Have you made a conscious decision to announce shows in blocks and sell tickets to these shows before making the entire tour schedule pulbic, in an effort to increase 10c ticket sales?
Both added to the list on the front page.
Also a bump for the addition of Part II of the 12/15/2010 transcript.
"A lot more people are capable of being big out there that just don't give themselves a chance." -Stone Gossard
Host: Tim Bierman (TB)
Host: The Rob (TR)
Guest: Kathy Davis (KD)
Guest: Jessica Letkemann (JL)
Guest: John Reynolds (JR)
Guest: Matt Moore (MM)
*TR gives out number*
Caller: ... It's been great listening to you and the old stories. It reminded me of my own old story and my ten minutes of fame. I used to run an old website when I was in college that was basically a mp3 archive, which everyone knows these days, but it was kind of the first one out there... I basically collected one live song of every song I could possibly find of PJ. And continued to scale, this is over 1997, scaled up to the point that Yield was coming out, and the radio, you know radio...stations how they like to leak them (albums) early back then... So they played like 30 second clips and I recorded them and put 'em on the website but most of the world hadn't heard it yet so...
JR: Oh you were that Josh...
JL: Oh you're that guy!
TR: Wow!
Caller: I don't know if anyone remembers me, but...
JR: I remember distinctly...
KD: Oh yes, Josh.
JL: That was very memorable at the time.
Caller: And that was actually the week of finals in college. It was probably bad timing for it but... It just immediately exploded in the news because, of course these days it's no big deal or it's commonplace for things to leak early on the internet, but it just hadn't happened before. And it quickly hit MTV and all the major music news all over the world... It was such an experience and (to) see how things are handled these days and how things were handled back then where I got a personal phone call from Bill Milnan (sp?) or I think it was a VP or something and... *indecipherable*...something a bunch of T-shirts and stuff and said 'Thanks, but can you take those down?'...
*laughter*
Caller: *indecipherable* ...a big legal thing it would go through these days. The experience was amazing and the feedback I got from so many people, and these were huge fans... The news media wanted to blow it out of proportion and make it look like I was a pirate or something but I didn't have full versions up there. I wasn't taking away sales at all. If anything people were hearing it... It was quite an adventure back then... I think part of it was I was running this website off my computer in my dorm room. I think at one point it used to take 10% of the whole college's bandwidth.
*laughter*
Caller: They probably weren't too happy with me but back then not many people used the internet. I used to get, I just remember getting dozens and dozens of e-mails everyday with either great comments, or thank yous, or people just discovering PJ, or they've discovered it and it's such a great resource and... Actually what's part of it for me was, actually most people didn't realize I hadn't been to a show at that point, and that was part of my way of finding all the live music cause everything, even bad recordings, are incredible to hear them live... and to gather that all together.
Just to hear you guys speak about Five Horizons and the lyric song book and things like that I remember digging those things up back then and talking with those people and kind of interacting... back in the early days. It's just kind of fun to look back.
MM: ...It seems like what we've done on our site is, in a way, the evolution of what you started. I mean what you were doing back then was, I would say avant-garde. No one was doing that at the time. And what we started to do on our site is, in a sense, create that library or mp3 files for all the fans. And really to try to pick out and figure out what the 'best' live versions of certain songs are... You know we don't usually do that for the PJ original songs cause, you know what? It's not really our business to tell you what we think the best version of Alive is. That's a very personal thing, quite frankly. But if they've only played a cover song two or three times we're going to grab the best quality copy of it and put it up there for you.
I think what we did on gremmie.net that was interesting was that, for a while there was kind of a demilitarized zone of things you could, and things you could and could not post on the internet. And in fact JR actually e-mailed me a couple of weeks ago saying 'Matt maybe you should take down the most recent version of All Encompassing Trip. I don't think they're gonna appreciate you hosting it.'
TR: He did?
Caller: That's part of what I did where I had a couple copies of a song and it was trying to take the most interesting version or, maybe not necessarily the highest quality but back then space was limited, you know?
MM: There's also that, they can tend with as well. But I think on top of that when we first launched several years ago we were really kind of walking into a no-man's land in a way. We frankly we put a lot of work in to getting it up off the ground but then we figured to ourselves 'You know what? In five minutes the Ten Club could call us and say 'Take it all down.' ' And we would do it. It's not our business to step on their toes, and the Ten Club has been very good in terms of opening the lines of communication for things that we should and should not host and we always respect that because at the end of the day what they say goes. And we have to respect that, of course.
Caller: But it does show how they are different than most other bands which are completely disconnected with whatever legal department and immediately clamp down on things that are fair where... The biggest, most impressive thing to me is: PJ doing their own bootlegs. And continuing to do that. Continuing to sell them at basically cost. That was just incredible.
JL: It was a revolution for fans for sure... You, I'm sure, remember what it was like before 2000, before every show was available... That was why it became so important for people to sort-of curate what shows were available. I think there would be one or two shows a year that people would pass around as, like, the best of the tour, or something like that. It was a different world.
Caller: Towards the end of my college career as I was still shutting down the site but at the last year I kind of started to think 'Well what can I do now? Can I grab every show that I can possibly find online?' I stil lahve a stack of CD's of as many shows as I can find all the way back to '91/'92. No one would ever think that they'd still be doing shows and tours every year this far in and they're still amazing shows. Back then to think that you could possibly archive them all...
MM: Well a good think now, Josh is that all of those shows are on gremmie.net. Every single show from 1990 through 2007 is on Gremmie's Basement which is basically every other show that's not hosted on gremmie.net.
JL: And you were talking about evolution Matt... Do you remember the days where we were sending tapes of this stuff back and forth to each other? Thank God we don't have to do that!
MM: Oh absolutely! And in fact, I remember getting very excited for the Song of the Month on Five Horizons cause that was the way you got it back then. The channels were not as robust and the access to the music was... It just wasn't there yet. It wasn't built yet.
JL: Yeah I had a monthly blank cassette budget... *laughs*
JR: Or $50 bootlegs with misnamed song titles like 'Drop the Leaves'
*laughter*
MM: Or Lukin which was called '100 Pacer' if I remember correctly on my Australian bootleg...
KD: I have a friend who named his band that, ironically...
MM: Is that right?
KD: Yeah, 100 Pacer...
JR: Yeah we're psyched about the Basement actually. When he put that up I couldn't believe it cause just... I had some of those Italian bootlegs and that's how you got stuff. Back then it didn't matter who taped it just as long as somebody did.
MM: Yeah and there was a certain charm to it. You had some taper in the crowd and they would record it and they wold try to sell it to you for... I don't know what you guys paid for your bootlegs back in the day, but I remember getting a bootleg called 'The Longest Day' which was Randall's Island II back in '96 which was my first show and it was 90 bucks... Which, at the age I was, which was probably about 15,... You know that was a king's ransom.
JR: And three cassettes to trade it.
MM: Exactly.
JR: That was at least 97 cents postage.
MM: That's also part of the budget.
JL: You know it's funny I became a fan in '92 but I didn't sort of start with the whole trading shows back and forth until I got to college, like when Vs. came out in '93/'94. But when I started becoming so hard-core that I was rabid to find a show... I couldn't wait for another show... I even traveled at that point which was crazy to me...
I was lucky because I had a classmate who somehow had found every PJ fan in the New York area and went to their house and copied the one bootleg that they bought for 90 bucks or whatever. So he handed me this box of like maybe 30 of them and he was just like 'If you're serious about this here's 30 of 'em.' So I had this instant thing and as soon as I went into alt.music.pearljam and started trading those it metastasized from there.
KD: Like a cancer...
*laughs*
KD: Doing Footsteps too I had sooooo many tapes that people sent. 'Oh I just went to the show. Here's a tape of it.' So blessings upon you for spending $90. I've never spent one red cent other than official pearljam.com bootlegs... On a bootleg. I've been really lucky there just getting things through trading or 'Hey I've got this. Send me that.' And videos and wahoo now I've got a room that's all PJ.
JL: I've seen this room. She's got a wall of file boxes... I went out to the Bridge School and stayed at her house. She lives near Mountain View (CA) and I stayed in that room and my inflatable bed was next to this wall of file boxes. And they were labeled things like: 'MLB 88-90' or like 'Early PJ Clippings 90-92.' I was so sad I didn't have time to open these boxes.
KD: *laughs* One day you will fly out there.
JL: Crazy room! Crazy room!
MM: Well you know Bob Dylan's got his own historian maybe you're the next PJ one.
KD: I don't know. There's a bunch of us out there I think. *laughs* We can band together.
TR: Well you guys are definitely setting the standard for good interesting content.
KD: That's great. It's inspiring... All the love in the room, what can I say?
JL: I sort of thank God we don't have to pass tapes back and forth is, I guess my point...
KD: Yeah so thanks Matt for me.
MM: You're welcome!
JL: And Ten Club too for the bootlegs... So we get the whole picture. I don't pull out those tapes any more.
JR: Yeah cause when I was... in DigiJam we had a tapers list with about 200 tapers and when word got out that the bootlegs were coming out every said 'Alright well, see you later!' Everybody sold their gear and... that was it.
MM: Well it's like making pot legal, right? You undercut the market entirely.
*laughter*
JL: There's still one or two out there for those one or two things that don't get released. Or songs that don't get put on the official bootlegs... Ahem... Adjusts tie uncomfortably...
*laughter*
MM: The Vic.
TR: Hey! There must be a reason.
KD: There's always a good reason. I question about the motive...
MM: That wasn't me. I didn't say that...
*laughter*
*TR gives station ID and call in number*
Caller: I wanted to see if I could get any insight on... exactly what the atmosphere is like in the studio when they're making an album. Is it serious? Are they having a good time? Is it laid back? What kind of hours are they putting in? How do they organize their day to recording?
JR: Well we can say that we have noooooooo iiiiidea.
JL: I've never had that experience.
KD: I wish I could say I've had that experience but I have not yet.
MM: Well we've all seen Single video Theory right?
Caller: Yeah that is an interesting video. It gives a little bit of insight I guess... Maybe that's a good idea, maybe you guys cause of your experiences and maybe some of your connections with some of the band members will be a great way to get some insight for the rest of us fans. Maybe one day you'll be lucky enough to get there.
JL: We'd love to! We'll be there with bells on!
KD: There is a PJ movie coming out next year (2011), ahem, that may cover some of that I'm hoping...
*Tim Bierman laughs at Kathy's attempts to get him to open up about the movie*
KD: We'll see...
TB: Well I guess I'm probably the only person here who can chime in on that...
JR: Thanks Tim for bailing us out...
*laughter*
TB: Just so everybody knows... It's not... It's kind of like the back stage pass. Everybody's like 'Oh! I want to get a backstage pass so when I get back there I wanna see I wanna see!' And it's like 'You wanna see what? The empty room with the chairs in it?' There's just nothing going on. It's not like a 'rock star' scene like you see in the movies. And I guess the same thing can kind of be taken to the studio. It's not like there are... It's not like people are hanging out watching the band record, you know? The guys go in there, they do their work... Sure there's a little down time and they hang out and they relate to each other or they go off and do their own thing or whatever it is... I don't want to say it's just like another job but really that's kind of what it is. They have to go in there and do what they have to do and that means a lot of different things... There's gonna be times when for lack of a better word, it's just 'fun' and they're in their jamming and trying to get some ideas or whatever. And there's other times when there's stress and tension and pressure to get something finished and knowing you promised your family you'd be home for dinner and you've got this part you can't quite get it right... It's not all fun and games but at the same time it's not necessarily this epic grind of recording. So it's probably a little bit of all those things and there's not really anyone who knows that... What goes on there except for the band and the engineers and the producers and those guys. They aint talkin'. They know better.
KD: They're doing their job, as it should be. I think, from what I know if I could just chime in too about their process... I would venture a guess that maybe not a lot of... There's creating the music to record it... But the actual songwriting process, I think, takes place outside of that room. They all bring... They give each other their songs. 'Hey I wrote this one, learn it.'...
TB: You know sometimes it's like that and sometimes it's not. Sometimes they write in the studio. Sometimes they bring things in that are completely demoed. Sometimes they'll have a bunch of demos and along the way they'll jam something out and be like 'Hey! That's a cool idea. Lets work on that.' And maybe that will be for the next record. There's all different ways that that happens.
KD: That's what makes them great. They could write a song in a sound check to for that matter. You never know.
TB: Absolutely.
JL: They have. You know who would be interesting to (hear their experiences)... If Brendan O'Brien was ever available, cause he give a great interview. When he gives an interview about any of the bands that he's recorded he's really insightful. I bet he would have some interesting stories.
KD: Ooh... I'm rubbing my hands evilly with an idea...
*laughter*
TB: That's funny I was just on the phone with him right before we started the show...
*the guests emit a collective 'Hmmmmmm...' based on the possible implications*
KD: Call him back and get him on in here!
TB: He likes to talk. He refers to me as Matt Pinfield whenever I see him cause...
*laughter*
KD: Ohhhhhh! That's just wrong!
TB: I've interviewed him for a couple of things and he always gives me shit and calls me Matt Pinfield...
*laughter*
KD: At least he didn't call you Matt Pinhead. So that's good.
TB: And Matt... Matt Pinfield is awesome, by the way. We just happen to look a little bit alike...
TR: Thanks for your call. Let's take another call now...
Caller: My husband took me to the May 18th show in Newark and Eddie was holding up a sign. It was a missing person sign. A fan was missing who had a PJ tattoo. Does anyone know if they've ever found the man?
TB: I have no idea.
TR: That's probably something you could find out about on the forum. I know there's someone in Columbus, Ohio and that was referenced at the Columbus show.
Caller: I wonder if it's two people that are missing or one?
KD: Could be the same fellow, I'm not sure.
TR: Check out pearljam.com and the forum there because there's always a lot of topics about what your question was pertaining to.
JR: And those sort of things Tim, you guys pay a lot of attention to and I think that forum post is still stuck to the top. It's very important. That sort of thing you don't mess around with.
*TR takes new caller*
*Caller tells a story about blowing the lyrics to Parachutes and naming his upcoming daughter Lulu.*
*TR takes new caller*
Caller: If any of y'all could be present while one of the albums was recorded which album would you choose?
TR: No Code over here.
MM: I second that.
KD: Yield.
JR: I'd sleep on the couch of London Bridge Studio to be at Ten.
*laughter*
I would've been the guy banging on that fire extinguisher.
TB: I think I would have been at The Site for Vs. because the chef there at the time was incredible I guess.
*laughter*
Then I could've visited Rob all the time.
TR: Yeah! That's right man! When are you coming down dude?
TB: I'll be there don't worry.
KD: And you'll never want to leave.
TR: Did we miss anybody? Jessica?
JL: *bad connection*
JR: I think she said Yield.
TR: And what about you Jonathan (caller)?
Caller: I'd have to pick Vs. just cause I remember reading the article about it in Rolling Stone (written by Cameron Crowe) about the recording process and it just seemed like a really good article.
As far as I remember Eddie had a real hard time recording that album.
JR: And I think subliminally that's... We write with those types of articles in mind. Cause we have our favorite songs. We have our favorite shows. But we also have our favorite articles from the early days. And that's just an example where, when you read that article, you're there kind of right outside those studios. You're there behind the desk. And the level of detail, gosh... We can't wait for what's gonna happen in the new year with Cameron Crowe and this film coming out.
KD: Yeah. That article was written by Cameron Crowe and just the fact that he's doing the movie just makes my head hurt. It's gonna be so good!
*call ends*
*TR takes new caller*
Caller: Hello PJ nerds. How's is going?
*laughter*
I just wanted to call and say 'Thank you guys, so much.' JR and Jess and Kathy as odd as it sounds I fell like I kind of know you guys just cause so long you've been our connection to everything. And, of course, your predecessors too. JR we've actually spoken in the past. I run thecolorsblend.com. We've talked a bit about posters and some other things and just thought I'd take the chance to say 'Hi' to you guys. Obviously the work you do is very much appreciated.
JR: Yep thanks man. And you know I do remember you. I do remember your site, and we're sittin' here and we're talking and there's great other sites out there. We're friends with the guys from theskyiscrape... There's the blackredyellow with posters... I mean that forum is crazy detailed. All those guys are hard-core.
MM: We've also got pearljambootlegs.org, another great site.
JR: You've got Katrina running touringfans...
MM: She's a pleasure, you met her?
JR: She's great...
MM: She's fantastic to be around.
JR: And even to give you a look behind the scenes... All of us get along and we also love that from a geek-webmaster standpoint. I run a mailing list full of all these guys and gals who run the other sites and we collaborate. See that's the thing... Matt asked me 'Hey I was gonna write about this. Are you gonna cover it?' I was like 'No. Go ahead. Take it.' And Brandon from theskyiscrape is always talking to us and pitching ideas and stuff like that so we're... You know the year there in the '90's was kind of like 'Who can trump this?' and 'Who can leak this?' and blah blah blah. And nothing against Josh before but the 2000's were just kind of a friendlier bunch. We all get along. We all know our space and we all know 'If I miss something somebody else is gonna cover it.' And so Chris (caller) thanks for that.
MM: There's a lot of camaraderie between our sites I think is what JR is basically trying to get across to everybody. Thanks for supporting us. Really appreciate it.
Caller: Yeah for sure. I think that says a lot about PJ fans in general. It's not really about who's better or what's better... We're all a community and I think it's awesome.
TR: Chris (caller) is your site like a poster site?
Caller: Yeah it is. I started it in college around '97 would be my guess. And started small as I kind of learned how to even get things up on the web. I called and at the time actually spoke with Barry Ament (of Ames Bros design) on the phone and just got his blessing to use some of the early on images and scanned what I could out of the Ten Club newsletters and tried to get up as much as possible.
KD: That's fantastic. I love PJ passion.
MM: You know Chris (caller) I'm actually glad to hear... you telling me this because my buddy Matt who's waiting to call in right now... he and I are working on a poster section of gremmie.net. We will stop doing that tonight.
Caller: Yeah well lets discuss.
*laughter*
*call ends and TR plays the world premiere of Porch from Live On Ten Legs*
TR: Wow! What a nice little stocking stuffer that is! That was Porch from Live On Ten Legs. I don't think I've ever heard a version so low in my headphones ever in my life.
*laughter*
KD: We're rocking out in *indecipherable* right now.
TR: Well thanks for that little tidbit Tim! That was great! And we'll let everybody know that we'll be premiering a lot more of Live On Ten Legs on Pearl Jam Radio starting very soon. Probably tomorrow. And I wanna thank everybody for joining us today for a pretty encompassing, encompassing trip. Fan experience extraordinaire.
*gives thanks to guests*
TR: We will be taking a few weeks off over the holidays and we'll resume in the new year. Wishing you all a great one and thanks for sticking around. Tim thanks again for another great week.
TB: Thanks Rob I'll see you in a couple days.
*signs off*
"A lot more people are capable of being big out there that just don't give themselves a chance." -Stone Gossard
Will someone please ask Brad K. about the rejected EV Hawaii poster....?
It's so cool- can't understand why it was rejected...
Can you be a little more specific? What year and date was the poster from? Was it from an eV solo show or a PJ show? How do you know it was rejected, or was that just speculation on the part of others?
I don't follow poster trends at all so it would help me if you could spell this out.
"A lot more people are capable of being big out there that just don't give themselves a chance." -Stone Gossard
Will someone please ask Brad K. about the rejected EV Hawaii poster....?
It's so cool- can't understand why it was rejected...
Can you be a little more specific? What year and date was the poster from? Was it from an eV solo show or a PJ show? How do you know it was rejected, or was that just speculation on the part of others?
I don't follow poster trends at all so it would help me if you could spell this out.
Hey Heavyhands!
There is a Brad K. poster called "Hawaii" that was sold in October 2009-
I read a rumor that Eddie Vedder rejected it for his solo tour...
hence it was sold with no written type on it...
Is there any truth to this...?
How about asking if the 10c ticket "mix up" for Grand Rapids '06 was really an accident or an experiment before the lottery came into effect the following years.
Let's say knowledge is a tree,
It's growing up just like me
Will someone please ask Brad K. about the rejected EV Hawaii poster....?
It's so cool- can't understand why it was rejected...
Can you be a little more specific? What year and date was the poster from? Was it from an eV solo show or a PJ show? How do you know it was rejected, or was that just speculation on the part of others?
I don't follow poster trends at all so it would help me if you could spell this out.
Hey Heavyhands!
There is a Brad K. poster called "Hawaii" that was sold in October 2009-
I read a rumor that Eddie Vedder rejected it for his solo tour...
hence it was sold with no written type on it...
Is there any truth to this...?
How about asking if the 10c ticket "mix up" for Grand Rapids '06 was really an accident or an experiment before the lottery came into effect the following years.
Same thing happened to me in Camden in '08. All of the 164xxx numbers were 2 rows from the lawn. I have never been worse that row 13 there. Needless to say we were all pissed. There were people in the row in front of us that just joined the fan club that year. Go figure.
Won't be able to call in cuz of busy day at work on Wednesday---
Will someone please ask Brad K. about the rejected EV Hawaii poster....?
It's so cool- can't understand why it was rejected...
During Brad's book release he stated that Ed was not a big fan of that poster which is why it was rejected as and "official poster" for the actual solo tour. Hope that answers your question if it's the same poster you are referring to. The image of Ed sitting under the palm tree on the beach, right?
Won't be able to call in cuz of busy day at work on Wednesday---
Will someone please ask Brad K. about the rejected EV Hawaii poster....?
It's so cool- can't understand why it was rejected...
During Brad's book release he stated that Ed was not a big fan of that poster which is why it was rejected as and "official poster" for the actual solo tour. Hope that answers your question if it's the same poster you are referring to. The image of Ed sitting under the palm tree on the beach, right?
Another possibly good question to ask Brad K. is - what was it like
to collaborate with Eddie on the Chicago EV 08 poster and the
Pearl Jam 2010 Bridge poster he partially designed with him...
that is a great question, strangely from threads in the past here I really think the majority of the US crowd wouldnt want it. But the idea of a seated show in europe wouldnt be well received.
Crowds are way more atmospheric and reactionary for the band to play to when its GA, although it does cause them some concern. However from watching two DVds....touring band and immagine in cornice I know which gig looks the more fun for all concerned, and I know which one the band seems more into.... This is generalising of course but those two Dvds are quite compelling. I will never forget first seeing touring band and being amazed at how dead the crowds are, they could well be playing at an over 70's dinner event or something....then you try the extras on that dvd and cut to the euro cam shots and its a totally different story.....
I imagine the band enjoys the variety this throws up
Won't be able to call in cuz of busy day at work on Wednesday---
Will someone please ask Brad K. about the rejected EV Hawaii poster....?
It's so cool- can't understand why it was rejected...
During Brad's book release he stated that Ed was not a big fan of that poster which is why it was rejected as and "official poster" for the actual solo tour. Hope that answers your question if it's the same poster you are referring to. The image of Ed sitting under the palm tree on the beach, right?
Yes- Thanks- It's a cool poster...
its an awesome poster alright and would have been perfect with the eddie text too....still love it anyway, and it seems nice in an undetstated way in that its eddie with a guitar under a tree looking at the sea but it doesnt even say that anywhere.
Brad did confirm eddie didnt like it, what he didnt like would be interesting to hear, but i doubt Brad would go into it.....
Really though if you fire Brad an email on something interesting like this he Always responds..
that is a great question, strangely from threads in the past here I really think the majority of the US crowd wouldnt want it. But the idea of a seated show in europe wouldnt be well received.
Crowds are way more atmospheric and reactionary for the band to play to when its GA, although it does cause them some concern. However from watching two DVds....touring band and immagine in cornice I know which gig looks the more fun for all concerned, and I know which one the band seems more into.... This is generalising of course but those two Dvds are quite compelling. I will never forget first seeing touring band and being amazed at how dead the crowds are, they could well be playing at an over 70's dinner event or something....then you try the extras on that dvd and cut to the euro cam shots and its a totally different story.....
I imagine the band enjoys the variety this throws up
I think many US crowds would be overstrained, if seated shows were changed to GA. People wouldn't know what to do. "Wait? Why are people jumping? What? Do I have to move as well? Ewwww I'm getting all sweaty! ... Hmmm wait .... actually ... omg ... it's kinda fun!"
Just a thought about this one... it seems like there are more and more people bringing their kids to shows now that PJ's audience is getting on in age. I suspect it would be a much bigger safety concern if children were in the audience at a GA show.
Again that's just speculation, but seeing as how many people on this board regularly post about getting completely hammered or altered at a show or seem to think it's okay to urinate or vomit wherever they want, it seems to me that putting your child in a crowd like this is a considerable risk. Especially when said crowd is bound and determined to rush to the front and crush whomever is already is there against the rail so they can get a pick or have a band member make eye contact with them.
Not saying I'm right on this. Just saying I pay attention to the stories that pop up on this board a day or so after the band plays a show. Not everyone in the crowd is like this to be sure, but its a risk for both the parent and the band with children in a GA audience. Why should they take it?
"A lot more people are capable of being big out there that just don't give themselves a chance." -Stone Gossard
Just a thought about this one... it seems like there are more and more people bringing their kids to shows now that PJ's audience is getting on in age. I suspect it would be a much bigger safety concern if children were in the audience at a GA show.
Again that's just speculation, but seeing as how many people on this board regularly post about getting completely hammered or altered at a show or seem to think it's okay to urinate or vomit wherever they want, it seems to me that putting your child in a crowd like this is a considerable risk. Especially when said crowd is bound and determined to rush to the front and crush whomever is already is there against the rail so they can get a pick or have a band member make eye contact with them.
Not saying I'm right on this. Just saying I pay attention to the stories that pop up on this board a day or so after the band plays a show. Not everyone in the crowd is like this to be sure, but its a risk for both the parent and the band with children in a GA audience. Why should they take it?
This is very fair comment, but how does this differ in Europe?
Just a thought about this one... it seems like there are more and more people bringing their kids to shows now that PJ's audience is getting on in age. I suspect it would be a much bigger safety concern if children were in the audience at a GA show.
Again that's just speculation, but seeing as how many people on this board regularly post about getting completely hammered or altered at a show or seem to think it's okay to urinate or vomit wherever they want, it seems to me that putting your child in a crowd like this is a considerable risk. Especially when said crowd is bound and determined to rush to the front and crush whomever is already is there against the rail so they can get a pick or have a band member make eye contact with them.
Not saying I'm right on this. Just saying I pay attention to the stories that pop up on this board a day or so after the band plays a show. Not everyone in the crowd is like this to be sure, but its a risk for both the parent and the band with children in a GA audience. Why should they take it?
In Europe people have children too! I think usually it works like that: Right in front of the stage is a huge place (standing room) where all the "crazy" people can jump, move and dance as much as they want. Sure there's always a risk that someone jumps on your feet or spills beer all over you (I experienced both) ... but eh we all know about that risk and still have the fun of our lives. For all other people who like to enjoy the show in a more relaxed lean-back-way there are seats a bit farther away. That's probably the parents plus children section. Works good in my opinion.
This is very fair comment, but how does this differ in Europe?
Two points:
1. I don't know what the crowd composition is like in Europe as I've not seen a show in any nation there. I can't comment on GA shows in Europe.
2. I have observed that Europeans have different behavioral aesthetics than people from the States. Not better or worse. Just different. But, to me, different in ways that might make some things more hospitable for a child.
"A lot more people are capable of being big out there that just don't give themselves a chance." -Stone Gossard
Just a thought about this one... it seems like there are more and more people bringing their kids to shows now that PJ's audience is getting on in age. I suspect it would be a much bigger safety concern if children were in the audience at a GA show.
Again that's just speculation, but seeing as how many people on this board regularly post about getting completely hammered or altered at a show or seem to think it's okay to urinate or vomit wherever they want, it seems to me that putting your child in a crowd like this is a considerable risk. Especially when said crowd is bound and determined to rush to the front and crush whomever is already is there against the rail so they can get a pick or have a band member make eye contact with them.
Not saying I'm right on this. Just saying I pay attention to the stories that pop up on this board a day or so after the band plays a show. Not everyone in the crowd is like this to be sure, but its a risk for both the parent and the band with children in a GA audience. Why should they take it?
Very true about the kids... Love the fact that there is seating and love the fact that my high 10C number keeps me off the floor
8 and 10 year olds are height challenged
I just added this one. I think it's answer could be important information for those with families who are planning to attend the upcoming 20th anniversary shindig. Don't think I've heard anyone bring it up yet.
Will your upcoming Anniversary weekend shindig be family friendly? Will there be any youth/child specific activities or areas?
"A lot more people are capable of being big out there that just don't give themselves a chance." -Stone Gossard
I just added this one. I think it's answer could be important information for those with families who are planning to attend the upcoming 20th anniversary shindig. Don't think I've heard anyone bring it up yet.
Will your upcoming Anniversary weekend shindig be family friendly? Will there be any youth/child specific activities or areas?
Thanks for that! The kids already know if there is no seating, they get a t-shirt and stay home
What is the process they go through to determine who wins the lottery? What are the odds of winning the lottery? Do you have a better chance if you have a high 10 club number? and how many seats are available for the lottery? I know it is rows 1, 2, 9 & 10 but are the entire rows filled with lottery winners?
Why no GA in the US?
Not sure if the band still has reservations about GA seating or not, but its the nature of venues, I believe.
Sure arenas could have a pit, but not in the amphitheaters.
And Id bet that the liability insurance is higher for GA shows-higher cost=higher ticket prices.
Just a thought about this one... it seems like there are more and more people bringing their kids to shows now that PJ's audience is getting on in age. I suspect it would be a much bigger safety concern if children were in the audience at a GA show.
Again that's just speculation, but seeing as how many people on this board regularly post about getting completely hammered or altered at a show or seem to think it's okay to urinate or vomit wherever they want, it seems to me that putting your child in a crowd like this is a considerable risk. Especially when said crowd is bound and determined to rush to the front and crush whomever is already is there against the rail so they can get a pick or have a band member make eye contact with them.
Not saying I'm right on this. Just saying I pay attention to the stories that pop up on this board a day or so after the band plays a show. Not everyone in the crowd is like this to be sure, but its a risk for both the parent and the band with children in a GA audience. Why should they take it?
They should just do what they did a few years back (i don't know if 10c did with the recent Euro-tours) when they offered you the choice of a GA ticket or a seated ticket side stage for the European shows. That way if you want to take your kid (which I think is a totally idiotic decision but that's a whole different story that I won't get into :P) you could choose the seated wing seats and if you are younger and/or willing to brave the crowd you could select the GA seat.
I know that those with low numbers will bitch and moan over this, but it's about time that we had a whole new front. The US shows are totally lifeless anymore, and the people up front especially don't get into most of the songs since they've already seen that song live 239538 times.
Comments
Both added to the list on the front page.
Also a bump for the addition of Part II of the 12/15/2010 transcript.
I truly appreciate the hard work you have put into doing this. Thank you very much...
PART III.
Host: Tim Bierman (TB)
Host: The Rob (TR)
Guest: Kathy Davis (KD)
Guest: Jessica Letkemann (JL)
Guest: John Reynolds (JR)
Guest: Matt Moore (MM)
*TR gives out number*
Caller: ... It's been great listening to you and the old stories. It reminded me of my own old story and my ten minutes of fame. I used to run an old website when I was in college that was basically a mp3 archive, which everyone knows these days, but it was kind of the first one out there... I basically collected one live song of every song I could possibly find of PJ. And continued to scale, this is over 1997, scaled up to the point that Yield was coming out, and the radio, you know radio...stations how they like to leak them (albums) early back then... So they played like 30 second clips and I recorded them and put 'em on the website but most of the world hadn't heard it yet so...
JR: Oh you were that Josh...
JL: Oh you're that guy!
TR: Wow!
Caller: I don't know if anyone remembers me, but...
JR: I remember distinctly...
KD: Oh yes, Josh.
JL: That was very memorable at the time.
Caller: And that was actually the week of finals in college. It was probably bad timing for it but... It just immediately exploded in the news because, of course these days it's no big deal or it's commonplace for things to leak early on the internet, but it just hadn't happened before. And it quickly hit MTV and all the major music news all over the world... It was such an experience and (to) see how things are handled these days and how things were handled back then where I got a personal phone call from Bill Milnan (sp?) or I think it was a VP or something and... *indecipherable*...something a bunch of T-shirts and stuff and said 'Thanks, but can you take those down?'...
*laughter*
Caller: *indecipherable* ...a big legal thing it would go through these days. The experience was amazing and the feedback I got from so many people, and these were huge fans... The news media wanted to blow it out of proportion and make it look like I was a pirate or something but I didn't have full versions up there. I wasn't taking away sales at all. If anything people were hearing it... It was quite an adventure back then... I think part of it was I was running this website off my computer in my dorm room. I think at one point it used to take 10% of the whole college's bandwidth.
*laughter*
Caller: They probably weren't too happy with me but back then not many people used the internet. I used to get, I just remember getting dozens and dozens of e-mails everyday with either great comments, or thank yous, or people just discovering PJ, or they've discovered it and it's such a great resource and... Actually what's part of it for me was, actually most people didn't realize I hadn't been to a show at that point, and that was part of my way of finding all the live music cause everything, even bad recordings, are incredible to hear them live... and to gather that all together.
Just to hear you guys speak about Five Horizons and the lyric song book and things like that I remember digging those things up back then and talking with those people and kind of interacting... back in the early days. It's just kind of fun to look back.
MM: ...It seems like what we've done on our site is, in a way, the evolution of what you started. I mean what you were doing back then was, I would say avant-garde. No one was doing that at the time. And what we started to do on our site is, in a sense, create that library or mp3 files for all the fans. And really to try to pick out and figure out what the 'best' live versions of certain songs are... You know we don't usually do that for the PJ original songs cause, you know what? It's not really our business to tell you what we think the best version of Alive is. That's a very personal thing, quite frankly. But if they've only played a cover song two or three times we're going to grab the best quality copy of it and put it up there for you.
I think what we did on gremmie.net that was interesting was that, for a while there was kind of a demilitarized zone of things you could, and things you could and could not post on the internet. And in fact JR actually e-mailed me a couple of weeks ago saying 'Matt maybe you should take down the most recent version of All Encompassing Trip. I don't think they're gonna appreciate you hosting it.'
TR: He did?
Caller: That's part of what I did where I had a couple copies of a song and it was trying to take the most interesting version or, maybe not necessarily the highest quality but back then space was limited, you know?
MM: There's also that, they can tend with as well. But I think on top of that when we first launched several years ago we were really kind of walking into a no-man's land in a way. We frankly we put a lot of work in to getting it up off the ground but then we figured to ourselves 'You know what? In five minutes the Ten Club could call us and say 'Take it all down.' ' And we would do it. It's not our business to step on their toes, and the Ten Club has been very good in terms of opening the lines of communication for things that we should and should not host and we always respect that because at the end of the day what they say goes. And we have to respect that, of course.
Caller: But it does show how they are different than most other bands which are completely disconnected with whatever legal department and immediately clamp down on things that are fair where... The biggest, most impressive thing to me is: PJ doing their own bootlegs. And continuing to do that. Continuing to sell them at basically cost. That was just incredible.
JL: It was a revolution for fans for sure... You, I'm sure, remember what it was like before 2000, before every show was available... That was why it became so important for people to sort-of curate what shows were available. I think there would be one or two shows a year that people would pass around as, like, the best of the tour, or something like that. It was a different world.
Caller: Towards the end of my college career as I was still shutting down the site but at the last year I kind of started to think 'Well what can I do now? Can I grab every show that I can possibly find online?' I stil lahve a stack of CD's of as many shows as I can find all the way back to '91/'92. No one would ever think that they'd still be doing shows and tours every year this far in and they're still amazing shows. Back then to think that you could possibly archive them all...
MM: Well a good think now, Josh is that all of those shows are on gremmie.net. Every single show from 1990 through 2007 is on Gremmie's Basement which is basically every other show that's not hosted on gremmie.net.
JL: And you were talking about evolution Matt... Do you remember the days where we were sending tapes of this stuff back and forth to each other? Thank God we don't have to do that!
MM: Oh absolutely! And in fact, I remember getting very excited for the Song of the Month on Five Horizons cause that was the way you got it back then. The channels were not as robust and the access to the music was... It just wasn't there yet. It wasn't built yet.
JL: Yeah I had a monthly blank cassette budget... *laughs*
JR: Or $50 bootlegs with misnamed song titles like 'Drop the Leaves'
*laughter*
MM: Or Lukin which was called '100 Pacer' if I remember correctly on my Australian bootleg...
KD: I have a friend who named his band that, ironically...
MM: Is that right?
KD: Yeah, 100 Pacer...
JR: Yeah we're psyched about the Basement actually. When he put that up I couldn't believe it cause just... I had some of those Italian bootlegs and that's how you got stuff. Back then it didn't matter who taped it just as long as somebody did.
MM: Yeah and there was a certain charm to it. You had some taper in the crowd and they would record it and they wold try to sell it to you for... I don't know what you guys paid for your bootlegs back in the day, but I remember getting a bootleg called 'The Longest Day' which was Randall's Island II back in '96 which was my first show and it was 90 bucks... Which, at the age I was, which was probably about 15,... You know that was a king's ransom.
JR: And three cassettes to trade it.
MM: Exactly.
JR: That was at least 97 cents postage.
MM: That's also part of the budget.
JL: You know it's funny I became a fan in '92 but I didn't sort of start with the whole trading shows back and forth until I got to college, like when Vs. came out in '93/'94. But when I started becoming so hard-core that I was rabid to find a show... I couldn't wait for another show... I even traveled at that point which was crazy to me...
I was lucky because I had a classmate who somehow had found every PJ fan in the New York area and went to their house and copied the one bootleg that they bought for 90 bucks or whatever. So he handed me this box of like maybe 30 of them and he was just like 'If you're serious about this here's 30 of 'em.' So I had this instant thing and as soon as I went into alt.music.pearljam and started trading those it metastasized from there.
KD: Like a cancer...
*laughs*
KD: Doing Footsteps too I had sooooo many tapes that people sent. 'Oh I just went to the show. Here's a tape of it.' So blessings upon you for spending $90. I've never spent one red cent other than official pearljam.com bootlegs... On a bootleg. I've been really lucky there just getting things through trading or 'Hey I've got this. Send me that.' And videos and wahoo now I've got a room that's all PJ.
JL: I've seen this room. She's got a wall of file boxes... I went out to the Bridge School and stayed at her house. She lives near Mountain View (CA) and I stayed in that room and my inflatable bed was next to this wall of file boxes. And they were labeled things like: 'MLB 88-90' or like 'Early PJ Clippings 90-92.' I was so sad I didn't have time to open these boxes.
KD: *laughs* One day you will fly out there.
JL: Crazy room! Crazy room!
MM: Well you know Bob Dylan's got his own historian maybe you're the next PJ one.
KD: I don't know. There's a bunch of us out there I think. *laughs* We can band together.
TR: Well you guys are definitely setting the standard for good interesting content.
KD: That's great. It's inspiring... All the love in the room, what can I say?
JL: I sort of thank God we don't have to pass tapes back and forth is, I guess my point...
KD: Yeah so thanks Matt for me.
MM: You're welcome!
JL: And Ten Club too for the bootlegs... So we get the whole picture. I don't pull out those tapes any more.
JR: Yeah cause when I was... in DigiJam we had a tapers list with about 200 tapers and when word got out that the bootlegs were coming out every said 'Alright well, see you later!' Everybody sold their gear and... that was it.
MM: Well it's like making pot legal, right? You undercut the market entirely.
*laughter*
JL: There's still one or two out there for those one or two things that don't get released. Or songs that don't get put on the official bootlegs... Ahem... Adjusts tie uncomfortably...
*laughter*
MM: The Vic.
TR: Hey! There must be a reason.
KD: There's always a good reason. I question about the motive...
MM: That wasn't me. I didn't say that...
*laughter*
*TR gives station ID and call in number*
Caller: I wanted to see if I could get any insight on... exactly what the atmosphere is like in the studio when they're making an album. Is it serious? Are they having a good time? Is it laid back? What kind of hours are they putting in? How do they organize their day to recording?
JR: Well we can say that we have noooooooo iiiiidea.
JL: I've never had that experience.
KD: I wish I could say I've had that experience but I have not yet.
MM: Well we've all seen Single video Theory right?
Caller: Yeah that is an interesting video. It gives a little bit of insight I guess... Maybe that's a good idea, maybe you guys cause of your experiences and maybe some of your connections with some of the band members will be a great way to get some insight for the rest of us fans. Maybe one day you'll be lucky enough to get there.
JL: We'd love to! We'll be there with bells on!
KD: There is a PJ movie coming out next year (2011), ahem, that may cover some of that I'm hoping...
*Tim Bierman laughs at Kathy's attempts to get him to open up about the movie*
KD: We'll see...
TB: Well I guess I'm probably the only person here who can chime in on that...
JR: Thanks Tim for bailing us out...
*laughter*
TB: Just so everybody knows... It's not... It's kind of like the back stage pass. Everybody's like 'Oh! I want to get a backstage pass so when I get back there I wanna see I wanna see!' And it's like 'You wanna see what? The empty room with the chairs in it?' There's just nothing going on. It's not like a 'rock star' scene like you see in the movies. And I guess the same thing can kind of be taken to the studio. It's not like there are... It's not like people are hanging out watching the band record, you know? The guys go in there, they do their work... Sure there's a little down time and they hang out and they relate to each other or they go off and do their own thing or whatever it is... I don't want to say it's just like another job but really that's kind of what it is. They have to go in there and do what they have to do and that means a lot of different things... There's gonna be times when for lack of a better word, it's just 'fun' and they're in their jamming and trying to get some ideas or whatever. And there's other times when there's stress and tension and pressure to get something finished and knowing you promised your family you'd be home for dinner and you've got this part you can't quite get it right... It's not all fun and games but at the same time it's not necessarily this epic grind of recording. So it's probably a little bit of all those things and there's not really anyone who knows that... What goes on there except for the band and the engineers and the producers and those guys. They aint talkin'. They know better.
KD: They're doing their job, as it should be. I think, from what I know if I could just chime in too about their process... I would venture a guess that maybe not a lot of... There's creating the music to record it... But the actual songwriting process, I think, takes place outside of that room. They all bring... They give each other their songs. 'Hey I wrote this one, learn it.'...
TB: You know sometimes it's like that and sometimes it's not. Sometimes they write in the studio. Sometimes they bring things in that are completely demoed. Sometimes they'll have a bunch of demos and along the way they'll jam something out and be like 'Hey! That's a cool idea. Lets work on that.' And maybe that will be for the next record. There's all different ways that that happens.
KD: That's what makes them great. They could write a song in a sound check to for that matter. You never know.
TB: Absolutely.
JL: They have. You know who would be interesting to (hear their experiences)... If Brendan O'Brien was ever available, cause he give a great interview. When he gives an interview about any of the bands that he's recorded he's really insightful. I bet he would have some interesting stories.
KD: Ooh... I'm rubbing my hands evilly with an idea...
*laughter*
TB: That's funny I was just on the phone with him right before we started the show...
*the guests emit a collective 'Hmmmmmm...' based on the possible implications*
KD: Call him back and get him on in here!
TB: He likes to talk. He refers to me as Matt Pinfield whenever I see him cause...
*laughter*
KD: Ohhhhhh! That's just wrong!
TB: I've interviewed him for a couple of things and he always gives me shit and calls me Matt Pinfield...
*laughter*
KD: At least he didn't call you Matt Pinhead. So that's good.
TB: And Matt... Matt Pinfield is awesome, by the way. We just happen to look a little bit alike...
TR: Thanks for your call. Let's take another call now...
Caller: My husband took me to the May 18th show in Newark and Eddie was holding up a sign. It was a missing person sign. A fan was missing who had a PJ tattoo. Does anyone know if they've ever found the man?
TB: I have no idea.
TR: That's probably something you could find out about on the forum. I know there's someone in Columbus, Ohio and that was referenced at the Columbus show.
Caller: I wonder if it's two people that are missing or one?
KD: Could be the same fellow, I'm not sure.
TR: Check out pearljam.com and the forum there because there's always a lot of topics about what your question was pertaining to.
JR: And those sort of things Tim, you guys pay a lot of attention to and I think that forum post is still stuck to the top. It's very important. That sort of thing you don't mess around with.
*TR takes new caller*
*Caller tells a story about blowing the lyrics to Parachutes and naming his upcoming daughter Lulu.*
*TR takes new caller*
Caller: If any of y'all could be present while one of the albums was recorded which album would you choose?
TR: No Code over here.
MM: I second that.
KD: Yield.
JR: I'd sleep on the couch of London Bridge Studio to be at Ten.
*laughter*
I would've been the guy banging on that fire extinguisher.
TB: I think I would have been at The Site for Vs. because the chef there at the time was incredible I guess.
*laughter*
Then I could've visited Rob all the time.
TR: Yeah! That's right man! When are you coming down dude?
TB: I'll be there don't worry.
KD: And you'll never want to leave.
TR: Did we miss anybody? Jessica?
JL: *bad connection*
JR: I think she said Yield.
TR: And what about you Jonathan (caller)?
Caller: I'd have to pick Vs. just cause I remember reading the article about it in Rolling Stone (written by Cameron Crowe) about the recording process and it just seemed like a really good article.
As far as I remember Eddie had a real hard time recording that album.
JR: And I think subliminally that's... We write with those types of articles in mind. Cause we have our favorite songs. We have our favorite shows. But we also have our favorite articles from the early days. And that's just an example where, when you read that article, you're there kind of right outside those studios. You're there behind the desk. And the level of detail, gosh... We can't wait for what's gonna happen in the new year with Cameron Crowe and this film coming out.
KD: Yeah. That article was written by Cameron Crowe and just the fact that he's doing the movie just makes my head hurt. It's gonna be so good!
*call ends*
*TR takes new caller*
Caller: Hello PJ nerds. How's is going?
*laughter*
I just wanted to call and say 'Thank you guys, so much.' JR and Jess and Kathy as odd as it sounds I fell like I kind of know you guys just cause so long you've been our connection to everything. And, of course, your predecessors too. JR we've actually spoken in the past. I run thecolorsblend.com. We've talked a bit about posters and some other things and just thought I'd take the chance to say 'Hi' to you guys. Obviously the work you do is very much appreciated.
JR: Yep thanks man. And you know I do remember you. I do remember your site, and we're sittin' here and we're talking and there's great other sites out there. We're friends with the guys from theskyiscrape... There's the blackredyellow with posters... I mean that forum is crazy detailed. All those guys are hard-core.
MM: We've also got pearljambootlegs.org, another great site.
JR: You've got Katrina running touringfans...
MM: She's a pleasure, you met her?
JR: She's great...
MM: She's fantastic to be around.
JR: And even to give you a look behind the scenes... All of us get along and we also love that from a geek-webmaster standpoint. I run a mailing list full of all these guys and gals who run the other sites and we collaborate. See that's the thing... Matt asked me 'Hey I was gonna write about this. Are you gonna cover it?' I was like 'No. Go ahead. Take it.' And Brandon from theskyiscrape is always talking to us and pitching ideas and stuff like that so we're... You know the year there in the '90's was kind of like 'Who can trump this?' and 'Who can leak this?' and blah blah blah. And nothing against Josh before but the 2000's were just kind of a friendlier bunch. We all get along. We all know our space and we all know 'If I miss something somebody else is gonna cover it.' And so Chris (caller) thanks for that.
MM: There's a lot of camaraderie between our sites I think is what JR is basically trying to get across to everybody. Thanks for supporting us. Really appreciate it.
Caller: Yeah for sure. I think that says a lot about PJ fans in general. It's not really about who's better or what's better... We're all a community and I think it's awesome.
TR: Chris (caller) is your site like a poster site?
Caller: Yeah it is. I started it in college around '97 would be my guess. And started small as I kind of learned how to even get things up on the web. I called and at the time actually spoke with Barry Ament (of Ames Bros design) on the phone and just got his blessing to use some of the early on images and scanned what I could out of the Ten Club newsletters and tried to get up as much as possible.
KD: That's fantastic. I love PJ passion.
MM: You know Chris (caller) I'm actually glad to hear... you telling me this because my buddy Matt who's waiting to call in right now... he and I are working on a poster section of gremmie.net. We will stop doing that tonight.
Caller: Yeah well lets discuss.
*laughter*
*call ends and TR plays the world premiere of Porch from Live On Ten Legs*
TR: Wow! What a nice little stocking stuffer that is! That was Porch from Live On Ten Legs. I don't think I've ever heard a version so low in my headphones ever in my life.
*laughter*
KD: We're rocking out in *indecipherable* right now.
TR: Well thanks for that little tidbit Tim! That was great! And we'll let everybody know that we'll be premiering a lot more of Live On Ten Legs on Pearl Jam Radio starting very soon. Probably tomorrow. And I wanna thank everybody for joining us today for a pretty encompassing, encompassing trip. Fan experience extraordinaire.
*gives thanks to guests*
TR: We will be taking a few weeks off over the holidays and we'll resume in the new year. Wishing you all a great one and thanks for sticking around. Tim thanks again for another great week.
TB: Thanks Rob I'll see you in a couple days.
*signs off*
Will someone please ask Brad K. about the rejected EV Hawaii poster....?
It's so cool- can't understand why it was rejected...
Can you be a little more specific? What year and date was the poster from? Was it from an eV solo show or a PJ show? How do you know it was rejected, or was that just speculation on the part of others?
I don't follow poster trends at all so it would help me if you could spell this out.
Hey Heavyhands!
There is a Brad K. poster called "Hawaii" that was sold in October 2009-
I read a rumor that Eddie Vedder rejected it for his solo tour...
hence it was sold with no written type on it...
Is there any truth to this...?
It's growing up just like me
I think Brad confirmed this.
for an upcoming TOUR!!!
Hee hee....
Same thing happened to me in Camden in '08. All of the 164xxx numbers were 2 rows from the lawn. I have never been worse that row 13 there. Needless to say we were all pissed. There were people in the row in front of us that just joined the fan club that year. Go figure.
8/15/92, 9/28/96, 8/28/98, 8/29/98, 9/18/98, 8/3/00, 8/9/00, 8/10/00, 8/23/00, 8/25/00, 9/1/00, 9/2/00, 4/28/03, 6/18/03, 7/5/03, 7/6/03, 10/1/04, 10/3/05, 6/19/08, 10/27/09, 10/31/09, 5/21/10, 9/3/11, 9/4/11, 10/21/13
More to Come....
During Brad's book release he stated that Ed was not a big fan of that poster which is why it was rejected as and "official poster" for the actual solo tour. Hope that answers your question if it's the same poster you are referring to. The image of Ed sitting under the palm tree on the beach, right?
to collaborate with Eddie on the Chicago EV 08 poster and the
Pearl Jam 2010 Bridge poster he partially designed with him...
that is a great question, strangely from threads in the past here I really think the majority of the US crowd wouldnt want it. But the idea of a seated show in europe wouldnt be well received.
Crowds are way more atmospheric and reactionary for the band to play to when its GA, although it does cause them some concern. However from watching two DVds....touring band and immagine in cornice I know which gig looks the more fun for all concerned, and I know which one the band seems more into.... This is generalising of course but those two Dvds are quite compelling. I will never forget first seeing touring band and being amazed at how dead the crowds are, they could well be playing at an over 70's dinner event or something....then you try the extras on that dvd and cut to the euro cam shots and its a totally different story.....
I imagine the band enjoys the variety this throws up
its an awesome poster alright and would have been perfect with the eddie text too....still love it anyway, and it seems nice in an undetstated way in that its eddie with a guitar under a tree looking at the sea but it doesnt even say that anywhere.
Brad did confirm eddie didnt like it, what he didnt like would be interesting to hear, but i doubt Brad would go into it.....
Really though if you fire Brad an email on something interesting like this he Always responds..
I think many US crowds would be overstrained, if seated shows were changed to GA. People wouldn't know what to do. "Wait? Why are people jumping? What? Do I have to move as well? Ewwww I'm getting all sweaty! ... Hmmm wait .... actually ... omg ... it's kinda fun!"
added to the weekly topical question section at the top of the post
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Just a thought about this one... it seems like there are more and more people bringing their kids to shows now that PJ's audience is getting on in age. I suspect it would be a much bigger safety concern if children were in the audience at a GA show.
Again that's just speculation, but seeing as how many people on this board regularly post about getting completely hammered or altered at a show or seem to think it's okay to urinate or vomit wherever they want, it seems to me that putting your child in a crowd like this is a considerable risk. Especially when said crowd is bound and determined to rush to the front and crush whomever is already is there against the rail so they can get a pick or have a band member make eye contact with them.
Not saying I'm right on this. Just saying I pay attention to the stories that pop up on this board a day or so after the band plays a show. Not everyone in the crowd is like this to be sure, but its a risk for both the parent and the band with children in a GA audience. Why should they take it?
This is very fair comment, but how does this differ in Europe?
In Europe people have children too!
Two points:
1. I don't know what the crowd composition is like in Europe as I've not seen a show in any nation there. I can't comment on GA shows in Europe.
2. I have observed that Europeans have different behavioral aesthetics than people from the States. Not better or worse. Just different. But, to me, different in ways that might make some things more hospitable for a child.
8 and 10 year olds are height challenged
Will your upcoming Anniversary weekend shindig be family friendly? Will there be any youth/child specific activities or areas?
What is the process they go through to determine who wins the lottery? What are the odds of winning the lottery? Do you have a better chance if you have a high 10 club number? and how many seats are available for the lottery? I know it is rows 1, 2, 9 & 10 but are the entire rows filled with lottery winners?
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Not sure if the band still has reservations about GA seating or not, but its the nature of venues, I believe.
Sure arenas could have a pit, but not in the amphitheaters.
And Id bet that the liability insurance is higher for GA shows-higher cost=higher ticket prices.
But thats just masturbatory speculation.
I know that those with low numbers will bitch and moan over this, but it's about time that we had a whole new front. The US shows are totally lifeless anymore, and the people up front especially don't get into most of the songs since they've already seen that song live 239538 times.