Quote:
Originally Posted by unknownroad
That's why I'm saying that this article is a piece of shit. They're taking the salary of the Property Master and full time facility technicians, then describing the jobs of the stagehands they oversee, leading the reader to link the big money to the scut work. And among the random statistics with no particular relevance which are tossed in to fill out the article, it gives out the director's salary from 13 years ago, which, no surprise, is lower than what the technical heads are making today, as if that means anything.
I'm not quite foil-hat enough to say that there's a media conspiracy to badmouth unions, but I'm tired of seeing deliberately misleading articles like this (and as disclosure, I have never been a Union worker in any field).
|
OK, gotcha. Yeah, venues like Carnegie Hall are different from stadium venues, in that they have a full time sound and light systems as permanent fixtures, and the people who run that stuff do have more knowledge than your average road case pushers.
Still in all, I never met anyone in the rock business who was pulling down half a mil a year to run a light board. Rock and roll money was good, but it wasn't THAT fucking good.
I wouldn't begrudge them the money if they earned it, but in my seven or so years doing rock shows, 99% of the union guys I worked with were lazy to the point of being useless. They all acted like they were doing you a favor by showing up. There were many times I overheard the older guys telling the younger guys to "Slow down, you're making us look bad". These dudes were getting paid 80 bucks an hour to drive forklifts, but if the forks needed to be shifted (manually) they wouldn't get out of their drivers seats to do it, they had to call somebody. Shit like that drove me crazy.
JC