#I.A.T.S.E
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#I.A.T.S.E#Local 839#North Hollywood#The Animation Guild#Union#Organization#Collective#Bargaining#Walt Disney#Animation Studio#Open Letter#Petition#Support#Stand in Solidarity
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Gary Lesley in the media
Quote:
Bio: CHARLES LEAR is a long time New Yorker currently in the southwest US. When he’s not writing about UFOs he’s making his living as a Local No. One I.A.T.S.E stage-hand (welder) in the Metropolitan Opera steel shop. He is a produced playwright and author of the book, “Post Apocalyptic Macbeth and the Girls.” He is a Shakespearean actor, licensed New York City tour guide, member of The New York Paleontological Society, and expert on New York geology.
It's that continuing "coincidence" in my lifetime of thespians, theater, stagecraft, paranormalism, literature, writers, etc. It's rather bewildering.
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How I.A.T.S.E Shapes the World of Theatre Production - Joseph Manzi
The International Alliance of Theatrical Stage Employees holds a pivotal role in shaping the world of theatre production. With a rich history and broad influence, it is a cornerstone of the industry. I.A.T.S.E, an expansive network of skilled professionals, extends far beyond the stage, encompassing everyone from frontline crew members to designers and technicians behind the scenes. This organization is instrumental in maintaining industry standards, ensuring optimal work conditions, and driving technical advancements. Its significance in theatre production cannot be overstated, as it forms the backbone that enables theatre to thrive.
Joseph Manzi Queens
Founded in 1893, the International Alliance of Theatrical Stage Employees started as a small alliance between stagehands of different theatres in New York City. It was a response to the deplorable working conditions in the entertainment industry during the late 19th century. The main objective was to unite workers to collectively advocate for their rights, better pay, and safer working conditions.
Joseph Manzi NJ
Over the years, the alliance evolved, adapting to changes in the industry and expanding its reach. With the advent of cinema in the early 20th century, the organization incorporated film projectionists into its ranks. The alliance continued to grow not only in numbers but also in influence. In the following decades, it extended its scope to include television, live events, and trade shows, effectively transforming into an all-encompassing entity in the entertainment industry. It is now recognized as North America's largest entertainment labour union, representing hundreds of thousands of craftspeople in the entertainment industry.
The alliance’s impact on theatre production is profound and far-reaching. One of its most influential roles has been in setting industry standards. It has taken the lead in both formulating and enforcing norms that guide theatre production. This has ensured that theatre productions maintain a high level of quality, professionalism, and technical excellence. By setting the bar high, it has inspired theatre professionals to continually improve their craft, resulting in an overall elevation of theatre production standards.
Further, the organization has been a prominent advocate for improved work conditions and safety regulations. Since its inception, it has been at the forefront of fighting for the rights of workers in the theatre industry. The organization has been instrumental in establishing fair working hours, decent wages, and safe working environments. As a result, theatre professionals can focus on their craft, knowing their rights and safety are protected.
In addition, the International Alliance of Theatrical Stage Employees’s contribution to technical advancements in theater production cannot be overstated. The organization has been quick to embrace technological shifts and has been instrumental in assimilating new technologies into theatre production. By providing training and resources, it has ensured that its members stay at the cutting edge of technical innovations, enabling them to create theatre experiences that are immersive, engaging, and of the highest quality.
Joseph Manzi, a prominent figure in theatre production, has had a career deeply intertwined with I.A.T.S.E. Manzi began his work in the world of theatre as a stagehand, eventually working his way up to become a renowned production manager. His growth and development in the industry have been significantly influenced by the training, resources, and support provided by the alliance.
Working under the umbrella of the organization, Manzi gained invaluable exposure and access to the latest technologies and industry practices. This enabled him to stay at the forefront of innovation in theatre production. His career trajectory is a testament to how it shapes and nurtures the talents within its ranks.
Manzi has also given back to the organization, contributing to the organization in numerous ways. He has served as a mentor to up-and-coming theatre professionals, sharing his knowledge and experience with the next generation. He has been proactive in advocating for the organization's mission of ensuring fair work conditions and has played a key role in initiating several safety protocols within the industry. Manzi's journey with I.A.T.S.E exemplifies the mutually beneficial relationship between the organization and its members, where learning, growth, and contribution go hand in hand.
The advent of technology has not left the theatre production landscape untouched. From innovative set designs powered by augmented reality (AR) to the incorporation of immersive sound systems, theatre production has been revolutionized in recent years. The assimilation of these technologies into theatre productions is well-coordinated and seamlessly executed.
As we look to the future, its role in facilitating these advancements will become increasingly vital. The organization will continue to provide its members with the necessary training and resources to navigate this evolving landscape, upskilling them to leverage new technologies to enhance the theatre-going experience.
By integrating cutting-edge technology into theatre production, the alliance is shaping a future where performances are not just watched, but experienced. This extends to every aspect of a production - from lighting and sound to stage design and special effects. The organization's proactive approach to embracing these innovations will enable it to remain at the forefront of the industry, leading the charge in defining the future course of theatre production.
In the future, I.A.T.S.E’s role will extend beyond just being an advocate for its members and a driver of technological advancements. As theatre production becomes more complex and interconnected, the organization will also serve as a crucial link between different aspects of production, coordinating efforts to ensure that the end product is seamless and of the highest quality.
Furthermore, as the industry continues to grapple with challenges such as the social and economic impacts of the COVID-19 pandemic, it will play a crucial part in charting the recovery course. This includes advocating for the rights and safety of its members in an uncertain environment, while also supporting the industry as it adapts to new modes of operation.
Ultimately, the future of theatre production with the organization promises to be resilient, innovative, and inclusive. Backed by its rich history, extensive network, and commitment to excellence, is well-equipped to navigate the challenges ahead and steer the industry toward a promising future.
In conclusion, its contribution to the world of theatre production has been monumental and multifaceted. Through championing fair work conditions and safety regulations, it has enhanced the work environment for theatre professionals. Its commitment to technical advancements has fostered a culture of continual learning and innovation within the industry, resulting in higher-quality theatre experiences.
People like Joseph Manzi exemplify its successful nurturing of talent and show the deep impact the organization has on individual careers. In addition, I.A.T.S.E's timely adoption and integration of technological advancements have ensured that the industry remains relevant and engaging in a rapidly evolving world.
Looking to the future, this organization is poised to continue playing a pivotal role in the theatre production industry. Its commitment to advocating for its members' rights, driving technological advancements, and coordinating efforts across complex productions underscores its relevance and indispensability.
As the world and the industry continue to face unprecedented challenges and changes, the resilience, innovation, and inclusivity that the alliance embodies will be crucial in steering theatre production toward a promising and exciting future. The organization, with its rich history and mission, remains an inspiration for those involved in theatre production.
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Chris Colfer via Twitter - Oct 4, 2021 [also posted to IG & IG Story]
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2021 Masquerade Awards and Judges
San Diego Comic-Con Category Awards
Graciously awarded by:
Our 2021 Masquerade Judges
Will be selecting a winner for each of the following categories: Best in Show, Judges’ Choice, Best Re-Creation, Best Original Design, Best Workmanship, Most Beautiful, Most Humorous, and Best Group.
All winners receive 2021 Masquerade Winners Medallions and complimentary tickets to San Diego Comic-Con 2022
Frank and Son Award for Most Outstanding Costume
$1,000 Cash Prize
Graciously awarded by:
The Frank & Son Collectible Show, of the City of Industry, California. Frank and Sons is a giant one-stop show for all things collectible at their bi-weekly mini-cons and has supported fan costuming at our conventions with generous cash prizes for many years.
The David C. Copley Award for Most Innovative Costume
$500 in Amazon Gift Cards
Graciously awarded by:
The UCLA David C. Copley Center for The Study of Costume Design, judged and awarded by Copley Center Director Deborah Nadoolman Landis.
The David C. Copley Center serves UCLA TFT students, the university, the international community of historians, filmmakers and professional costume designers. The Center provides a home for the study of costume design history, genre research, costume illustration as an art form, and the influence of costume design on fashion and popular culture.
Costume Designers Guild Spotlight Award
Costume Design Book, a copy of CDG Magazine, and a $100 gift card to Mood Fabrics, the largest online fabric store for designers and anyone who sews.
Graciously awarded by:
The Costume Designers Guild IATSE Local 892, representing Hollywood costume designers, assistant costume designers, and costume illustrators working at the highest levels of expertise in motion pictures, TV, commercials, music videos, and new media.
The CDG is part of the International Alliance of Theatrical and Stage Employees (I.A.T.S.E.)
Meet Our 2021 Masquerade Judges
Jennifer May Nickel
Is a Costume Designer for Television and Film. Classically trained in theatre, Jennifer holds an MFA in Costume Design from Carnegie Mellon University and also studied in England at Oxford University (St. Edmund’s College: Myth and Ritual in Theatre). A proud member of the Costume Designers’ Guild Jennifer has won the Elizabeth Schrader Kimberly Costume Design Award, The Cecilia Cohen Award for Excellence in Theatre and The WCDAC Achievement Award
Her Television Costume Design credits include Neflix’s Cabin with Bert Kreischer and Taylor Tomlinson: Quarter-Life Crisis, the CW’s Containment, Fox’s What Just Happened??! with Fred Savage, Syfy’s TV movie Miami Magma, the History Channel’s Legend of the Superstition Mountains, TLC’s TV movie The Secret Santa and Nickelodeon’s The Massively Mixed-Up Middle School Mystery. Jennifer has Costume Designed various CollegeHumor Originals, SMBC Theater’s hit web series Starpocalypse and pilots for E!, Nickelodeon, Relativity TV and CrisisLab.
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Deborah Nadoolman Landis, PhD
Costume designer, historian and endowed chair at UCLA’s School of Theater, Film and Television Landis is the Founding Director of the David C. Copley Center for Costume Design. Landis received an M.F.A. in costume design from UCLA and a Ph.D. in the history of design from the Royal College of Art, London. Her distinguished career includes Animal House (1978), The Blues Brothers (1980), An American Werewolf in London (1981), Raiders of the Lost Ark (1981), Trading Places (1983), The Three Amigos (1987), Coming to America (1988), for which she was nominated for an Academy Award, and the groundbreaking music video Michael Jackson’s Thriller (1983). Now considered ‘classic,’ characters she has designed, like Indiana Jones, have become international cultural icons. Her costume designs are found in the collections of museums including the Smithsonian Museum of American History (Raiders of the Lost Ark, Indiana Jones), the Rock n’ Roll Hall of Fame (Michael Jackson’s Thriller) and most recently, the National Museum of African American History and Culture (Coming to America).
A two-term past president of the Costume Designers Guild, Local 892, and a past-Governor of the Academy of Motion Picture Arts & Sciences (2013-2018), Landis sits on the Board of the National Film Preservation Foundation. She is the author of six books including Dressed: A Century of Hollywood Costume Design, FilmCraft: Costume Design, Hollywood Sketchbook: A Century of Costume Illustration and the catalogue for her landmark exhibition, Hollywood Costume, which she curated at the Victoria & Albert Museum in London in 2012. The exhibition, a celebration of one hundred years of costume design history while showcasing the designers’ contribution and process, open just three months, with an attendance of more than 265,000 visitors, became the most successful exhibition in the long history of that museum. The show then traveled to Melbourne, Australia, Phoenix, Arizona and Los Angeles. Landis is the editor-in-chief of the upcoming three-volume Bloomsbury Encyclopedia of Film and Television Costume Design (2021).
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Garnet Filo
Is a Costume Designer with more than 40 projects under her belt. Recently she’s Costume Design assisted on several sci-fi series including The Orville and The Mandalorian; further developing her skills by working closely with their Costume Designers. Garnet has always been fascinated by the futuristic and the fantastic and her passion to bring these to life only continues to grow. She is the chairperson for the Costume Designers Guild I.A.T.S.E. local 892 Comic-Con committee.
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Allan Lavigne
Is a self-taught costumer, make-up special effects artist, sculptor, and [MJ1] painter with 40 years’ experience in costume fabrication Formerly a top costume winner for many years at fan conventions around the USA, including many San Diego Comic-Cons, he brings with him great insight from having honed his costume skills as an on-stage contestant himself. Since then, he has gone on to do work for Disney, Lucasfilm, Sony Pictures, and more. In his Bronze Armory studio, in the San Francisco Bay Area, he creates, lectures, and teaches.
His costume work has been exhibited in museums, at film premieres and at numerous conventions. His current exhibit of screen-accurate motion picture and television costume reproductions “The Batman Armory” is featured at the San Francisco Cartoon Museum, requested by Warner Brothers to promote the new Batman encyclopedia: Batman: The Definitive History of the Dark Knight in Comics, Films and Beyond which Allan was technical advisor for. In a second gallery of the museum, his Wonder Woman costume re-creations accompany the featured exhibit about that character.
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Gigi “Fast Elk” Bannister (formerly Porter)
has been in the film industry for over 35 years as a SFX Artist, Director, Producer, and actor. Better known for her practical special effects and production work, Gigi is experienced on both sides of the camera. She has appeared in over a dozen films and television shows, and is a popular guest at horror conventions, film festivals, workshops, and seminars. For several years she has donated time at San Diego Comic-Cons to assist Masquerade contestants with their special effects make-up needs.
Gigi is credited as a Producer on Don Coscarelli and David Hartman’s “Phantasm V: Ravager” (2016) and Steve King’s “One For the Road” (2011) (Night Shift Anthology). As a character actor, she appeared in “Bloody Bloody Bible Camp” (2011), “Carnies” (2009), in “Small Town Saturday Night” (2009) (with Chris Pine, and John Hawkes), and again in Don Coscarelli’s “Bubba Ho-Tep” (2002) (Bruce Campbell, Reggie Bannister and Ozzie Davis). She has produced and directed on numerous projects including dozens of live events, fundraisers and seminars, six independent feature films, and six shows for television. More information on Gigi can be found on IMDb.
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[id: a graphic of a clapperboard overlayed with the words "I.A.T.S.E. We Stand Together #IASolidarity"]
Unless an Agreement is Reached, IATSE film & tv workers will begin a nationwide strike on Oct. 18 at 12:01 a.m. (PDT)
#iasolidarity#iatse#iatsesolidarity#barry hbo#just to make clear where i stand on this#solidarity with all film and television workers struggling for their rights#i saw people being angry barry got delayed bc of covid restrictions#i better not see yall repeat that bullshit over this if a strike happens
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They’re fighting for a basic quality of life and living wage rights in their negotiations with producers. These issues impact all of us who work on sets and productions. We stand united with I.A.T.S.E. #sagaftramembers #IASolidarity #unionstrong #1u. #sagaftra (at Los Angeles/Hollywood California) https://www.instagram.com/p/CVERy7SvN8U/?utm_medium=tumblr
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Could an I.A.T.S.E. Union Strike Fix the Film Industry?
Could an I.A.T.S.E. Union Strike Fix the Film Industry?
Hollywood is back in full swing, grinding those behind the scenes down to the bone. Can a new union contract fix that?
Source: New York Times
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Opinion | Could an I.A.T.S.E. Union Strike Fix the Film Industry?
Opinion | Could an I.A.T.S.E. Union Strike Fix the Film Industry?
Streaming has pushed the industry toward a model of instant gratification for consumers, which is only possible with an always-available, nimble work force able to meet the demand. Producers grind workers down, while churning out ever more content to feed the streaming beast. But the workers cannot be easily replaced or automated. It is past time for them to enjoy standards that do not break…
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I'm not a member of I.A.T.S.E ('cause it's too. Fucking. EXPENSIVE!!!), but I can see how this'll play out. If all the "below the line" workers strike, then, instead of backing them, all the other guilds (writers, actor, producers, directors) will soundly condemn them, even though, without fail, they demand I.A.T.S.E's complete unconditional support, while promising to back them in return should the need arise, while forgetting that very promise the moment it leaves their lips.
New liver, same eagles.
Edit: SAG-AFTRA, WGA, DGA, Actors Equity, and the Teamsters union are all backing IATSE, and I am stunned!
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How I.A.T.S.E Shapes the World of Theatre Production - Joseph Manzi (1)
The International Alliance of Theatrical Stage Employees holds a pivotal role in shaping the world of theatre production. With a rich history and broad influence, it is a cornerstone of the industry. I.A.T.S.E, an expansive network of skilled professionals, extends far beyond the stage, encompassing everyone from frontline crew members to designers and technicians behind the scenes. This organization is instrumental in maintaining industry standards, ensuring optimal work conditions, and driving technical advancements. Its significance in theatre production cannot be overstated, as it forms the backbone that enables theatre to thrive.
Joseph Manzi Queens
Founded in 1893, the International Alliance of Theatrical Stage Employees started as a small alliance between stagehands of different theatres in New York City. It was a response to the deplorable working conditions in the entertainment industry during the late 19th century. The main objective was to unite workers to collectively advocate for their rights, better pay, and safer working conditions.
Joseph Manzi NJ
Over the years, the alliance evolved, adapting to changes in the industry and expanding its reach. With the advent of cinema in the early 20th century, the organization incorporated film projectionists into its ranks. The alliance continued to grow not only in numbers but also in influence. In the following decades, it extended its scope to include television, live events, and trade shows, effectively transforming into an all-encompassing entity in the entertainment industry. It is now recognized as North America's largest entertainment labour union, representing hundreds of thousands of craftspeople in the entertainment industry.
The alliance’s impact on theatre production is profound and far-reaching. One of its most influential roles has been in setting industry standards. It has taken the lead in both formulating and enforcing norms that guide theatre production. This has ensured that theatre productions maintain a high level of quality, professionalism, and technical excellence. By setting the bar high, it has inspired theatre professionals to continually improve their craft, resulting in an overall elevation of theatre production standards.
Further, the organization has been a prominent advocate for improved work conditions and safety regulations. Since its inception, it has been at the forefront of fighting for the rights of workers in the theatre industry. The organization has been instrumental in establishing fair working hours, decent wages, and safe working environments. As a result, theatre professionals can focus on their craft, knowing their rights and safety are protected.
In addition, the International Alliance of Theatrical Stage Employees’s contribution to technical advancements in theater production cannot be overstated. The organization has been quick to embrace technological shifts and has been instrumental in assimilating new technologies into theatre production. By providing training and resources, it has ensured that its members stay at the cutting edge of technical innovations, enabling them to create theatre experiences that are immersive, engaging, and of the highest quality.
Joseph Manzi, a prominent figure in theatre production, has had a career deeply intertwined with I.A.T.S.E. Manzi began his work in the world of theatre as a stagehand, eventually working his way up to become a renowned production manager. His growth and development in the industry have been significantly influenced by the training, resources, and support provided by the alliance.
Working under the umbrella of the organization, Manzi gained invaluable exposure and access to the latest technologies and industry practices. This enabled him to stay at the forefront of innovation in theatre production. His career trajectory is a testament to how it shapes and nurtures the talents within its ranks.
Manzi has also given back to the organization, contributing to the organization in numerous ways. He has served as a mentor to up-and-coming theatre professionals, sharing his knowledge and experience with the next generation. He has been proactive in advocating for the organization's mission of ensuring fair work conditions and has played a key role in initiating several safety protocols within the industry. Manzi's journey with I.A.T.S.E exemplifies the mutually beneficial relationship between the organization and its members, where learning, growth, and contribution go hand in hand.
The advent of technology has not left the theatre production landscape untouched. From innovative set designs powered by augmented reality (AR) to the incorporation of immersive sound systems, theatre production has been revolutionized in recent years. The assimilation of these technologies into theatre productions is well-coordinated and seamlessly executed.
As we look to the future, its role in facilitating these advancements will become increasingly vital. The organization will continue to provide its members with the necessary training and resources to navigate this evolving landscape, upskilling them to leverage new technologies to enhance the theatre-going experience.
By integrating cutting-edge technology into theatre production, the alliance is shaping a future where performances are not just watched, but experienced. This extends to every aspect of a production - from lighting and sound to stage design and special effects. The organization's proactive approach to embracing these innovations will enable it to remain at the forefront of the industry, leading the charge in defining the future course of theatre production.
In the future, I.A.T.S.E’s role will extend beyond just being an advocate for its members and a driver of technological advancements. As theatre production becomes more complex and interconnected, the organization will also serve as a crucial link between different aspects of production, coordinating efforts to ensure that the end product is seamless and of the highest quality.
Furthermore, as the industry continues to grapple with challenges such as the social and economic impacts of the COVID-19 pandemic, it will play a crucial part in charting the recovery course. This includes advocating for the rights and safety of its members in an uncertain environment, while also supporting the industry as it adapts to new modes of operation.
Ultimately, the future of theatre production with the organization promises to be resilient, innovative, and inclusive. Backed by its rich history, extensive network, and commitment to excellence, is well-equipped to navigate the challenges ahead and steer the industry toward a promising future.
In conclusion, its contribution to the world of theatre production has been monumental and multifaceted. Through championing fair work conditions and safety regulations, it has enhanced the work environment for theatre professionals. Its commitment to technical advancements has fostered a culture of continual learning and innovation within the industry, resulting in higher-quality theatre experiences.
People like Joseph Manzi exemplify its successful nurturing of talent and show the deep impact the organization has on individual careers. In addition, I.A.T.S.E's timely adoption and integration of technological advancements have ensured that the industry remains relevant and engaging in a rapidly evolving world.
Looking to the future, this organization is poised to continue playing a pivotal role in the theatre production industry. Its commitment to advocating for its members' rights, driving technological advancements, and coordinating efforts across complex productions underscores its relevance and indispensability.
As the world and the industry continue to face unprecedented challenges and changes, the resilience, innovation, and inclusivity that the alliance embodies will be crucial in steering theatre production toward a promising and exciting future. The organization, with its rich history and mission, remains an inspiration for those involved in theatre production.
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hi! do you know how the creative team of a bway show gets paid??
Dramatists’ Guild of America which covers playwrights, librettists, composers, and lyricists isn’t a union and like doesn’t have the contracts available to look at unless you’re a member.
The Stage Directors and Choreographers Society has their stuff online.
Broadway minimum agreements
tl;dr
Musical Director - $69,325 Fee, .75% Gross Royalties
Musical Choreographer - $57,620 Fee, .5% Gross Royalties
Musical Director-Choreographer - $126,945 Fee, 1.25% Gross Royalties
Dramatic Production Director - $59,880, 1.5% Gross Royalties
United Scenic Artists covers Scenic Design, Costume Design, Lighting Design, Sound Design, and Projection Design. From what I can tell on the website they don’t seem to have set rates but just contracts they fill out each time. It’s all here.
I couldn’t find any other info on anything else but I’m sure I.A.T.S.E. covers some of the creative team too. I am procrastinating and spent too much time looking all that up lol
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❤️ When God begins a new thing... Now it shall spring forth; Shall you not know it? It's official! 🙌🏾 I.A.T.S.E Local 479 I'm so excited about this new journey! #iatse #positivevibesonly ✨ So thankful for those that have continued their support for me since the beginning 😘❤️ and I am so grateful for my family and friends that have prayed with me, for me, encouraged me, uplifted me and supported me through everything . I truly appreciate all of you for being there for me...All of those 'ANYTIME' moments where I could call you anytime, cry anytime and lean on you regardless of the time... I'm grateful for you all. I'm excited for what's to come, what God will do and doors he's about to open. 🤗 Now Motion picture / film and TV! 🙌🏾 Thank you to my dope tribe👇🏾❤️ @lamaisondefashions @arlenemartinhair @dujuanfree @riasbeautycollection @skyebutterfli @hannahbijoux @fashenelle @2flytai @shethoro ❤️ #fashion #fashiondesigner #costumedesigner #film #tv #motionpicture #theatre #set #costumedepartment #video #setlife #wardrobe #wardrobedepartment #CDGA #costume #sitcom #movie #cinema #seamstress #sew #design #designer #local479 #iatse #stage #stagecrew #runningcrew
#positivevibesonly#sitcom#runningcrew#seamstress#designer#sew#video#cdga#costume#set#costumedesigner#cinema#setlife#motionpicture#wardrobe#iatse#fashion#tv#design#local479#film#costumedepartment#wardrobedepartment#fashiondesigner#theatre#movie#stagecrew#stage
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^*^ IATSE 515 I.A.T.S.E. IA Labor Union Shirt L Motion blue Cotton T Shirt Mens XL https://ift.tt/38D3IHy
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Making it official today 🎥🎞 I can’t tell you how excited I am to get started in this industry... it’s been my goal for a long time 🎉 - #iatse #film #iatse873 #filmunion #torontofilm #movies #tv #tvandfilm #moviemaking #makeup #muah #torontomua #torontotalent (at I.A.T.S.E Local 873) https://www.instagram.com/p/B1_U5z0hZaL/?igshid=rb68ruupdu0x
#iatse#film#iatse873#filmunion#torontofilm#movies#tv#tvandfilm#moviemaking#makeup#muah#torontomua#torontotalent
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AVMS Techs A Fight For A Fair Workplace
Hey Stagehands! The in house AV Techs of the Oakland Marriott just went public with their campaign to join I.A.T.S.E and make their hotel AV jobs union. Could you please take the time to like their page and possibly share it and some of their posts? Help our potential new brothers and sisters out!
Https://www.facebook.com/avmstechs/
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