This is pretty interesting. I'm not sure I realized the APs were the only form of compensation. While the writer was reaching out to these other artists he should have asked what flat fee is typical for a band of this stature. I need a little context to know whether it's a good deal or not.
If the article was more objective, it might have discussed the exposure the artist gets from having a Pearl Jam poster in their portfolio. There is a value to that exposure and my guess many artists are pumped to have their artwork promoted by the band. And I’m not sure how the one artist they managed to talk to only made $3,000 after shipping costs. 100 AP’s at $100 each is $10,000. Where did the other $7,000 go?
And my biggest take away from the article is… no one is forcing the artist to make the poster. If the fee structure is not satisfactory then just say no thank you.
I'm not a believer in "exposure" as compensation but this might actually be a good deal strictly in terms of dollars. The person quoting 3k is a little suspect because what shipping costs? I always pay shipping as the buyer.
I'd need to know what someone like Phish or Foo Fighters pay. Or whomever. The artist stands to gross 7-10k on a Pearl Jam AP. That seems pretty good to me but who knows.
Wondering: assuming the cities and rumoured venues are true… where would the better odds be to getting TC tix do we think between Vancouver and Chicago?
wrigley is double the capacity, but does it have more than double the demand?
I know there are other factors: TC allotment, demand…etc.
Love going to new places and seeing PJ… deciding between those 2.
Thoughts?
Since they will likely be part of separate lotto’s, I’d say equal odds. I would expect anyone who puts Van or Chi as 1st priority will get tickets.
Wondering: assuming the cities and rumoured venues are true… where would the better odds be to getting TC tix do we think between Vancouver and Chicago?
wrigley is double the capacity, but does it have more than double the demand?
I know there are other factors: TC allotment, demand…etc.
Love going to new places and seeing PJ… deciding between those 2.
Thoughts?
Since they will likely be part of separate lotto’s, I’d say equal odds. I would expect anyone who puts Van or Chi as 1st priority will get tickets.
Sounds good in theory, but.... during the 9 (8) show run in September, my fiancé put Chi 1 as her #1 priority. She got shut out. I recall hearing people get Chi 1 with their 4th (and I think even 5th) priority.
"A smart monkey doesn't monkey around with another monkey's monkey" - Darwin's Theory
Wondering: assuming the cities and rumoured venues are true… where would the better odds be to getting TC tix do we think between Vancouver and Chicago?
wrigley is double the capacity, but does it have more than double the demand?
I know there are other factors: TC allotment, demand…etc.
Love going to new places and seeing PJ… deciding between those 2.
Thoughts?
Since they will likely be part of separate lotto’s, I’d say equal odds. I would expect anyone who puts Van or Chi as 1st priority will get tickets.
Sounds good in theory, but.... during the 9 (8) show run in September, my fiancé put Chi 1 as her #1 priority. She got shut out. I recall hearing people get Chi 1 with their 4th (and I think even 5th) priority.
I remember hearing all that as well, obviously there was an error somewhere in the chain. Hope they have the kinks worked out this time 🤞
Wondering: assuming the cities and rumoured venues are true… where would the better odds be to getting TC tix do we think between Vancouver and Chicago?
wrigley is double the capacity, but does it have more than double the demand?
I know there are other factors: TC allotment, demand…etc.
Love going to new places and seeing PJ… deciding between those 2.
Thoughts?
Since they will likely be part of separate lotto’s, I’d say equal odds. I would expect anyone who puts Van or Chi as 1st priority will get tickets.
Sounds good in theory, but.... during the 9 (8) show run in September, my fiancé put Chi 1 as her #1 priority. She got shut out. I recall hearing people get Chi 1 with their 4th (and I think even 5th) priority.
2023 10 club lottery was a complete disaster and hopefully an anomaly. In non 2023 ticket lottery’s you most likely win your top priorities
It’s not 100% but pretty close, especially since they are reserving more tickets then ever.
1996.....Toronto 2005.....Hamilton 2011.....Toronto N1, Toronto N2, Hamilton 2013.....London, Buffalo 2014.....Detroit 2016.....Toronto N1 Toronto N2, Boston N1, Boston N2, Chicago N1 2018.....Seattle N1, Seattle N2 2022.....San Diego, Los Angeles N1, Los Angeles N2, Phoenix, Oakland N1, Oakland N2, Quebec City, Ottawa, Hamilton, Toronto 2023.....Fort Worth N1, Fort Worth N2, Austin N1, Austin N2 2024.....????
Wondering: assuming the cities and rumoured venues are true… where would the better odds be to getting TC tix do we think between Vancouver and Chicago?
wrigley is double the capacity, but does it have more than double the demand?
I know there are other factors: TC allotment, demand…etc.
Love going to new places and seeing PJ… deciding between those 2.
Thoughts?
Since they will likely be part of separate lotto’s, I’d say equal odds. I would expect anyone who puts Van or Chi as 1st priority will get tickets.
Sounds good in theory, but.... during the 9 (8) show run in September, my fiancé put Chi 1 as her #1 priority. She got shut out. I recall hearing people get Chi 1 with their 4th (and I think even 5th) priority.
2023 10 club lottery was a complete disaster and hopefully an anomaly. In non 2023 ticket lottery’s you most likely win your top priorities
It’s not 100% but pretty close, especially since they are reserving more tickets then ever.
I'm hoping it's just an anomaly. I know being completely shut out didn't happen to too many people when the lotteries were all said and done.
I think I'm more in favor of fewer, but better 10C seats. I don't expect that to be realistic as the new model of loading the 300's up with 10C seats really helps to sell the place out quickly.
"A smart monkey doesn't monkey around with another monkey's monkey" - Darwin's Theory
Wondering: assuming the cities and rumoured venues are true… where would the better odds be to getting TC tix do we think between Vancouver and Chicago?
wrigley is double the capacity, but does it have more than double the demand?
I know there are other factors: TC allotment, demand…etc.
Love going to new places and seeing PJ… deciding between those 2.
Thoughts?
Since they will likely be part of separate lotto’s, I’d say equal odds. I would expect anyone who puts Van or Chi as 1st priority will get tickets.
Sounds good in theory, but.... during the 9 (8) show run in September, my fiancé put Chi 1 as her #1 priority. She got shut out. I recall hearing people get Chi 1 with their 4th (and I think even 5th) priority.
I got Chicago 1 with my 4th priority. I figured it was a throw away pick, so I was shocked. Hopefully they fix the priority issue this time around.
This is pretty interesting. I'm not sure I realized the APs were the only form of compensation. While the writer was reaching out to these other artists he should have asked what flat fee is typical for a band of this stature. I need a little context to know whether it's a good deal or not.
If the article was more objective, it might have discussed the exposure the artist gets from having a Pearl Jam poster in their portfolio. There is a value to that exposure and my guess many artists are pumped to have their artwork promoted by the band. And I’m not sure how the one artist they managed to talk to only made $3,000 after shipping costs. 100 AP’s at $100 each is $10,000. Where did the other $7,000 go?
And my biggest take away from the article is… no one is forcing the artist to make the poster. If the fee structure is not satisfactory then just say no thank you.
I'm not a believer in "exposure" as compensation but this might actually be a good deal strictly in terms of dollars. The person quoting 3k is a little suspect because what shipping costs? I always pay shipping as the buyer.
I'd need to know what someone like Phish or Foo Fighters pay. Or whomever. The artist stands to gross 7-10k on a Pearl Jam AP. That seems pretty good to me but who knows.
Most bands do a numbered limited edition for their show posters. For a lot of bands about on the same level with PJ, it's usually a run of around 2k posters per show. Sometimes higher, sometimes lower. But there's a reason PJ has never numbered their show posters. They can just keep printing them out like money. Just using the most recent Wrigley shows as an example, I'd have to say they sold at least 30,000 posters total for those shows. And that's a conservative estimate. They had multiple merch booths open all day long, for multiple days, with non-stop lines that sometimes lasted as long as 5hrs. I watched truck after truck pull up with stack after stack after stack of posters all day and night. So, say they did only sell 30k posters for those shows. At $40 each, the band made well over a million dollars on posters for those shows, while the people who actually created those posters only made $7-10k. That seems good to you?
This is pretty interesting. I'm not sure I realized the APs were the only form of compensation. While the writer was reaching out to these other artists he should have asked what flat fee is typical for a band of this stature. I need a little context to know whether it's a good deal or not.
If the article was more objective, it might have discussed the exposure the artist gets from having a Pearl Jam poster in their portfolio. There is a value to that exposure and my guess many artists are pumped to have their artwork promoted by the band. And I’m not sure how the one artist they managed to talk to only made $3,000 after shipping costs. 100 AP’s at $100 each is $10,000. Where did the other $7,000 go?
And my biggest take away from the article is… no one is forcing the artist to make the poster. If the fee structure is not satisfactory then just say no thank you.
I'm not a believer in "exposure" as compensation but this might actually be a good deal strictly in terms of dollars. The person quoting 3k is a little suspect because what shipping costs? I always pay shipping as the buyer.
I'd need to know what someone like Phish or Foo Fighters pay. Or whomever. The artist stands to gross 7-10k on a Pearl Jam AP. That seems pretty good to me but who knows.
Most bands do a numbered limited edition for their show posters. For a lot of bands about on the same level with PJ, it's usually a run of around 2k posters per show. Sometimes higher, sometimes lower. But there's a reason PJ has never numbered their show posters. They can just keep printing them out like money. Just using the most recent Wrigley shows as an example, I'd have to say they sold at least 30,000 posters total for those shows. And that's a conservative estimate. They had multiple merch booths open all day long, for multiple days, with non-stop lines that sometimes lasted as long as 5hrs. I watched truck after truck pull up with stack after stack after stack of posters all day and night. So, say they did only sell 30k posters for those shows. At $40 each, the band made well over a million dollars on posters for those shows, while the people who actually created those posters only made $7-10k. That seems good to you?
People buy the posters because they say Pearl Jam on them. If she made a poster without Pearl Jam and sold them on the internet, how many would she sell and how much would she earn? The majority of the value is in the name Pearl Jam, and thus Pearl Jam is responsible for most of the value of that poster in this case.
Sure it sounds like the artists are being shortchanged, but how much should someone be paid for a t-shirt design? Something they create in a day and would make $500 for on their own. It is Pearl Jam’s name and touring that sells the shirt.
This is pretty interesting. I'm not sure I realized the APs were the only form of compensation. While the writer was reaching out to these other artists he should have asked what flat fee is typical for a band of this stature. I need a little context to know whether it's a good deal or not.
If the article was more objective, it might have discussed the exposure the artist gets from having a Pearl Jam poster in their portfolio. There is a value to that exposure and my guess many artists are pumped to have their artwork promoted by the band. And I’m not sure how the one artist they managed to talk to only made $3,000 after shipping costs. 100 AP’s at $100 each is $10,000. Where did the other $7,000 go?
And my biggest take away from the article is… no one is forcing the artist to make the poster. If the fee structure is not satisfactory then just say no thank you.
I'm not a believer in "exposure" as compensation but this might actually be a good deal strictly in terms of dollars. The person quoting 3k is a little suspect because what shipping costs? I always pay shipping as the buyer.
I'd need to know what someone like Phish or Foo Fighters pay. Or whomever. The artist stands to gross 7-10k on a Pearl Jam AP. That seems pretty good to me but who knows.
Most bands do a numbered limited edition for their show posters. For a lot of bands about on the same level with PJ, it's usually a run of around 2k posters per show. Sometimes higher, sometimes lower. But there's a reason PJ has never numbered their show posters. They can just keep printing them out like money. Just using the most recent Wrigley shows as an example, I'd have to say they sold at least 30,000 posters total for those shows. And that's a conservative estimate. They had multiple merch booths open all day long, for multiple days, with non-stop lines that sometimes lasted as long as 5hrs. I watched truck after truck pull up with stack after stack after stack of posters all day and night. So, say they did only sell 30k posters for those shows. At $40 each, the band made well over a million dollars on posters for those shows, while the people who actually created those posters only made $7-10k. That seems good to you?
People buy the posters because they say Pearl Jam on them. If she made a poster without Pearl Jam and sold them on the internet, how many would she sell and how much would she earn? The majority of the value is in the name Pearl Jam, and thus Pearl Jam is responsible for most of the value of that poster in this case.
Sure it sounds like the artists are being shortchanged, but how much should someone be paid for a t-shirt design? Something they create in a day and would make $500 for on their own. It is Pearl Jam’s name and touring that sells the shirt.
fully agree with this..100%
"...Dimitri...He talks to me...'.."The Ghost of Greece..".
"..That's One Happy Fuckin Ghost.."
“..That came up on the Pillow Case...This is for the Greek, With Our Apologies.....”
This is pretty interesting. I'm not sure I realized the APs were the only form of compensation. While the writer was reaching out to these other artists he should have asked what flat fee is typical for a band of this stature. I need a little context to know whether it's a good deal or not.
If the article was more objective, it might have discussed the exposure the artist gets from having a Pearl Jam poster in their portfolio. There is a value to that exposure and my guess many artists are pumped to have their artwork promoted by the band. And I’m not sure how the one artist they managed to talk to only made $3,000 after shipping costs. 100 AP’s at $100 each is $10,000. Where did the other $7,000 go?
And my biggest take away from the article is… no one is forcing the artist to make the poster. If the fee structure is not satisfactory then just say no thank you.
I'm not a believer in "exposure" as compensation but this might actually be a good deal strictly in terms of dollars. The person quoting 3k is a little suspect because what shipping costs? I always pay shipping as the buyer.
I'd need to know what someone like Phish or Foo Fighters pay. Or whomever. The artist stands to gross 7-10k on a Pearl Jam AP. That seems pretty good to me but who knows.
Most bands do a numbered limited edition for their show posters. For a lot of bands about on the same level with PJ, it's usually a run of around 2k posters per show. Sometimes higher, sometimes lower. But there's a reason PJ has never numbered their show posters. They can just keep printing them out like money. Just using the most recent Wrigley shows as an example, I'd have to say they sold at least 30,000 posters total for those shows. And that's a conservative estimate. They had multiple merch booths open all day long, for multiple days, with non-stop lines that sometimes lasted as long as 5hrs. I watched truck after truck pull up with stack after stack after stack of posters all day and night. So, say they did only sell 30k posters for those shows. At $40 each, the band made well over a million dollars on posters for those shows, while the people who actually created those posters only made $7-10k. That seems good to you?
I'd want to have more info before we start comparing Ames bros contracts and figures to an artist I've never heard of. Something tells me they get more meat on the bone than an upstart that may not even be able to move their APs.
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on2legs
Standing in the Jersey rain… Posts: 14,600
This is pretty interesting. I'm not sure I realized the APs were the only form of compensation. While the writer was reaching out to these other artists he should have asked what flat fee is typical for a band of this stature. I need a little context to know whether it's a good deal or not.
If the article was more objective, it might have discussed the exposure the artist gets from having a Pearl Jam poster in their portfolio. There is a value to that exposure and my guess many artists are pumped to have their artwork promoted by the band. And I’m not sure how the one artist they managed to talk to only made $3,000 after shipping costs. 100 AP’s at $100 each is $10,000. Where did the other $7,000 go?
And my biggest take away from the article is… no one is forcing the artist to make the poster. If the fee structure is not satisfactory then just say no thank you.
I'm not a believer in "exposure" as compensation but this might actually be a good deal strictly in terms of dollars. The person quoting 3k is a little suspect because what shipping costs? I always pay shipping as the buyer.
I'd need to know what someone like Phish or Foo Fighters pay. Or whomever. The artist stands to gross 7-10k on a Pearl Jam AP. That seems pretty good to me but who knows.
Most bands do a numbered limited edition for their show posters. For a lot of bands about on the same level with PJ, it's usually a run of around 2k posters per show. Sometimes higher, sometimes lower. But there's a reason PJ has never numbered their show posters. They can just keep printing them out like money. Just using the most recent Wrigley shows as an example, I'd have to say they sold at least 30,000 posters total for those shows. And that's a conservative estimate. They had multiple merch booths open all day long, for multiple days, with non-stop lines that sometimes lasted as long as 5hrs. I watched truck after truck pull up with stack after stack after stack of posters all day and night. So, say they did only sell 30k posters for those shows. At $40 each, the band made well over a million dollars on posters for those shows, while the people who actually created those posters only made $7-10k. That seems good to you?
I'd want to have more info before we start comparing Ames bros contracts and figures to an artist I've never heard of. Something tells me they get more meat on the bone than an upstart that may not even be able to move their APs.
Ames gets the best deal. More variants and bigger AP editions. And rightly so.
1996: Randall's Island 2 1998: East Rutherford | MSG 1 & 2 2000: Cincinnati | Columbus | Jones Beach 1, 2, & 3 | Boston 1 | Camden 1 & 2 2003: Philadelphia | Uniondale | MSG 1 & 2 | Holmdel 2005: Atlantic City 1 2006: Camden 1 | East Rutherford 1 & 2 2008: Camden 1 & 2 | MSG 1 & 2 | Newark (EV) 2009: Philadelphia 1, 2 & 4 2010: Newark | MSG 1 & 2 2011: Toronto 1 2013: Wrigley Field | Brooklyn 2 | Philadelphia 1 & 2 | Baltimore 2015: Central Park 2016: Philadelphia 1 & 2 | MSG 1 & 2 | Fenway Park 2 | MSG (TOTD) 2017: Brooklyn (RnR HOF) 2020: MSG | Asbury Park2021: Asbury Park 2022: MSG | Camden | Nashville 2024: MSG 1 & 2 (#50) | Philadelphia 1 & 2 | Baltimore
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on2legs
Standing in the Jersey rain… Posts: 14,600
This is pretty interesting. I'm not sure I realized the APs were the only form of compensation. While the writer was reaching out to these other artists he should have asked what flat fee is typical for a band of this stature. I need a little context to know whether it's a good deal or not.
If the article was more objective, it might have discussed the exposure the artist gets from having a Pearl Jam poster in their portfolio. There is a value to that exposure and my guess many artists are pumped to have their artwork promoted by the band. And I’m not sure how the one artist they managed to talk to only made $3,000 after shipping costs. 100 AP’s at $100 each is $10,000. Where did the other $7,000 go?
And my biggest take away from the article is… no one is forcing the artist to make the poster. If the fee structure is not satisfactory then just say no thank you.
I'm not a believer in "exposure" as compensation but this might actually be a good deal strictly in terms of dollars. The person quoting 3k is a little suspect because what shipping costs? I always pay shipping as the buyer.
I'd need to know what someone like Phish or Foo Fighters pay. Or whomever. The artist stands to gross 7-10k on a Pearl Jam AP. That seems pretty good to me but who knows.
Most bands do a numbered limited edition for their show posters. For a lot of bands about on the same level with PJ, it's usually a run of around 2k posters per show. Sometimes higher, sometimes lower. But there's a reason PJ has never numbered their show posters. They can just keep printing them out like money. Just using the most recent Wrigley shows as an example, I'd have to say they sold at least 30,000 posters total for those shows. And that's a conservative estimate. They had multiple merch booths open all day long, for multiple days, with non-stop lines that sometimes lasted as long as 5hrs. I watched truck after truck pull up with stack after stack after stack of posters all day and night. So, say they did only sell 30k posters for those shows. At $40 each, the band made well over a million dollars on posters for those shows, while the people who actually created those posters only made $7-10k. That seems good to you?
I don’t think the poster run is anywhere near 30,000.
1996: Randall's Island 2 1998: East Rutherford | MSG 1 & 2 2000: Cincinnati | Columbus | Jones Beach 1, 2, & 3 | Boston 1 | Camden 1 & 2 2003: Philadelphia | Uniondale | MSG 1 & 2 | Holmdel 2005: Atlantic City 1 2006: Camden 1 | East Rutherford 1 & 2 2008: Camden 1 & 2 | MSG 1 & 2 | Newark (EV) 2009: Philadelphia 1, 2 & 4 2010: Newark | MSG 1 & 2 2011: Toronto 1 2013: Wrigley Field | Brooklyn 2 | Philadelphia 1 & 2 | Baltimore 2015: Central Park 2016: Philadelphia 1 & 2 | MSG 1 & 2 | Fenway Park 2 | MSG (TOTD) 2017: Brooklyn (RnR HOF) 2020: MSG | Asbury Park2021: Asbury Park 2022: MSG | Camden | Nashville 2024: MSG 1 & 2 (#50) | Philadelphia 1 & 2 | Baltimore
on2legs
Standing in the Jersey rain… Posts: 14,600
Also… you have artists that double dip the poster art. They sell their AP’s and then later do another signed edition with the same artwork but without the Pearl Jam name and show info.
And… Pearl Jam doesn’t double dip on the posters. They sell their inventory at shows and some on the website and thats it. They don’t continue to milk the cow and sell shirts, mugs and hoodies with the show poster on it. It's one and done.
1996: Randall's Island 2 1998: East Rutherford | MSG 1 & 2 2000: Cincinnati | Columbus | Jones Beach 1, 2, & 3 | Boston 1 | Camden 1 & 2 2003: Philadelphia | Uniondale | MSG 1 & 2 | Holmdel 2005: Atlantic City 1 2006: Camden 1 | East Rutherford 1 & 2 2008: Camden 1 & 2 | MSG 1 & 2 | Newark (EV) 2009: Philadelphia 1, 2 & 4 2010: Newark | MSG 1 & 2 2011: Toronto 1 2013: Wrigley Field | Brooklyn 2 | Philadelphia 1 & 2 | Baltimore 2015: Central Park 2016: Philadelphia 1 & 2 | MSG 1 & 2 | Fenway Park 2 | MSG (TOTD) 2017: Brooklyn (RnR HOF) 2020: MSG | Asbury Park2021: Asbury Park 2022: MSG | Camden | Nashville 2024: MSG 1 & 2 (#50) | Philadelphia 1 & 2 | Baltimore
Wondering: assuming the cities and rumoured venues are true… where would the better odds be to getting TC tix do we think between Vancouver and Chicago?
wrigley is double the capacity, but does it have more than double the demand?
I know there are other factors: TC allotment, demand…etc.
Love going to new places and seeing PJ… deciding between those 2.
Thoughts?
With there being Seattle dates on the same leg as Vancouver, it should not be a problem to get tickets for Vancouver. Also, assuming you're American, your dollar is worth a lot more than ours right now so it will save you money on everything here. And you would be able to easily get around on transit, no need to rent a car.
I have never been to Chicago so I can't comment on how it compares.
This is pretty interesting. I'm not sure I realized the APs were the only form of compensation. While the writer was reaching out to these other artists he should have asked what flat fee is typical for a band of this stature. I need a little context to know whether it's a good deal or not.
If the article was more objective, it might have discussed the exposure the artist gets from having a Pearl Jam poster in their portfolio. There is a value to that exposure and my guess many artists are pumped to have their artwork promoted by the band. And I’m not sure how the one artist they managed to talk to only made $3,000 after shipping costs. 100 AP’s at $100 each is $10,000. Where did the other $7,000 go?
And my biggest take away from the article is… no one is forcing the artist to make the poster. If the fee structure is not satisfactory then just say no thank you.
I'm not a believer in "exposure" as compensation but this might actually be a good deal strictly in terms of dollars. The person quoting 3k is a little suspect because what shipping costs? I always pay shipping as the buyer.
I'd need to know what someone like Phish or Foo Fighters pay. Or whomever. The artist stands to gross 7-10k on a Pearl Jam AP. That seems pretty good to me but who knows.
Most bands do a numbered limited edition for their show posters. For a lot of bands about on the same level with PJ, it's usually a run of around 2k posters per show. Sometimes higher, sometimes lower. But there's a reason PJ has never numbered their show posters. They can just keep printing them out like money. Just using the most recent Wrigley shows as an example, I'd have to say they sold at least 30,000 posters total for those shows. And that's a conservative estimate. They had multiple merch booths open all day long, for multiple days, with non-stop lines that sometimes lasted as long as 5hrs. I watched truck after truck pull up with stack after stack after stack of posters all day and night. So, say they did only sell 30k posters for those shows. At $40 each, the band made well over a million dollars on posters for those shows, while the people who actually created those posters only made $7-10k. That seems good to you?
I don’t think the poster run is anywhere near 30,000.
Not for the majority of their shows. Definitely not. But for those multi-night stadium shows with 5 different posters, I'd say they definitely sold at least that many in total.
Also… you have artists that double dip the poster art. They sell their AP’s and then later do another signed edition with the same artwork but without the Pearl Jam name and show info.
And… Pearl Jam doesn’t double dip on the posters. They sell their inventory at shows and some on the website and thats it. They don’t continue to milk the cow and sell shirts, mugs and hoodies with the show poster on it. It's one and done.
This is pretty interesting. I'm not sure I realized the APs were the only form of compensation. While the writer was reaching out to these other artists he should have asked what flat fee is typical for a band of this stature. I need a little context to know whether it's a good deal or not.
If the article was more objective, it might have discussed the exposure the artist gets from having a Pearl Jam poster in their portfolio. There is a value to that exposure and my guess many artists are pumped to have their artwork promoted by the band. And I’m not sure how the one artist they managed to talk to only made $3,000 after shipping costs. 100 AP’s at $100 each is $10,000. Where did the other $7,000 go?
And my biggest take away from the article is… no one is forcing the artist to make the poster. If the fee structure is not satisfactory then just say no thank you.
I'm not a believer in "exposure" as compensation but this might actually be a good deal strictly in terms of dollars. The person quoting 3k is a little suspect because what shipping costs? I always pay shipping as the buyer.
I'd need to know what someone like Phish or Foo Fighters pay. Or whomever. The artist stands to gross 7-10k on a Pearl Jam AP. That seems pretty good to me but who knows.
Most bands do a numbered limited edition for their show posters. For a lot of bands about on the same level with PJ, it's usually a run of around 2k posters per show. Sometimes higher, sometimes lower. But there's a reason PJ has never numbered their show posters. They can just keep printing them out like money. Just using the most recent Wrigley shows as an example, I'd have to say they sold at least 30,000 posters total for those shows. And that's a conservative estimate. They had multiple merch booths open all day long, for multiple days, with non-stop lines that sometimes lasted as long as 5hrs. I watched truck after truck pull up with stack after stack after stack of posters all day and night. So, say they did only sell 30k posters for those shows. At $40 each, the band made well over a million dollars on posters for those shows, while the people who actually created those posters only made $7-10k. That seems good to you?
For the stadium shows though the artists for each of the 5 posters got 300 regular APs and 100 variants that can be sold for more (eg $100 reg, $200 variant). So it's more like $50k per artist, or $250k total for the five artists. I'd say the guy who drew baby brain made out pretty well on that deal. It's still lopsided, but as someone pointed out, without the PJ name on the print they wouldn't sell at all.
That said, it's kind of a bad look even if it's an industry standard. And with this particular New Zealand artist, she wouldn't be able to sell the APs until after the shows in November. Who can afford to wait almost a year to get paid for work that they're doing now? I understand it goes with the territory for that line of work, but I can definitely understand why some would need to get at least something on the front end.
I like that the rumor thread has multiple topics not like there’s any rumors out there anyways right we know what’s going on
I’ve always wondered about the poster economics. It’s a crazy business and I’m sure the big poster makers make more than just that but for an unknown artist to get 100 artist Prints that they could probably sell on eBay or their own website really quick and if it’s anywhere near a good poster, probably make more than $100 a poster seems like a pretty good deal for an unknown artist plus sounds like Pearl Jam takes care of all of the printing expenses and that kind of stuff,
sounds like a new artist is turning down a potential $10,000 payday because they don’t like how much money Pearl Jam’s gonna make but I know in my own business that’s not how it works I charge the same hourly rate to everybody whether it’s Eddie Vedder, or just some member of the fan club
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on2legs
Standing in the Jersey rain… Posts: 14,600
This is pretty interesting. I'm not sure I realized the APs were the only form of compensation. While the writer was reaching out to these other artists he should have asked what flat fee is typical for a band of this stature. I need a little context to know whether it's a good deal or not.
If the article was more objective, it might have discussed the exposure the artist gets from having a Pearl Jam poster in their portfolio. There is a value to that exposure and my guess many artists are pumped to have their artwork promoted by the band. And I’m not sure how the one artist they managed to talk to only made $3,000 after shipping costs. 100 AP’s at $100 each is $10,000. Where did the other $7,000 go?
And my biggest take away from the article is… no one is forcing the artist to make the poster. If the fee structure is not satisfactory then just say no thank you.
I'm not a believer in "exposure" as compensation but this might actually be a good deal strictly in terms of dollars. The person quoting 3k is a little suspect because what shipping costs? I always pay shipping as the buyer.
I'd need to know what someone like Phish or Foo Fighters pay. Or whomever. The artist stands to gross 7-10k on a Pearl Jam AP. That seems pretty good to me but who knows.
Most bands do a numbered limited edition for their show posters. For a lot of bands about on the same level with PJ, it's usually a run of around 2k posters per show. Sometimes higher, sometimes lower. But there's a reason PJ has never numbered their show posters. They can just keep printing them out like money. Just using the most recent Wrigley shows as an example, I'd have to say they sold at least 30,000 posters total for those shows. And that's a conservative estimate. They had multiple merch booths open all day long, for multiple days, with non-stop lines that sometimes lasted as long as 5hrs. I watched truck after truck pull up with stack after stack after stack of posters all day and night. So, say they did only sell 30k posters for those shows. At $40 each, the band made well over a million dollars on posters for those shows, while the people who actually created those posters only made $7-10k. That seems good to you?
I don’t think the poster run is anywhere near 30,000.
Not for the majority of their shows. Definitely not. But for those multi-night stadium shows with 5 different posters, I'd say they definitely sold at least that many in total.
Just disagreeing. They don’t pump up the print run that high purposely. They don’t want to kill the golden goose. They made 5 posters so they could keep the print run low for each one but still have more available in total to reflect the larger crowd. But not 30,000 posters worth. Fenway holds like 38,000 for concerts. They’re not printing enough posters for 40% of the crowd to buy one. That’s the equivalent of them having like 8,000 posters for an arena show.
1996: Randall's Island 2 1998: East Rutherford | MSG 1 & 2 2000: Cincinnati | Columbus | Jones Beach 1, 2, & 3 | Boston 1 | Camden 1 & 2 2003: Philadelphia | Uniondale | MSG 1 & 2 | Holmdel 2005: Atlantic City 1 2006: Camden 1 | East Rutherford 1 & 2 2008: Camden 1 & 2 | MSG 1 & 2 | Newark (EV) 2009: Philadelphia 1, 2 & 4 2010: Newark | MSG 1 & 2 2011: Toronto 1 2013: Wrigley Field | Brooklyn 2 | Philadelphia 1 & 2 | Baltimore 2015: Central Park 2016: Philadelphia 1 & 2 | MSG 1 & 2 | Fenway Park 2 | MSG (TOTD) 2017: Brooklyn (RnR HOF) 2020: MSG | Asbury Park2021: Asbury Park 2022: MSG | Camden | Nashville 2024: MSG 1 & 2 (#50) | Philadelphia 1 & 2 | Baltimore
After only reading the last few pages on the topics of age and touring pleasure, I have to get one thing off my chest calmly and objectively.
I can no longer listen to the "They don't owe us anything" and the "They just do it the way they want". They have chosen this vocation. And it's definitely not the worst. Just like a teacher stands in front of an annoyed class and teaches, just like a road builder repairs the road surface in the blazing midday sun, a band with millions of fans around the world has a certain obligation to deliver something. Albums and concerts. Especially the latter. Long awaited for months and years. Sold out within a very short time. And which earn you a lot of money that allows you to be on stage eight days in 2023 and spend the rest of the year with your family. A vocation and financial security that has already allowed you in previous years - such as from 2015 to 2017 - to be on stage for a total of just 36 working days in three years and spend the rest of those three years with your family. Please let it melt in your mouth once again. 36 working days on stage in a period of 36 months. Wasn't good at math. But I think that makes one working day on stage per month.
They belong to one of the greatest and most highly acclaimed rock bands on the planet. Don't be surprised if people want to see you live. And if one or two band members are no longer able to do so - whether because of their age or because they "hate working in Europe in July" - then the whole band has to draw the consequences together. For themselves and for their fans. Either they stop their vocation because of the band members in question. Or they make the decision to move on and replace the band members who are holding them back from going on tour. Not completely. But at least on tour. Of course, I also like it better if they carry on instead of quitting. It just leaves an increasingly bitter aftertaste year after year the way things seem to be going now.
A teacher who had made millions during their teaching career and could afford not to do it anymore wouldn't continue teaching just because it was their chosen vocation. If they wanted to transition to teaching on a part-time or substitute basis, that's their prerogative. And your 36-day stat completely ignores all the time spent rehearsing and practicing over the years to become the best in the world at what they do. I'm pretty sure they don't just show up to the arena on show day and wing it.
I agree with you. Please note, however, that in my statistics I in no way implied that the band only work on these days. I was specifically talking about the days on which they play concerts. I am aware that this involves many more working days.
I agree with you. Please note, however, that in my statistics I in no way implied that the band only work on these days. I was specifically talking about the days on which they play concerts. I am aware that this involves many more working days.
"A vocation and financial security that has already allowed you in previous years - such as from 2015 to 2017 - to be on stage for a total of just 36 working days in three years and spend the rest of those three years with your family."
I agree with you. Please note, however, that in my statistics I in no way implied that the band only work on these days. I was specifically talking about the days on which they play concerts. I am aware that this involves many more working days.
"A vocation and financial security that has already allowed you in previous years - such as from 2015 to 2017 - to be on stage for a total of just 36 working days in three years and spend the rest of those three years with your family."
The prosecution rests.
PJ: 2013: London (ON); Buffalo; 2014: Cincinnati; 2016: Sunrise, Miami, Toronto 1-2, Wrigley 2; 2018: London (UK) 1, Milan, Padova, Sea 2, Wrigley 1-2, Fenway 1-2; 2021: SHN, Ohana, Ohana Encore 1-2; 2022: LA 1-2, Phx, Oak 1-2, Fresno, Copenhagen, Hyde Park 1-2; Quebec, Ottawa, Hamilton, Toronto; MSG, Camden, Nashville, Louisville, St. Louis, OKC; 2023: St. Paul 1-2, Chicago 1-2; Fort Worth 2; Austin 1-2
EV Solo: 2017 Louisville and Franklin, 2018 Ohana, 2019 Innings Fest, Berlin, Düsseldorf, Dublin and Ohana; 2021 Ohana Friday (from beach) and Saturday; 2022 Earthlings Newark; 2023 Innings Fest and Benoraya 1-2.
Gutted: London 2 2018, Sacramento 2022, Noblesville 2023
You know you’re ready for a tour announcement when it progresses from City wishlists —> Anger about the rumored Locations —-> Curiosity over the Venues —-> Debate over whether PJ owes us anything or doesn’t owe us anything —-> Billy Joel looks like a pedophile —-> Poster artist compensation
Boston '06 Mansfield '08 Hartford '10 Worcester, Hartford '13 Global Citizen, NY '15
Comments
I'd need to know what someone like Phish or Foo Fighters pay. Or whomever. The artist stands to gross 7-10k on a Pearl Jam AP. That seems pretty good to me but who knows.
2005.....Hamilton
2011.....Toronto N1, Toronto N2, Hamilton
2013.....London, Buffalo
2014.....Detroit
2016.....Toronto N1 Toronto N2, Boston N1, Boston N2, Chicago N1
2018.....Seattle N1, Seattle N2
2022.....San Diego, Los Angeles N1, Los Angeles N2, Phoenix, Oakland N1, Oakland N2, Quebec City, Ottawa, Hamilton, Toronto
2023.....Fort Worth N1, Fort Worth N2, Austin N1, Austin N2
2024.....????
I think I'm more in favor of fewer, but better 10C seats. I don't expect that to be realistic as the new model of loading the 300's up with 10C seats really helps to sell the place out quickly.
Just using the most recent Wrigley shows as an example, I'd have to say they sold at least 30,000 posters total for those shows. And that's a conservative estimate. They had multiple merch booths open all day long, for multiple days, with non-stop lines that sometimes lasted as long as 5hrs. I watched truck after truck pull up with stack after stack after stack of posters all day and night. So, say they did only sell 30k posters for those shows. At $40 each, the band made well over a million dollars on posters for those shows, while the people who actually created those posters only made $7-10k. That seems good to you?
"..That's One Happy Fuckin Ghost.."
“..That came up on the Pillow Case...This is for the Greek, With Our Apologies.....”
Gutted: London 2 2018, Sacramento 2022, Noblesville 2023
I have never been to Chicago so I can't comment on how it compares.
-my dad after hearing Not for You for the first time on SNL .
That said, it's kind of a bad look even if it's an industry standard. And with this particular New Zealand artist, she wouldn't be able to sell the APs until after the shows in November. Who can afford to wait almost a year to get paid for work that they're doing now? I understand it goes with the territory for that line of work, but I can definitely understand why some would need to get at least something on the front end.
I’ve always wondered about the poster economics. It’s a crazy business and I’m sure the big poster makers make more than just that but for an unknown artist to get 100 artist Prints that they could probably sell on eBay or their own website really quick and if it’s anywhere near a good poster, probably make more than $100 a poster seems like a pretty good deal for an unknown artist plus sounds like Pearl Jam takes care of all of the printing expenses and that kind of stuff,
sounds like a new artist is turning down a potential $10,000 payday because they don’t like how much money Pearl Jam’s gonna make but I know in my own business that’s not how it works I charge the same hourly rate to everybody whether it’s Eddie Vedder, or just some member of the fan club
Gutted: London 2 2018, Sacramento 2022, Noblesville 2023
Mansfield '08
Hartford '10
Worcester, Hartford '13
Global Citizen, NY '15