply concerned with the physical production, some are only happy if the artist is happy, and others don't want to spend any money but still demand a topnotch production. Luckily, this combination of mainframe computer and surrogate mother is usually too busy in the office or managing other artists to tour with the artist.

Road Manager

Technically, the road manager is in charge of the tour. The primary responsibilities of the job are to keep the artists happy, functional, and performing; to see that the show goes on no matter what; and, on all but the big tours, to settle the box office and carry cash for the expenses. Many road managers have hopes of becoming artist managers someday, having worked their way up from crew positions. The road manager will be heavily involved in the pre-tour planning of schedules and tour arrangements and probably has final approval in hiring road crewm embers.

Tour Director

This position exists to give relief to the road manager on the biggest tours. The tour director may or may not interact with the artist. Being a proven professional in logistics and clearing the way of any obstacles that may stand in the way of a successful performance is what gets this person hired and, if he doesn't keep things running smoothly even if it is not his fault, fired. It is a highly stressful job that takes an ability to watch out for potential bumps in the road 24/7. Many are not very diplomatic and are more prone to the classic World War II general's attitude of “You will do as I say, no questions asked.” People can get upset, true, but I have found that often they do not have all the information regarding a crisis and cannot see the whole picture, and there isn't time to take a vote!

Tour Manager

If the tour has one of these it means the road manager has been relieved of one of his biggest headaches— travel logistics. Sometimes this means coordinating private jets for the star while herding a fleet of buses (custom coaches) and trucks from town to town. Also, they make sure the drivers know where they are going and when to arrive at a hotel or hall, they arrange limousines for the star, and they even provide for the comfort of spouses and friends who need to be flown into a show and whisked in and out of the backstage area.

Production Manager

This title generally parallels the normal theatre defi nition. Anything that goes into the planning or the tour design and staging is this person's responsibility. The production manager reports directly to the manager and works with the artist's financial adviser. Budgets may be set at the beginning of planning, but expenses seldom fit into a neat mold. The production manager coordinates between the designers and suppliers to obtain bids and make the best deals. In some cases, all financial negotiations take place between the manager and the financial advisers, and the production manager is out of that loop. This, in my experience, is a disaster, as the manager and financial people rarely understand how a tour design must be executed on a day-to-day basis. The production manager will also advance the tour, either by himself or with the master electrician, audio engineer, and possibly the stage carpenter. They will discuss with the promoter and venue manager's representative issues of the rider, confirm requirements for the stage hands calls, and deal with catering issues. As the lighting designer, you can only hope that you have explained your needs clearly and that your plans reflect everything you need because you may not be consulted nor even allowed to talk to the suppliers who are bidding.

Stage Manager

Concert tours do not generally have a stage manager as we think of one in theatre. The promoter usually provides a person to act as liaison during the load-in and setup. The head equipment manager, or perhaps the road manager, often does the same for the tour. Only for large or complex shows will there be a need for a tour stage manager who acts as setup supervisor and all-around troubleshooter and would call the cues for the show.

Tour Accountant

A new face on tours began to appear in the 1980s in the guise of a trained accountant, who not only collects box office receipts and pays out per diems to the crew but also provides cash or pays bills incurred by the artist on the road. The tour accountant is also the one to come to when expendables have to be acquired while the tour is out. Depending on the deal the suppliers made with the manager, these expenses may include color media, lamps, and other replacements or repairs that arise. But, the real reason tours have accountants is that they can handle the really big money—T-shirts and poster sales. Seriously, the significant monies that are involved in an arena-type show and the very complicated splits of gross almost dictate that a specialist is needed full time on the road. Tours can take in millions of dollars, and a road manager who is busy dealing with a cranky artist may miss a clever ploy of a promoter in the settlement that could easily cost the manager his job. Dan Wohleen had the following to say about the need for accountants:

The increasing complexity of the building deals [includes] percentages below a break even for the house and added percentages at 80% and sell-out. There are many areas where the band can have monies taken away: catering, overages on the house crew, union meal penalty, extra security, band demands for more tickets, extra limos, etc.

There was a time when artists thought that all the little things, such as limos, gifts, and special meals, were the result of the local promoter's being a nice guy or a fan of the band. The truth is that all of those costs come out of the artist's pocket in the settlement. There are so many ways to split the take—minimum guarantees, promotional tickets, additional advertising, catering costs, extra ushers or security … the list goes on. The person doing the box office settlement for the artist must be trained because a definite, specialized set of skills is required. Even with training, Dan went on to say, the road manager or tour accountant often is not actually in control because the house, as in Las Vegas, has the advantage. He knows of one venue that had actually added a row of high-priced seats that did not show on the seating plans. They got away with it for a long time before one road manager actually stood on stage and counted the seats.

Tour Security/Bodyguard

As the title implies, security personnel protect the artist and keep unknown or unwanted persons off the stage and out of the backstage areas. Most bodyguards are very personable and act more like valets than anything else; few carry guns, but most are experts in the martial arts. Frankly, everyone feels a little safer with these people around. It is an unfortunate fact that there are a few people out there who want to harm performers. There is a tremendous investment in the artist, and a lot of people are counting on the artist's ability to perform to maintain their livelihood. Therefore, it is in the crew's best interest to also keep an eye open for strange people hanging out. Keeping the artist safe, happy, and secure is everyone's job.

Public Relations Representative

Often the public relations (PR) or press agent works for an outside firm hired by the artist or record company to handle publicity. PR people are most concerned with image and publicity. The performer needs to stay in the public's eye, so it is essential that a coordinated effort be made to ensure not only that members of the local press have the artist's name on their lips but also that the performer's image is a positive one. While PR people can be a pain in the neck for the crew, the artist's image and thus the crew's bank accounts are very dependent on how well they do their jobs.

Production Designer

When you go to see an artist performing in an area or stadium there is a good chance a production designer was involved in the concept of the show. This person may be the lighting designer or a scenic artist who has made touring design a specialty. For shows in these venues the scenic elements must fit with the lighting rig, the trusses, luminaires, and effects. A train wreck is just around the corner if no agreement has been reached on the total design. The interesting thing is that the lighting designer of a smaller touring artist may also be the production designer by default. The lighting designer is most often the only “creative” person around to interpret what the performer wants the show to look like. While you can say, “I am a specialist and don't do sets,” realize that this may be your way into touring, so get out that sketch pad and practice.

Lighting Designer

The lighting designer (LD) strives to meet all of the usual demands of creative lighting but with an added twist: Unlike theatre, which offers a script and a directorial concept for guidance, rock artists rarely have a concept, a program, or a director. At best, the director is the artist himself, whose onstage point of view offers little in the way of objectivity. The LD may also double as the lighting director (see below), running the control console personally and being involved in the physical work of erecting the lighting rig during the setup. Rehearsal time before going on the road is limited, and more often nonexistent, so the LD must be able to improvise at the first few shows.

Over the years, the position of LD has changed. There was a time beginning in the 1980s when some top LDs became “briefcase” designers. They did not perform physical labor; they were not around for the load-in and left before the load-out. Although there are still plenty of LDs like this, the LD staying with the crew and supervising the load-in and strike is again in fashion. Then there are LDs who do not continue on the tour past a few opening dates after they have made sure that what was programmed is working and has the artist's blessing. They return when new material is added or when a special need arises, such as a live taped performance. They make the appropriate adjustments and are off again, handing over the tour to the lighting director as outlined below. There can be two reasons for this. First, the artist may be comfortable working with a particular lighting director, often a longstanding member of the crew who the artist does not want to see put out of work. A lighting designer with a national reputation is hired just to design the tour, and to have the designer continue on the tour would be cost prohibitive. Second, a certain class of designers (e.g., Marc Brickman, Jeff Ravitz, Patrick Woodruff, Peter Morse) does not want to tour because they make their livings as highly paid conceptualists or designers, not as road crew.

Lighting Director

The touring lighting director goes on the tour to actually run the show. Lighting directors may run the control console, or they may have separate board operators to handle that task while they call the follow spot cues and monitor the overall production. Most of the time, the lighting director will be involved with the actual load-in and setup, handle the light focus, and check the program, as well as coordinate with the house person who will handle the house lights and make sure the crew is on schedule. Lighting directors can find themselves in a very difficult position because they are discouraged from changing the lighting program; however, if an artist insists on changes, the lighting director would have to go against the boss's orders not to change anything without the designer's approval. Loyalty, if the person has been with the band longer than the LD, is probably going to make the lighting director comply with the band's request. Therefore, it is up to lighting directors to make sure they have clear lines of communication and the authority to deal with day-to-day issues.

Lighting Programmer

This is a skilled lighting board operator who may or may not travel on tour. Many of the best only program tours in previsualization programs with designers by their side, and they attend rehearsals to run the board. They are usually so highly paid that they will work on large projects such as a Super Bowl halftime show or the Grammy or American Music Awards television shows more readily than on tours. Some have the desire to become LDs but many are content because they are highly paid to do what they dobe st—program.

Master Electrician

This is a title that is being seen on tour more and more. It is the more formal theatre title used for the lighting crew chief, although touring shows still use the crew chief title to define the head of the sound department or set crew. Therefore, the designation of master electrician sets these people apart. In 2007, the Entertainment Services and Technology Association (ESTA) officially began certifying master electricians. Essentially, this person has overall change of not only the touring lighting crew but also the house electrical crew. Master electricians oversee the flow of work involved in setting up the dimming, getting the correct power service run to the location, correctly and safely assembling the trusses, and installing the riggers so the hang points are correct when a flying rig is used. They also gather the crew needed to focus the lighting under the direction of the lighting director. During shows, they are lighting watchdogs, constantly on the watch for anything that breaks or goes wrong. Sometimes they will even fix things on the fly while the performance is in progress. Lighting is dangerous from an electrical, fire, and personal injury standpoint. Good master electricians keep their eyes open from the moment the truck doors open until the doors are shut and locked each night.

Lighting Technician

The lighting technician is an electrician who does the physical work of assembling the lighting truss, directs stagehands to run all of the cable, and maintains the moving luminaires and all technologies such as smoke machines, LED luminaires, and special effects that are added to the stage set. They also make sure that the console is properly positioned and that the intercoms to the follow spots are tested.

Moving Luminaire Operator

The moving luminaire operator is a position that has come about since the advent of automated luminaires. Because of the technical complexity of the luminaires and the need for people who have been trained to run the computer consoles, this position is a highly skilled one. Some operators move on to become LDs in their own right. Currently, a rig may contain as many as 10 different moving luminaires. This means the operator must be familiar with and up to date on the attributes of a very large number of luminaires (see Chapter 11).

Scenic and Costume Designers

As more rock acts recognize the value of an interesting set, scenic designers are finding more work in rock & roll touring. Durability and ease of assembly are prime considerations for touring sets; although most sets are fairly simple, super star groups will stage an elaborate production that requires a lot of scenery. Costumers are not currently needed for many artists, but one very good area with the potential for costume work is Las Vegas-style shows. The latest crop of pop divas and heavy-metal acts also go in for exotic costumes, but the general apparel worn on stage by many rock performers is less than a coordinated ensemble.

Equipment Managers

Equipment managers, sometimes referred to as backline technicians, handle the basic band gear; set up the amplifiers, drums, keyboards, and other instruments; and remain ready during performances to deal with a broken drum head or guitar string, generally aiding the band. Guitar and keyboard technicians have evolved into highly skilled computer specialists. Many keyboards have sophisticated computers and MIDI controls so the position requires extensive knowledge of specialized components. Although lighting and sound personnel may work for companies contracted to the artist, equipment managers are individuals who generally work directly for the band and are not under outside contract to any company. Whether the artist keeps them on a retainer or not, many will return tour after tour to work with the same artist.

Crew Chief

Most often the crew chief will be the head lighting technician or another crew member who is designated as crew chief, especially with a large crew that needs to have a master organizer and doesn't have a production manager. The position requires someone who can coordinate all departments for a smooth flow of daily scheduling and possibly collect per diems on behalf of the rest of the crew. (Note: The author is personally against any crew member being responsible for other people's money, especially cash.) It's a good bet that savings in local crew overtime will pay the crew chief's salary. Some might refer to this position as the stage manager or the production manager. In other instances, each department, such as lighting and sound, will have a head person with this title (e.g., crew chief of lighting or head sound technician).

Rigger

The human fly called a rigger ascends the heights inside arenas, field houses, ice rinks, and anywhere else necessary to secure hanging points for flown lighting and sound systems. The early riggers came from ice shows and circuses and found that the fast pace and reduced setup time of concert tours offered a unique challenge to their daring abilities. Because almost all lighting rigs are now being flown, this position is essential. House riggers are most often just as skilled as their touring counterparts, and they have the advantage of knowing the venue intimately; however, riggers who tour can get rigs up faster because they already know the weight and balance needs and the sequence required to get the show up efficiently.

Sound Engineer

Also known as sound system designer and front of house (FOH) mixer, this crew member controls the mix that the audience hears from the middle of the audience in an equipment area known as the FOH position. Because the acoustics of many venues, such as arenas and convention centers, were not designed with sound reproduction in mind, sound engineers must use not only sophisticated electronic equipment to balance the sound but also their own expertise and experience to give the live audience a great experience. Using a variety of processors and effects, they constantly listen to the overall blend and make decisions about the individual volume of instruments, voices, and manipulating effects. Live and studio recording equipment once differed greatly, but today the same tools used in the studio are also used to enhance live sound. Often, shows are recorded and made available to the artists so they can make changes or improvements to the song sets. FOH consoles and effects equipment are often specified by the FOH mixer and used to adjust relative levels as necessary to meet the demands of the music. The sound engineer and monitor engineer are generally responsible for the daily setup, testing, and strike of their equipment.

Monitor Engineer

This role is essential for live music and is a hot-seat position. Performers depend on the monitor engineer to produce custom mixes for them. Part practitioner and part psychiatrist, this crew member has the challenge of pleasing the musician by producing an individualized sound mix. Not only do monitor engineers have to be a good at their job, but they also have to interact with artists during very tense moments— while they are performing, when egos and emotions are out of control! Monitor speakers are still used, but for the most part have been replaced with an in-ear monitor system (IEM) system or a combination of both. Similar to hearing aids, they are basically a pair of headphones that are custom molded for the musician's ears. The IEM system reduces outside noise and protects the artist's ears from damage by using controllable gates that prevent the sound mix from reaching exceedingly painful levels. This position requires familiarity with the latest digital consoles and audio processing, being a master of communication, and being able to tolerate high-stress situations.

Sound Technician

Like the lighting technicians, sound technicians do the physical work of assembling and maintaining the sound system.

Pyrotechnician

The pyrotechnician is an experienced technician who handles flash pots, smoke pots, explosives, and similar effects. Local ordinances are usually very strict about the use of such effects, and pyrotechnicians usually must be licensed by the state in which the show is performing. Although a few acts with especially heavy effects carry their own pyrotechnicians, most acts have the promoter hire someone who is locally licensed. We have all seen footage of Great White pyrotechnics gone bad at a club in West Warwick, Rhode Island, on February 21, 2003. A highly trained specialist is always needed whenever these effects are used during a show.

Audiovisual Specialist

Multiple-screen slide, film, and video projection, as well as light-emitting diode (LED) screens, are on the increase in rock & roll touring, and this has created a need for a separate specialist who sets up, maintains, and operates the audiovisual equipment on the tour. Almost all outdoor concerts now travel with a video crew to provide large-screen video magnification of the performance. With the advent of LED modules or blanket systems, very large images can be produced that match the high illumination output of today's moving luminaires. It is becoming more common to see some type of video screen display used even in smaller venues.

Wardrobe, Dresser, and Dressing Rooms

Even if the artist is not performing in a traditional, theatrically designed wardrobe, there is a need to keep the artist's stage clothes clean and ready for them when the show goes on. A wardrobe person on tour is no longer uncommon. This person may or may not double as a dresser for quick changes by female artists. The third title in this group may seem misplaced; however, if there is a wardrobe person, it is likely that setting up the dressing room according to the artist's demands in the contract rider can be handled by the wardrobe person. If not, the duties fall on a lower road technician, or a local person is hired and supervised by the production manager or road manager. The actual setup will most often be done by the local promoter to the specifications of the contract rider, but remember the admonition offered under the tour accountant section. Much or all of the expense here could come out of the settlement, so don't be quick to ask for things beyond what is called for in the rider.

Laserist

Laserists operate and maintain laser equipment. They are qualified by training and will have a federal variance (license). Laser equipment is seen less on tour today than at the height of its popularity in the 1980s, but it is gaining popularity now because of its ease of use and new higher power. New technology lasers are solid state, meaning that they require standard wall power, no cooling water, and far less room than previous versions; a standard 5-watt laser is about the size of a shoe box. Audience safety is of paramount importance, particularly with regard to where beams are allowed to fall and their not exceeding certain power levels. The laser's variances are subject to inspection by federal and state authorities. Local laws may require inspection by a health and safety officer before the performance, and the inspection takes time to arrange.

Video Director

This would seem like a straightforward position—a person who places the cameras and calls the shots that will appear on the screens—but often it is much more complicated. A large amount of recorded media must be placed on the screens, as well as live shots. Some tours even add live satellite images and answer questions called in by the audience right on the screens. Throughout all of this, coordination with the lighting is critical. Calling the shots on the tour is one thing, but is the video director in charge of the overall direction of the lighting and video? Not in most cases. Obviously, this is a case-by-case issue, but lighting designers should be prepared to discuss and stand up for their lighting designs as equal partners in the production design. This means that lighting designers had better have studied some video and system integrations software (see Chapters 16 and 26) to know what is possible and how it can be used in the show.

Video Crew

The video crew can have several components, including the normal positions of camera operator, video controller, switcher, and graphics operator. Other positions might involve producing documentary footage before the show that can be cut into the performance or included later as part of a television special or music video. While it is exciting to be traveling with a famous artist, the video crew must keep things in perspective, as should all crew members in lighting, sound, costume, and scenic departments, as well as equipment managers. You are there to serve the show, not be the show.

Road Chef

More common in Europe, caterers with ingenious names like the Rolling Stones, Just Desserts, and Meat and Two Veg can travel with a tour. American artists don't normally carry chefs, with the exception of those requiring special diets or who have more discerning tastes. Road chefs are a combination of chief cook and bottle washer, confidant, massager of large and fragile egos, and provider of a sense of “hearth and home” for everyone from the lead singer of the band to the last member of the lighting crew. Road chefs have to be accomplished and imaginative cooks, in addition to having accounting skills, being good at logistical problem solving, being able to work under a lot of pressure, and being good diplomats and listeners with the stamina of a mountain goat and the patience of a saint. Oh, and a sense of humor is essential!

(Author's note: Because most arenas in the United States have signed exclusive contracts for food services at their sporting events, an outside caterer or chef cannot work on the premises. ARA, Inc., has the largest network of such contracts. Some artists, however, have found a way around the rule— most notably the Grateful Dead, who had their own caterers travel with them. For theatre touring, this is not as big an issue. Most theatres do not require food services on a constant basis, so there is rarely an in-house exclusive contract.)

Truck Driver

Many drivers and trucking companies specialize in hauling for concert tours (see Chapter 7). The drivers live by one rule: Get the equipment to the next hall no matter what! They are usually young and nonunion and carry the necessary Class A driver's license for tractor-trailer rigs. They may or may not help with the load-out each night, but most do because they want to make sure the load is secure in their trucks. There are major trucking companies with union drivers who do a great job, but the percentages are against them. Good truck drivers are highly valued, because drivers who are late to the hall cause many crew hours to be wasted. In the worst case, a delayed truck could cause the show to be cancelled. Drivers and rigs can be part of the transportation package supplied by a supplier or a separate trucking company that specializes in tour transportation.

Unions

Generally road technicians range in age from 21 to 30, but we are seeing a growing number of old-line legitimate theatre technicians being drawn into touring by the high wages. These professionals are often 40 or older; riggers in particular seem to be older men as a result of the training and years of experience required for competency in the field. It is also true that as many superstars turn 40 and 50, even 60, so are the long-time touring crews who started in the early days and have stayed with it. It is fair to say that they have earned the coveted title of “road dog.”

I know of no rock acts that are staffed by union stagehands. Sound and lighting companies that provide road technicians do not have International Alliance of Theatrical Stage Employees (IATSE or simply IA) contracts. Wages, as always, are at the core of the controversy. The anti-union side feels that it cannot afford to pay the union scale and that the union, once installed in their ranks, could control future wage increases. What these people fail to consider is that a worker who is working under the IA banner would also receive health and welfare benefits. Yes, that means a percentage added to the salary, but it also relieves the company of providing a health plan. The workers are normally only covered when they are touring, assuming they are not full-time employees. As a proud IA member, the author must say that to deny crews such benefits is not right. I don't know if any of the lighting and sound companies provide health insurance for their road crews, but, if so, great.

As could be expected, promoters, producers, and managers are not very interested in paying additional wages anytime. House union crews work side by side with the non-union road crews. Would the IA like to have all stage hands be members? Yes, and I have a letter from the current IATSE president, Matthew Loeb, saying that the union will continue to pursue organizational efforts on all fronts. No matter what side you take, a proven technician is paid what he demands. Some artists and managers appreciate the fact that experienced personnel can save them money in overtime and damaged equipment, which more than makes up for the premium pay.

One faction of the IA that does get contacts signed is the United Scenic Artists (USA), the union that generally represents the interests of theatrical designers in the United States. This union is actually now part of the IA. It is somewhat unique in that its members are designers, not day workers, and the contracts are very different. Because the average rock & roll lighting design fee is far above the USA/ IA minimum scale, many members do not fight management that is unwilling to pay into the union contract, which has a clause for vacation, health, and welfare contributions above the fee. Most designers form independent contractor businesses that are able to provide health and medical insurance, as well as a retirement plan. Because designers seldom have a 12-month contract with a concert artist, it is better for them to provide their own insurance. Many designers also go on tours and work the actual shows, but standard contract wage arrangements do not exist in the USA/IA contracts for touring and would have to be worked out on an individual basis. A West Coast USA/IA representative said they are always willing to craft an agreement with their members as long as it follows minimum guidelines.

Industry Certifications

Certification for lighting designers in the architectural field has been available since 1991; it is administered by the National Council on Qualifications for the Lighting Professional (NCQLP).¹ More recently, similar certification recognizes skill sets for technicians in theatre and concerts positions. It has been a misconception for many years that gaining membership in one of the IA locals gives the person some sort of certification, but this is completely false. There never has been any type of licensing in theatrical fields for technicians or designers. The United States Institute for Theatre Technology (USITT) had the idea to develop a certification program but was never able to direct their energies or enough of their budget to the effort until the Entertainment Services Technology Association (ESTA)² decided to take a shot at it. It took many years to determine the legal implications to the organization as well as how testing should be accomplished. Right from the start, the IATSE offered its full support and contributed both people and money.

ESTA was formed of USITT members who were primarily suppliers of products and services to the entertainment industry. Today, members include dealers, manufacturers, manufacturer's representatives, distributors, service and production companies, scenic houses, designers, and consultants. The ESTA standards program is the only American National Standards Institute (ANSI)-accredited technical standards program for the entertainment industry.

In March of 2003, the ESTA board established a certification program for entertainment technology technicians. That same year, ESTA was joined by IA, USITT, the International Association of Assembly Managers (IAAM), the Themed Entertain-ment Association (TEA), and the Canadian Institute for Theatre Technology (CITT), and the next year the Alliance of Motion Picture and Television Producers (AMPTP), Live Nation, and PRG management offered their time, money, and support. A lot of volunteer committees worked years developing programs as well as bringing in the money required to develop the testing.

The real distinction was that this program would provide certification, not a certificate. A certificate only implies attendance, not an assessment process that recognizes an individual's knowledge, skills, and competency in a particular specialty, according to an ETCP brochure, which goes on to state: “Becoming certified indicates mastery/competency as measured against a defensible set of standards, usually by application or exam. It is awarded by a third-party organization that has set standards through a defensible industry-wide process resulting in an outline of required knowledge and skills. Certification typically results in credentials to be listed after one's name, has ongoing requirements in order to maintain, and the holder must demonstrate that they continue to meet requirements.”

The first program to go online, so to speak, was the rigging certification. It is broken down into two categories: arena and theatre. A person can earn certification in either or both categories, depending on prior experience and passing the ETCP exam. Initially, no one was sure how such certification would be received in the industry, but it was quickly embraced by facilities, employers, and the union. The certification helps to reduce the liability costs of facilities and employers because it proves to insurance companies that the employees working in this potentially dangerous field can be shown to have at least 30 points on the eligibility scale, between hours of rigging experience and education as well as passing a rigorous exam.

The next certification program to go online was for master electricians, and it has met with the same success. Certifications are tested and administered by the Entertainment Technician Certification Program (ETCP),³ which was founded by ESTA to administer these programs. More programs are in the planning stages.

The next program planned is Essential Skills for the Entertainment Technician (ēSET).⁴ This will be an introductory level, not a proven skill level, exam. The idea is to test people on a defining core body of knowledge for numerous disciplines practiced by the live entertainment technician, from basic stagecraft, including safety, terminology, and professional protocols, to lighting, rigging, audio, etc. According to the ESTA Foundation which was formed for legal and tax considerations by ESTA with the initial focus of the program is disciplines that directly affect the health and safety of performers, crews, and audiences. Fundamental knowledge has been developed. For several years, the author has been the co-chairman of this committee charged with the development of a body of knowledge (BOK) to provide the foundation that all people working backstage must have to work safely and efficiently. At this writing, a beta version of the BOK is available online for comment. Go to ēSET under the www.estafoundation.org/eset.htm website to see and comment on the definitions. One has already been adopted for this book—luminaire, which replaces fixture to define a housing containing a light source. Why the need for basic, entry-level testing? The reasoning here was that people may enter the business with a variety of training backgrounds—from union apprentice to high school theatre tech to college undergraduate to master's degrees at a prestigious theatre program at a major university. Yet, there is no way of assuring an employer that any of these methods of preparation is better than another. This form of testing allows for a level playing field.

The future plans of ESTA are to create an intermediate or journeymen level between essential skills and master rigger or electrician. Other skill categories are in development. To find out more specifics as to prequalifications for testing or details on what the tests contain, contact the organization.

The United States is not the only country looking at these issues. The Professional Lighting and Sound Association (PLASA)⁵ in England is developing a rigging certific ation (http://plasa.org). They refer to it as a “skill card,” which is an ID card that indicates that the candidate has been awarded a certificate for one of four levels: trainee rigger, rigger, rigging supervisor, and rigging managers. The big difference here is that, once agreed to, the government owns these standards and incorporates them into the qualifi cations by PLASA. The assessment standards are more rigorous than ESTA has set, but then again this program has the weight of being a government-authorized credential.

1 National Council on Qualifications for the Lighting Professional (NCLQP), P.O. Box 142729, Austin, TX 78714-2729; (512) 973-0042; [email protected].

2 Entertainment Services Technology Association (ESTA), 875 Sixth Avenue, Suite 1005, New York, NY 10001; (212) 244-1421, http://esta.org.

3 Entertainment Technician Certification Program (ETCP), 875 Sixth Avenue, Suite 1005, New York, NY 10001; (212) 244-1421; www.etcp.esta.org.

4 Essential Skills for the Entertainment Technician (ESET), 875 Sixth Avenue, Suite 1005, New York, NY 10001; (212) 244-1421; [email protected]/eset.htm.

5 Professional Lighting and Sound Association (PLASA), 38 St. Leonards Road, Eastbourne, East Sussex, BN21 3 UT; +44 (0)1323410335; www.plasa.org.