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With any luck, all most of the crew would hear was the quiet hum of the bus air conditioning as they sleep off the effects of whatever they'd imbibed the night before, while inside the arena, at 6:00 am, the riggers were at play. Thus begins another day on the road. Its a show day and the company rigger is inside directing the hang. All the lighting and sound equipment must be hung from the arena ceiling, using 3/8" or 1/2" dia. wire rope and 1 or 2 ton chain hoists. Its a blend of art, science, and muscle. Local hires walk the high steel and pull the heavy cables up by hand under the watchful eyes of the company rigger, who makes sure the chains fall at their prescribed locations.
At 7:00, the lighting crew is up and around and can begin unloading their equipment from one of the 5 semis that make up the KISS fleet. As soon as it is safe to do so, the lighting trusses are placed onstage, assembled, and attached to the chain hoists hung by the riggers only minutes earlier. Speed is of the essence, for often the only access to the venue is across the stage, and nothing else moves until the lighting crew is done. For this reason heavy use of modular components is encouraged. Lamps are hung six at a time on pre wired bars fed with a single multi-conductor cable.
On this
day, however, there is plenty of room, and the sound boys can
begin unloading and rolling their fuzzy boxes around the stage
to the front where they will hang on their own chain hoists. If
all goes well no one will have to wait for anyone else to move
out of the way, and the load in will proceed like clockwork. How
often does this happen? Not very! As the lighting rig finally
leaves the floor, the pre wired KISS sign is laid out flat and
assembled. The 20' by 40' sign travels in 7 large sections. Once
it is built it is attached to its own truss and flown up vertically
behind the stage, all 3 tons of it!
Now the stage is empty once again, and the sound baskets are ready to fly. The set carpenters take over, unloading and assembling their set, followed closely by the band roadies and the monitor engineers who have their own, onstage, sound system to unload and build. The lighting crew works offstage, hooking up dimmers and consoles, and tying in the 1200 amps of power needed to bring their lighting system to life. On a good day most of the heavy work is done by 2:00 pm, leaving time for focusing lights and making adjustments. Sound check is at 4:00pm. Then its dinnertime! After that its time for a nap, or, perhaps a search for that special gal to fulfill your wildest dreams for ten minutes or so.
Thank
God for opening acts! Otherwise I'd of never gotten any rest at
all! I would usually curl up on a nice comfy road box backstage
somewhere. This way I would be sure of not being late for the
KISS set. Going out to the bus for forty winks was out of the
question, no one would ever find me. There was always too much
pre show shenanigans going on out there anyway. The blasting noise
of the opening band became my lullabye, and I was out till the
house lights came on and the eerie calm before the storm of intermission
awoke me. KISS openers in the '80's included such household names
as Wendy
O'Williams and the Plasmatics, Blue Oyster Cult, Bon Jovi,
Queensryche, Anthrax, and many others.
B eing the lighting
director afforded me the best seat in the house, as far as I was
concerned. After a brief chat over the headsets with up to 12
local followspot operators outlining my plans for the show there
was nothing to do but wait. Everything was as ready as it could
be. Sometimes the houselights would go out without warning, cued
from backstage. Suprise! Time to go to work. The opening moments
of the show were always a heady adrenaline rush for me. Every
mouth in the place screaming, every hand waving, every speaker
blasting.
After 90 minutes of ear splitting sound, blinding light and fairly intense concentration, I'm drained, and everyone in the place is exausted. But as the smoke clears and the crowd files out into the cold, the night is far from over. The carefully choreographed dance of the load in is now played in reverse to an audience of sweepers and moppers. This process usually took between 3 and a half and 4 hours. Meaning tail lights pulling away at 2 or 3 in the morning, with the spectre of starting the whole process over again looming a mere 4 hours away, five times a week. At this point I'd like to take a moment to thank all the Brothers and Sisters in I.A.T.S.E locals all across the country who helped us every day. Thanks for visiting the Jeff Durling KISS page.
For an excellent, and heartfelt tribute to the late Eric Carr, along with information on how you can help to keep his memory alive, please visit Den's Eric Carr Tribute Page
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Last updated on Tuesday May 2, 2000