Before I rile up those of y'all who are rightfully self-annointed as morally superior internet commenters by using incorrect and OUT-OF-DATE terms, I do recognize it is NO LONGER okay to refer to those individuals who've chosen to work the back line at music concerts as (ahem) roadies; they are now to be referred to as "concert technicians." Failing to do so henceforth will be considered ignorant HATE speech and those spewing said hate shall be dutifully YELLED at/down in any/all relevant comment sections by said morally superior internet commenters! Cool?! Right, so I learned how "concert technicians," or CTs, have recently become increasingly more important, and well paid, after reading this feature: Roadies: Unlikely Survivors in the Music Business; it was in the Wall Street Journal, no less!

Roadies’ elevation to “concert technicians”—the term many practitioners favor—is reshaping their culture. Sex, drugs and rock ’n’ roll are out; efficiency, tech skills and professionalism are in.

“You have to know your stuff,” says Dick Adams, 69, a production manager for Metallica, Pearl Jam, and Heart. A big part of the job is keeping up on the latest toys for musicians, he says. “You have to do a lot of reading.”

Despite the enduring caricature of roadies as tattooed guys with beer bellies in heavy-metal T-shirts, today’s concert hands often resemble computer geeks—and many of them are women.

Sounds like the traditional (drugs, sex, and) rock and roll lifestyle of just ain't what it usta be. In fact, for the CTs, it sounds like it may be WAY better. "Surveys by the Berklee College of Music say a 'front of house' live-sound engineer—the person who controls what concertgoers hear—earns at least $60,000 a year, and can top $120,000. Road managers can earn $125,000 or more."

God damn! That ain't millionaire rock-star money, but Hank Williams Jr.'s manager, Jimmy Davis, is quoted saying, "I know musicians who play on the road who make less money than the tech guys I know." $60-120K is middle-class income and more cash than what most rock wannabes ever take home.

Of course, it makes sense the CTs are so important now as gear is way more sophisticated AND the most in-demand techs have been in the game for decades. Plus, most entertainers make their money from live gigs, NOT from selling MP3s. As no one BUYS music now, the importance of a solid crew can outweigh the record company's importance. I'd reckon those middle-class numbers are, obviously, more on the BIG arena/stadium entertainers level. I dunno how well a CT does with a known band, which can only fill a thousand-seat venue. Still, it goes to show playing in a band isn't always the best way a smart musician can get by. I know plenty of punters all pushing 40 who are still starving trying (praying and hoping) to get a little break so their band, or bands, take off. Hmm, I might suggest they put down their personal guitars on occasion to pick up jobs as "concert technicians."