ABSTRACT
This is an old story. Because it really does happen, the United Scenic Artists (USA) and similarly the International Alliance of Theatrical Stage Employees (IATSE or IA for short) unions have specifi c rules that no member puts pen to paper or presents an idea to a prospective client until a contract is signed. Excellent rule, but you need two sides to play the game. Rock & roll has only one side — the manager or producer of the artist. The other side that supports the designer or crew does not exist. Sure, the USA and IA would love to have designers work under their banners, but, frankly, they did not realize the economic potential for their members early on. They were not alone; most of the adult world felt that rock & roll was just a fad. An economic plan geared to the rock & roll designer’s needs and the setting of industry standards are a long way from being a reality.
