Stagehand union will have 3-day informational picket in Clinton
The IATSE will hold an informational picket in regard to the Tailgate N' Tallboys festival in Clinton. The picket will be from 7:30 a.m.-9 p.m. Thursday, Friday, and Saturday at 2nd Street (Route 67) and 6th Avenue North in Clinton.
The release says USA Concerts and Events signed a collective bargaining agreement with Davenport-based IATSE Local 85 in 2023. From rigging and forklift operation to spotlighting and camera work, union members have ensured safe, efficient, and professional execution of the event's technical needs. Similarly, Local 193 of central Illinois has covered the festival's operations for nearly a decade.
'Our local has safely and flawlessly serviced the Tailgate N' Tallboys Festival in Clinton since its inception,' said IATSE Local 85 Business Agent Joe Goodall. 'This event is a vital source of income for many area workers and their families. It's deeply disappointing that the organizers are forcing us to pursue legal action simply to ensure fair treatment for the local workers that have helped make this festival possible.'
'After almost ten years of IATSE Local 193 members serving as the dedicated workforce for Tailgate N' Tallboys, organizers want to abandon the workers and community that made it into the large and successful event it is today in favor of an out-of-state labor company. It's extremely disheartening,' said IATSE Local 193 Business Agent Michael Irvin.
USA Concerts' decision to bypass union crews in favor of an out-of-state, non-union labor provider not only undermines standards for live event workers in the Midwest but also attempts to violate an established Collective Bargaining Agreement (CBA). The contract contains a clear Evergreen clause, which automatically renews the deal unless terminated by written notice, but no such notice was given.
The situation is further aggravated by the festival's actions in Bloomington, where Tailgate N' Tallboys also refused to hire area IATSE workers from Local 193. This pattern of bypassing local union labor undermines prevailing wage standards and deprives professionals of vital work in their own communities.
The locals involved, with support from International union, are pursuing legal remedies and have issued a formal notice to USA Concerts, reinforcing their contractual obligations. IATSE continues to call on the organizers of Tailgate N' Tallboys to honor their signed agreement and support the local communities they operate in by hiring qualified, area union labor.'
For more about the union, visit here.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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NBC News
8 hours ago
- NBC News
Vampires, romance and billionaires: The bite-size Chinese shows gaining U.S. fans
HONG KONG — As U.S. television series produce longer and fewer episodes, a new genre from China is gaining American fans by going in the opposite direction. Known as minidramas, micro dramas or vertical dramas, they are soap operas condensed into a minute or two per episode. Each show, reminiscent of a telenovela, is split into dozens of chapters, each about two minutes long and with all the soapy elements: cheesy romance, over-the-top drama and abundant cliff-hangers. 'The revenge ones, oh, my God, they're so good,' California-based retail business owner Jacarius Murphy told NBC News in a video interview. Murphy is a fan of the minidramas, known as duanju in Chinese, which focus heavily on romance, revenge and fantasy. The stories tend to involve wealthy characters such as a chief executive who's secretly a vampire or a billionaire living a double life — characters often played by American actors. 'People want this fast dopamine hit, and they can snack on it while they're waiting,' said Anina Net, an American actress based in Los Angeles who has worked on minidramas for the past four years. The genre originated in China, where production companies have tapped into the popularity of short-form, vertical-produced, TikTok-style video content. About half of China's 1.4 billion people consume dramas in this style, according to a report released in March by the state-owned China Netcasting Services Association. The industry made $6.9 billion in revenue last year, more than China's total box office sales. The shows are 'still quite limited in genre, mostly romance-focused, with sweet, domineering CEO tropes and modern settings,' said Kaidi Dai, a Shanghai-based minidrama producer. Now, having figured out the Chinese market, the same companies are expanding into the U.S., where minidramas are finding success just a few years after the failure of Quibi, a short-lived, short-form mobile streaming service. The shows are available on platforms such as ReelShort, DramaBox and GoodShort, which offers free episodes and in-app purchases as well as subscriptions. Minidramas cost far less to make than standard TV shows and can make millions of dollars in revenue through a combination of user purchases and advertising. But adapting them to the U.S. market takes some tweaking, said Chinese filmmaker Gao Feng, also known as Frank Tian, who has a minidrama production company based in New York. Rather than remaking Chinese shows, his company hired longtime U.S. residents to craft stories that would appeal to American audiences. 'I believe that scripts determine 65-70% of a project's success,' he said in an interview. 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'The short videos on TikTok have laid a solid foundation for the popularity of short dramas,' Yan Min, who helped organize an industry conference in China last year, said in an interview. Min said ReelShort and other companies were advertising on platforms such as YouTube and TikTok to attract new users, catering to the 'evolving viewing habits of younger generations, who have grown up with platforms like TikTok and are accustomed to short, engaging content.' U.S. entertainment companies have taken notice of the trend. Netflix said in May that it was testing a vertical feed made up of clips from its shows and movies, while Disney said last month that it was investing in DramaBox through its accelerator program. Though minidramas seeking U.S. audiences are increasingly using actors with American backgrounds, they often shoot in scenic Chinese locations like the coastal city of Qingdao, with its Western-style villas and architecture, for greater authenticity. 'We seek actors and screenwriters who grew up in the U.S. and naturally embody an American style. Then we incorporate some Chinese elements,' said Ann An, a Beijing-based freelance producer for several minidramas made for foreign audiences. Turnarounds are incredibly fast in the industry as producers strive to keep costs low. An said a show can finish filming in 10 days, with a budget of under $70,000. The biggest key to the success of minidramas, though, is the cliff-hangers, which push viewers to keep paying for the next episode. 'The scriptwriters know exactly where to place these cliff-hangers, and they execute them very well,' said Apple Yang, a minidrama director based in London. That helps explain the appeal of minidramas even if their overall quality is sometimes 'underwhelming,' said Ying Zhu, a professor at Hong Kong Baptist University's Academy of Film. 'Make the dialogue real and less mechanic. Make it funny when possible and biting when needed,' Zhu said. 'One minute can pack in a lot of info if done well.'


Chicago Tribune
a day ago
- Chicago Tribune
Blind models work the runway at fashion show for the visually impaired
Brenda Nicholson waited in the Nordstrom fitting room, listening intently as the staff described the colors, textures and cut of the outfits hanging on a rack. She typically gravitates toward clothing with pops of color, but this time Nicholson selected a gold, mesh-embroidered dress that cut down to her ankles. She chose the outfit based on the staff's vivid description and the way it felt when she touched the material. When a partially blind model's eyes can't help, she must rely on her other senses — touch and hearing, in this case — to help ready her for the runway. Nicholson was one of 10 visually impaired models who walked in the Beautiful Lives Fashion Show earlier this month at the CD Peacock Mansion in Oak Brook. The inaugural event celebrated the idea that everyone can enjoy clothing — even if they experience it in a different way than most. 'Good fashion feels like the textures that send tingling sensations through your fingers,' said Beautiful Lives Project co-founder Bryce Weiler, who has been blind since birth. 'Textures mean something.' The show's models were students at the Chicago-based Illinois Center of Rehabilitation and Education-Wood, which offers vocational and life skills training for blind and visually impaired adults. Students can receive instruction on everything from cooking and computers to reading braille and crossing eight-lane streets. The event gave many participants their first exposure to modeling — something several said they had never considered. 'Is the runway ready for me?' model Monty Rogers, who lost his sight more than three years ago, asked his fellow models. Rogers said he has always had a sense of style. Prior to selecting his runway outfit, he wore a patterned kilt with 'pride colors' and knee-high socks. A former telephone engineer and photographer, Rogers motioned to his outfit: 'I still have aesthetics,' he said. Rogers, who feels almost all his clothes before buying, selected jeans and a striped, navy blue sweater with a soft jacket. The sweater's collar, lifted and distinct from the sweater's main material, framed his neck, which was accessorized with a thin chain. 'I'm blind as hell and I'm still a fashionista,' he said. In a 'vacation vibe' salmon shirt with khaki pants, Lawrence Lacy made his runway debut alongside experienced model Jennifer Cruz, the reigning Mrs. Illinois International 2025. Moments before walking, Lacy, who's blind, gave Cruz tips on one aspect of runway modeling that she had never encountered: how to be his guide. On a daily basis, Lacy said he uses the application 'Be My Eyes,' to assist in planning outfits. The app helps users who are blind or have low vision by providing visual descriptions of daily tasks such as navigating unfamiliar surroundings and explaining the color of an object. From his clothing needs, Lacy uses the 'Be My Eyes' to match outfits to a hanger, including specifics, 'like the color (patches) on his socks,' he said. Prior to the show, runway walkers filled out surveys, describing the styles, textures, feelings and colors they wanted to showcase most. The show's organizer, 16–year-old Aria Holtzman, then worked with the Nordstrom staff to select outfits that matched the model's personal style. 'A lot of models wanted patterns,' Holtzman said. Holtzman also accessorized the outfits with shoes and jewelry, borrowed from CD Peacock, to complete the looks. The Hinsdale teen, who is beginning her junior year at Culver Academies in Indiana, came up with the idea for the show after attending a summer camp at Vogue's New York office. She came home inspired to make fashion accessible for everyone regardless of their abilities or medical conditions. With the support of her father — CD Peacock Chairman Steven Holtzman — she teamed up with Weiler and the Beautiful Lives Project. Along with Beautiful Lives Project co-founders Weiler and Michael Gudino, Holtzman worked with CD Peacock interior designers to make sure the event space resembled a runway and was clear of obstacles that could prove difficult for models and spectators as they moved around the mansion's first floor. She also ensured the 6-foot-wide runway was wide enough for both the models and their escorts. With just 39 days to put on the show, Holtzman wrote the script and served as the evening's emcee. She also encouraged the models to make their own personalized introductions before they headed down the runway. After Holtzman introduced Lacy, he took the microphone and offered a short message of appreciation. 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Hypebeast
2 days ago
- Hypebeast
The Slow Death of the Contemporary Art Gallery
The contemporary art gallery as we know it is dying. In cities like New York and Los Angeles, dedicated spaces that once buzzed with foot traffic and formal openings are now struggling with rising rents and changing expectations. The old model, where a gallery does everything for its artists, feels like it's falling apart. Big gallery chains, the ones built on endless art fairs, multiple cities and huge rosters of artists, are losing their grip. Last month, Tim Blum announced he would close his Blum & Poe galleries in L.A. and Tokyo and even stop plans for a new one in Tribeca. He was blunt about the reason: 'This is not about the market. This is about the system,'he told ARTnews, pointing out that collectors have more power than ever to negotiate. His decision echoes a wider feeling across the industry with many giving up on the idea of building giant gallery empires. You can see this shift happening at major events. The latestArt Baselconfirmed that galleries are showing more mid-priced work, not just the massive, ultra-expensive pieces they once counted on. A recentreport from Art Basel and UBSshowed that while the overall art market shrank last year, the number of actual sales went up. It's a clear signal that the business is no longer just about a small group of big spenders, it's now about reaching a wider audience at lower price points. 'The old model was built on scarcity and prestige. The new one runs on access and attention.' A significant force behind this change is the shifting demand for different types of art. The once-dominant 'blue-chip' artists, masters whose work commanded staggering prices, are no longer the only game in town. Collectors are increasingly turning their attention to 'red-chip' artists, a new class of talents whose value is built on viral hype and cultural relevance rather than institutional endorsement. These artists are attractive for two main reasons: their work is often more accessible and affordable, and it brings fresh, diverse cultural perspectives that feel relevant and exciting to a global audience. This hunger for new voices and unconventional methods is reshaping the market. A key example isOlaolu Slawn, a London-based artist who sold out his solo show,I present to you, Slawn, at the Saatchi Yates gallery in 2024 by creating and selling 1,000 individual, more accessible pieces, an approach that challenges the fine art world's focus on scarcity and prestige. A separate but related trend sees celebrities entering the art market with their own work, often commanding high prices based on their fame. Actor Adrien Brody is a notable example. His art, which he described is about celebrating the little nuances in life has sold for significant amounts, as per a convo withInterview Magazine. For instance, a painting he created of Marilyn Monroe was sold at a Cannes gala auction for $425,000 USD, illustrating how star power can directly translate into commercial value. However, his work has drawn sharp criticism from the industry, with critics often labeling it as kitschy and derivative. One critic writing forARTnewsdescribed his work as having a 'faux naïve aesthetic' and 'mediocre production value,' while others have accused him of cheaply appropriating the styles of Jean-Michel Basquiat and Andy Warhol. As the old guard shrinks, smaller galleries are finding new ways to thrive. In New York,Tiwa Galleryshows self-taught artists in a relaxed space, rejecting flashy Landddcombines Latin American crafts with immersive events. In L.A.,Marta galleryblends art and design right into everyday life. These new spaces care more about quiet, genuine connection than putting on a spectacle. Retail is also becoming a new kind of gallery. Stores like South Korea's Gentle Monster and London's Dover Street Market are blurring the lines between art and commerce, transforming shopping into an immersive cultural experience. Gentle Monster's stores are famous for their fantastical, ever-changing installations, from surreal kinetic sculptures to robotic figures that draw in visitors who are just as interested in the art as they are in the eyewear. Dover Street Market, founded by Comme des Garçons's Rei Kawakubo, is a 'beautiful chaos' where each brand and artist is given a dedicated space to create a unique installation, turning the store into a constantly evolving exhibition. By blending high-end retail with cutting-edge art and design these spaces offer a new kind of public access to creativity, making the gallery experience a part of a commercial transaction rather than a separate cultural outing. 'If your space is fueled by DJs and cocktails, maybe it isn't really a gallery anymore.' It's clear that going to a gallery is no longer the only way to see or buy art. Today, buyers can just scroll on their phones and purchase work directly from studios or social media. This instant access has replaced the slow dance of white-cube shows and champagne previews. Some galleries are trying to keep up, creating online art drops and hosting pop-ups in different retail spaces. But others are pushing back, as one veteran gallerist puts it: if your space is fueled by DJs and cocktails, maybe it isn't really a gallery anymore. Art isn't disappearing. It's just moving, becoming more accessible and less tied to one physical location. The old model was built on scarcity and prestige. The new one runs on access and attention. The question isn't whether galleries will survive, but which ones can change fast enough to matter.