Host: Tim Bierman (TB)
Host: The Rob (TR)
Guest: Brad Klausen (BK)
TR: Tim there's a lot of chatter about the new Ten Club membership options so maybe this is your shot to clear (it up)...
TB: There is? People are talking about it? *laughs*
TR: You know... Some people... You know, is it a $20 bill? Is it two $20 bills? It's such a hard choice. Maybe you just want to clear some things up here.
TB: Well, yeah. It's not my position to try to address everyone's issues. It seems like everyone's got a issue with everything.
TR:*laughs*
TB: But I can certainly say that the reason for this new sort of structure is we try to provide what we feel like the fans are asking for which is: more stuff, you know? So that's what we're trying to give them. We've been trying to figure out a way to... Everybody has to increase prices. Everything cost more. It costs us twice as much to send the single. It costs us twice as much to send the newsletter as it did five years ago. Like literally twice as much, if not more. And so we had to raise the rates. We didn't want to raise them a little bit at a time like the post office does. We wanted to take care of it all in one big movement. We had many meetings about this and one of the things that we heard the fans talking about was when they renew their membership they don't get anything and they have to wait around for us to finish the Christmas single. And, you know, the same old story: "We don't get anything."
Well we thought it would be cool if we could come up with something that we could give to people right away when they renew. And so we thought "Well lets just send them the news letter or the Christmas single right away when they renew" but that sucks for someone who. The Christmas single comes out on whatever day you guys wanna say; January 1st, or July 1st, and you renew your membership on June 1st you're not gonna get it until the following June.
So we thought it might be cool to just add a new item that people could get that's not such a timely matter. So the T-shirt idea came up and that will be a a 2011 Pearl Jam Ten Club T-shirt and there'll be a 2012 Pearl Jam Ten Club T-shirt and that's it. They're not gonna be able to get those any other time. And we thought people would really enjoy having a limited edition T-shirt that no one else could get unless they were a fan club member. Even if you don't wear T-shirts or don't like T-shirts you could certainly set it aside and get back to it at some other point, or give it to a friend or whatever it is. We just feel like there's some value in that and wanted to be able to increase the revenue coming through here so we can take care of a few things that have been neglected because of lack of cash flow.
So we're trying to make things better. The extra money that is coming in, we have earmarked for improving all of our services everywhere. So you can read into that what you want but we want to make the web experience better, the ticketing experience better, everything better for the fans. This is what we're trying to strive for. I know that people out there are saying that we're giving them less and charging them more but that's just not the case.
TR: I think what everyone is really, you know, most fans are most interested in the ticketing option and that is available for both levels.
TB: Yeah, we're not taking ticketing away from anyone. We want to maintain that. And that's definitely one of the thing people have said: "The only thing that I care about is the ticketing!" So, okay, if that's all you care about then we're gonna keep it. We're gonna give you the ticketing. We're gonna keep that and we have to keep the rate the same because it still costs money to run the ticketing system and put people out on the road to get people their tickets and all that stuff so...
TR: So before we get 20 calls about this at *gives out number* ...do you want to tell all those people about "Hey! When am I getting my T-shirt?!"
TB: That's a good question and we have a T-shirt designed and it's kinda... Hasn't been fully blessed yet. One of the band members is promising to deliver us artwork for a new T-shirt in the next couple of days. So hopefully...
TR: That's worth forty bucks right there! The band blesses the T-shirt?
TB: Yeah. For sure! Even the design for the T-shirt so. Hopefully those will start shipping out in a matter of 10 days to two weeks. Something like that so we'll start getting those in the mail for all those who have renewed in the 2011 memberships.
TR: And how much thought went into the Analog and Digital naming of this structure?
TB: We had a lot of brainstorming sessions along the way about the nomenclature and all of a sudden it just made sense that... Because we'd had this "digital membership" idea, but we thought that the Analog level of membership was a little bit cooler because you were indeed gonna keep getting the vinyl version. And all of a sudden someone said "Well what about Analog and Digital?" and it just kind of stuck and we dig it. It makes for kind of a cool visual thing too.
TR: Okay *gives out number, takes call*
1. Caller: Have you guys talked about keeping, I guess rotating... Cause you guys got the first two front rows (reserved for people) who don't have great (fan club) numbers. Are you guys gonna continue that or is that just a trial?
TB: Some variation of that or that exact thing, yeah. Until we put together a tour and approach that situation we're not gonna really know. But yeah, we like the idea of rotating the front couple of rows. It just gives people a chance and it puts some new faces in front of the band and that's refreshing for them and gives them new energy every night. We feel like that's a really important thing. It's been a positive thing for the band for sure.
...And just so you know... We try to select people randomly from the different levels. we try to take someone with a 150 number and we try to take someone with a 200 number. It's not like we just take people from the end of the line and move them up front.
Caller: It's amazing that people want to call in and whine and complain about what the band and the website are offering. I think that it's a wonderful feature that's offered to fans and to criticize it in any way... to me it's being ungrateful. I just wanted to call in and say "Thanks". It's wonderful and anything you do is great. So that's it. Thanks.
TB: Thanks... Appreciate it. You know it's not so much on this show. We don't get a lot of people calling and complaining. It's mostly people that are hiding behind their keyboard and feel like they have more of a voice there online. And they do. People have every right to voice their complaints. It's just unfortunate that people have to be so caustic and nasty on there... as they're sitting there, (jokingly) in their underwear drinking root beer or whatever it is you know.
TR:*laughter*
TB: I always have the same thing, you know. If you have such great ideas and you think you know how to do it, maybe you should start a band , sell several million records, and get a fan club, get a radio show, whatever it is... Just go ahead and do it. Cause talking about it is one thing and doing it is another.
TR: And speaking of things on the website let's nip this in the bud: hypotheticals. There will be no difference in the ticketing between your membership levels, correct?
TB: No, no difference in ticketing. Everything's still the same. You still have your same seniority. People that come in under one level are gonna get the same number as one next to the person who comes in at a different level. In other words, if you go buy a Digital membership and the (very) next person buys a physical or Analog membership you're gonna have pretty much the same level of seniority.
TR:*takes new caller*
Caller: In reference to the ticketing I've been in the fan club since, I wanna say 1996. And I remember in '98 when the ticketing system was different. You guys mailed out the tickets and a lot of people supposedly scalped the tickets... The last two times that the band has gone on tour... I've been shut out of tickets. I'm just not sure if I should still, and I have a good computer, I'm not sure if I should still be involved with the fan club. And I'm just wondering: Is it possible that the ticketing system is gonna change in the future? I don't know what the answer is, but...
TB: Well, I'm not exactly sure what you're asking...
Caller: Okay...
TB: It always changes. We have to change... There's lots of different things that change...
2. Caller: I guess what I'm asking you is: If I don't know that I'm guaranteed a ticket (why should I be in the fan club?)...
TB:We've never guaranteed a ticket.
TR: There's no guarantees.
Caller: Okay
TB: Never have. We do our best to get you guys all the tickets we can. We're allotted a certain number of tickets. In some, most markets, we have plenty and we can fulfill all of our ticketing needs. Some places we don't get enough tickets and people get shout out so we can't guarantee people getting tickets.
Caller: Okay.
TB: But we're not gonna change from that. We're not gonna change... We're not gonna all of a sudden say: "Oh look we're gonna get crappy tickets" or some people aren't gonna get 'em, or we're just gonna stop, you know?
Caller: Right. The tickets that you guys do get are phenomenal. They're in the first ten rows, I'm aware of that but I'm just saying that on the pre-sale, with the password I was not able to get tickets. And I had to sweat it out on the day of the public on-sale through Ticketmaster to buy a single ticket. That's all I'm sayin'.
TB: Well we're trying to make that better. That's one of our goals for this year and for the next time we do an on-sale. We want to have a better system and that's ... It's not a matter of going out and buying more servers like everybody suggests online, but... We're working on it.
Caller: I appreciate your time. You guys do a great job.
TR: And you are not alone in your quest for tickets.
TB: Thanks.
TR:*takes new caller*
3. Caller: I've renewed my membership for 2011 several weeks ago, then we get the update about the other option which I would love to, for lack of a better word upgrade... If I keep my membership now, how it is, I'm assuming I won't get a T-shirt, that type of thing...
TB: Right...
Caller: Is there a way to upgrade so I'm immediately Analog?
TB: Yeah. So basically the way we're handling those situations... And I'm assuming that we're gonna be reaching out to those people via e-mail that have done this... There's a finite number of you guys that have done this very thing... What we're gonna do is handle those situations individually. So someone's gonna send you an e-mail or you're more than welcome to send an e-mail to <!-- e --><a href="mailto:info@TenClub.net">info@TenClub.net</a><!-- e --> and just explain your situation and they'll walk you through the process.
We tried to come up with a solution to kind of automate that process but it just became a little too cumbersome and confusing and since there were so few people we thought we'd deal with it on an individual basis.
4. Caller: That's great! Another one that's kind of a funny question but I think a lot of the listeners are wondering... A couple of weeks ago we had Mike, who was listening, call in and then Eddie who was there in the office pop in. Do those guys hang out at the office frequently?
TB: Umm... Eh, yeah. I mean it kind of depends on what you consider "frequently" but right now (I) haven't seen a band guy for a while because everybody's sort of scattered around. A lot of people are in places that are much warmer than it is here. But yeah. I mean this is a place... Those guys look at this as one of their places of doing business, their office, their clubhouse, where they hang out, where they play music, where they create music, where they get their business taken care of. They have personal relationships with people in this building. So, yeah. I think hanging out here is kind of a loose way to say it, but sure.
Caller: Cool. Well that adds to the greatness of the Ten Club.
TR: Well thanks for addressing that Tim. I hope everyone is satisfied and can make their Analog or Digital...
TB: (jokingly) There's no waaaay! There's no way that everyone's satisfied! I'm sure that I just lit about a thousand more fires that are gonna... torch me...
TR:*laughter*
TB: ...on the boards and everything. There's one other point I wanna make here and it just... Something that I feel really passionate about. I don't mind people flaming me on the boards. It's just part of the job and I get it. But it's ridiculous that people think that I'm just gonna give myself a big fat raise...
TR:*laughter*
TB: It's ridiculous to think about that... And I can deal with it. But the thing that really bums me out is when people turn around and, like a couple of the callers we've had today that have complemented us on what we do, and we're really proud of the work we do here... But when people complement us on the boards, people turn around and say "OH! You're just kissin' ass!" or "You'll do anything that this band says! You're like a bunch of lemmings that whatever they do you're just gonna follow them over a cliff!"
It's like, come on people... Nice... goes a long way. Not just on the internet but in all walks of life. It's nice to be nice to the nice. I would rather be nice to those nice people than to the assholes on there but I don't really have that choice. I've gotta be as nice as I can to everybody. But it's like, come on, people. Don't *inaudible* flaming people for passing along a complement.
TR: Yeah. I think it's the advent of the internet too. Because before the internet how many letters and post cards were you getting chewing you out. I don't really think too many... *laughs*
TB:*laughs*
TR: All right lets put that to bed. We've spent our allotted minutes on that.* We've got a great guest today.
TB: Sorry Brad. I didn't mean to step all over your stuff.
TR:*welcomes Brad Klausen*
TB: Brad what do you think of the new two tier system?
*laughter*
BK: I am unfamiliar with the new two tier system.
TR: He's going Spirograph. That's where he's going
BK: I was back in the day when tickets got mailed. I think I even had a ticket that had my name at the top of it. And I think I even gave one of them away that probably got scalped so somebody out there might have a scalped ticket with my name on the top of it.
TR: Oooo, there's an e-bay item.
*laughter*
TB: Well you know it's funny because I say this to Brad because it used to be... You know when Brad worked here in this office, Brand and I would commiserate together over these things a lot.
BK: We used to go to the post office. Talking about getting all the letters, that used to be a daily thing. we used to go get all the letters. That doesn't even happen any more does it?
TB: No, it does. But it's not me it's someone else.
BK: Is it nearly as many?
TB: Ummm, there's still quite a bit of mail yeah. But it's not the same volume.
BK: The best... What was the... The bag of puke.
TB: Someone, not me but before I was here someone sent the woman who ran the fan club before me a bag of puke and I'm not really exactly sure if they knew this or not but she was, like, incredibly sensitive to puke. Not in...
TR: Well who isn't?!
*laughter*
TB: I guess she reacted pretty hysterically which is... unfortunate.
BK: I was always nervous about all the food people would send like cookies and treats. And I was always figuring they had... They were laced with something or there was something wrong with them. I didn't want to eat the cookies or any of that stuff.
TR: Don't give the internet generation any ideas.
*laughter*
TR: Well Brad's got a great new book out From a Basement in Seattle*gives out number*
Before we open up your book From a Basement in Seattle Brad, I'm curious as to your beginnings in the Art world. Were you influenced by the 60's Filmore posters and artists like Rick Griffin and Alton Kelley and Stanley Mouse, as well as modern day guys like Frank Kozik?
BK: I was aware of those early 60's guys but I wouldn't say that they influenced me so much. I think more of the influence was people like Kozik and Taz and stuff like that. The more sort of the, I don't want to say... I guess the late 80's early 90's. All the really vibrant neony orange and yellows and I think Kozik seemed like he was doing everything back then.
TB: Uhh Rob you've got to remember Brad's not nearly as ancient as we are...
*laughter*
TR: I know but I'm sure he's an appreciative artist as well as a...
BK: But I mean all of that stuff... If you're in to posters as a medium you're familiar with back to Alphonse Mucca and all that stuff. So all the people that are really good at the poster medium I think you pay attention to them and you see what they're doing and you try and incorporate it and take from them.
TR: Did you have a Spirograph as a kid because the cover poster on your... The cover on your book reminds me of being a kid with my Spirograph.
BK:*laughs* I don't think I ever had one. I've used one before but I don't think I ever had one...
TR: Okay...
TR: Well your book is gorgeous. You probably had a really hard time selecting. I'd like to see the cutting room floor of this book actually...
BK: Well originally the idea was to put every single poster I've done in there but it was going to cost too much money. The publisher said we had to cut out like 30 posters so that was sort of difficult to go through. There were certainly a few that I was happy to cut out, but for the most part I wanted it to be comprehensive. Everything from beginning to end so you could see how it's progressed. But yeah, it was a little trick to figure out what to put in and what not to put in.
There was one poster that I did for a screening of the movie Tron, and I really wanted to include that one but we started getting worried that Disney might sue us. Since it wasn't a licensed poster and Disney is notoriously litigious. So it was kind of... Made more sense to leave that one out.
But it was tough to get rid of all the... At least a quarter of the posters.
TR: In checking out your book it's pretty fitting how the first poster you ever did, and the one that opens your book, is for the low-power radio JAMPAC mission that you did back in 2001. And now it's 10 years later and that's just been signed in to law by President Obama and here you are on the radio. So I find that... To see that as the first one in your book and to find out that's the first poster you did that, I guess Jeff (Ament) had you do? Or brought that to you?
BK: Yeah. No, he came in one day and had an idea for it and I didn't know anything about it or what was going on. He just said there was this... That JAMPAC was doing this thing for radio broadcasts so that anyone else out there could get on the radio. And he had an idea for it and he just wanted me to draw it. And I think originally he wanted there to be a boot behind this one manned radio guy showing that the FCC was kind of crushing the little guy's way. The ability to speak out and be heard. But that seemed kind of harsh and heavy so I got rid of the boot.
But yeah, that was the first time I got to do a poster. It wasn't screen printed though, which is sort of a drag. But that was first one that I did. It's interesting that... Did it just go through recently?
TR: Ahhh, yeah. He just signed it to law yesterday actually. So good timing on your part!
BK: Awesome!
TB: It's a very good story!
TR: Speaking of great stories, your story of how you wound up working for PJ is really cool. I think you should probably tell people about it.
BK: Okay. Well I was... After I graduated from college I wanted to get a job in the music world doing album artwork and designing stuff for music magazines and that type of stuff. And that didn't really pan out super well. I went around to, I think, every record label I could find in southern California. And there was a lot at that time. I'm sure there's probably not nearly as many (now). But I handed my resume and portfolio to all of these totally uninterested receptionists at every record label that could probably care less about some kid out of college that wanted to make album artwork. And eventually realized that I didn't think I was gonna get a job doing graphic design work for music and landed a job at a broadcast design firm in Hollywood. And was really excited to have my first job but it wasn't the type of design work that I wanted to do.
And at some point I got one of the newsletters from the fan club and I looked at that and thought "This is exactly the type of design that I want to do." It was just really open and didn't seem to have boundaries on it. I had no idea at the time that the Ames Brothers even existed. I didn't even think that there was somebody who designed this. I just looked at it and thought "This is what I want to do." And so while I was at work I created a poster that sort of had a small little resume in the corner and sent it in to the fan club and said "If you guys need people to do... If you want me to do posters or album artwork I'd love to do it." And I think it was Liz who probably e-mailed me back and said "Thanks but no-thanks." I wrote in to say "Did you guys get that?"
TB: Oh, you got a rejection thing huh?
BK: Yeah! *laughs* I got an e-mail like a week later. It was probably Liz who, I think she was handling all that stuff at that time... And so I figured "Oh well. You don't get in if you don't knock." And then I got fired from my job, which was great actually! That turned out to be a really good thing because I wasn't very happy there.
But eight months later I got a phone call from my mom saying that PJ had called and asked if I wanted a job. And I started talking to Tim and he flew me up for an interview and asked me if I'd be willing to move to Seattle. I can't stand Los Angeles. Sorry to anybody in Los Angeles. But I was ready to move up here in a heartbeat. It was a pretty surreal experience. I think it still is a surreal experience. The whole thing.
TB: Well I've gotta tell my little part of that too. We got this thing from Brad this little poster mock up thing that he had done. I had just tacked it up on the wall. We had this big blue wall that was curved and it was sort of like the wall where I put a bunch of shit up just to greet everyone as they walked in to the Ten Club area. I walked past that thing every day and thought "That's pretty cool!" because a fan made that and I'd come by and after a while I kind of forgot about it.
But then we had been working with Ames Bros and Ames Bros had been handling all the graphic design stuff for PJ basically and they were becoming overwhelmed. And they were expanding their business and getting in to some other things that were a lot more lucrative for them and they wanted to show that they could work outside of PJ and were becoming successful.
So we... It was really imperative to Jeff, even though Ames Bros was his company, partly his company at the time... He wanted to find someone who was kind of young and hungry and fresh out of school and really passionate about the music and really wanted to get into it. And he came to me and said "Let's figure something out. There's gotta be somebody. There's gotta be a young creative person in the fan club or somewhere out there we can find." I was like "You know, I kind-of remember thins one thing on the wall. I think that the guy put his phone number on it." or whatever. And so I went over and I remember peeling the thing back and sure enough: there's a phone number! And I called Brad's mom and... I think you were in Europe or something...
BK: Yeah Europe...
TB: She was like "No, he's not here. He's in Europe with his girlfriend..."
BK: Cause that's what you do when you get fired. You go to Europe for a trip.
TB:*laughs* And so... Anyway that's my part of the story. A few days later, a few days after you got back you were up with your family and your girlfriend and we're like "What do you think?" And you were standing in the warehouse and ...
BK: I had to stay at that motel... Sleepy Motel 8 or whatever right by that old place on Denny.
TB: Nice!
BK: Yeah. But I was looking for a house to rend when I came up here because once you guys said "Yeah you can have the job"... But we lived in that motel for a couple of days. I remember thinking "We've gotta get out of here! We can't live in a motel!"
*laughter*
TB: Good times! The old days!
TR:*gives out number* Who published this (From a Basement in Seattle) for you Brad?
BK: A publishing company in New York called Akashic Books.
TR: And it's available everywhere, correct?
TB: Yeah except for the Ten Club. For some reason they still haven't figured out...
*laughter*
How to get that in the Ten Club store. But we're gonna get that too.
TR: Well that should light the phones up...
*laughter*
I'm thumbing through this book and Brad, another one of my favorite works of yours is the Neo-Con composite that you did for the Vote For Change Tour in 2004. It's so tastefully evil...
*laughter*
I'm wondering, did you have to restrain the amount of blood you used in this one? Was it originally envisioned that this would be a series that connected together from the five shows? Six shows?
BK: Well, yeah. Well originally I was asked to do just the one. Like a tour poster since there were just the six shows and I had the idea "Well there's six of them. Lets try and do a poster for each show." And had the idea for the Neo-Con set and presented it to Jeff and he really liked it.
As far as the blood, the interesting thing about that was the blood splatters... I was taking them and copying and pasting them and reusing certain splatters over again and tweaking them a little bit. But there was one layer in my Photoshop file that was hidden and I couldn't see it. And it was right on (President) Bush's head, like right on his forehead. And it had, like a motion to it like it was splattering out. And I turned... I just came across this layer that was turn off and turned it on and it was awesome cause his head is in the "O" of "Neo". And the O was made to kind of look sort of like a target too... And so here's Bush's head and he's got a blood splatter coming out of it.
And I showed it to Jeff and he loved it. He was like "Oh you've gotta leave it in there! You've gotta. That's great that it was an accident, that it wasn't done on purpose. You have to leave it in there!" And we were both really into the idea but after he left I started thinking "I don't know if the other guys in the band would be as into this..." And if you're gonna go "What if it causes some sort of commotion that PJ's going out trying to get people to register to vote and here they are with a poster that... What appears to be an assassination image of the President.
I didn't think that would go over so well with everybody else except maybe me and Jeff so I made an executive decision to take it off of there. But I wish it'd stayed in there because who knows if that would've caused any commotion at all. If people wouldn't have cared. But it was sort of an interesting little accident that probably should've stayed in there.
TR: And the FBI'd come knocking for you.
*laughter*
TB: I was gonna say the CIA... It sounds like Brad's covering his tracks somehow. Like that original version came out somewhere.
TR: What else is really interesting here in the book... You've got the Mock up, the pencil drawing, and on the last show, the October 8th Kissimmee show, you've got a choice between Tom Ridge, Condi Rice, Karl Rove, Richard Perle, and it winds up being Paul Wolfowitz. So did you just roll the dice on that one?
BK: Umm no. I had certain... There's enough Neo-Con's to choose from on that but some of them aren't as well known, and they would just be people that are behind the scenes and no one would recognize. Even like Richard Perle I don't think people would recognize him.
TR: Thank God...
BK: Even Wolfowitz and you know, everybody's seen (vice President Dick) Cheney and (Secretary of Defense Donald) Rumsfeld, and Bush, but I had to figure out who would be the most likely. Who would be the key players in this. Who would be the most recognizable. And Wolfowitz had to be in there. He's sort of one of the pricks of all those guys too so he had to be included.
TR: *takes caller*
5. Caller: Which one, out of all your PJ posters means the most to you and why?
BK: That's a tough choice because they're all like children. the one that I like the most recently I think it is the one for Dublin. The one with the skull and the tree. That one I feel like that one just came together really well: The symbolism. It ties into the song "In My Tree". The way that one all kind of, worked out... I feel like I did a good job on that one. There's certainly one where I fee like I could've done better. There's things I would change. And that one, I'm proud of that one.
I really like Mexico in 2005. I like that one too.
Caller: I have that one. That's the bull, right?
BK: Yeah. Yeah. The one where the bull is taking his vengeance out on the bull fighter.
Caller: That one is framed and up in my mancave.
*laughter*
TB: How does that make you feel?
BK: I find it interesting that "mancave" has become part of the...
TB: The lexicon...
BK: Yeah...
Caller: Unfortunately for guys like you to hear that's the only place my wife will allow my PJ posters to go.
TB: Brad has a mancave too, I'm sure.
BK: I hear people say that about their wives a lot. That their wives won't let them hang up and frame certain things so now I take that in to consideration when I'm designing stuff and I'm trying to think of the wife's sensibilities. What can I do to design something that both the husband and wife can hang mutually. I guess it would have to depend on if both parties are PJ fans. But hopefully I could make something that's artwork that is something wives will appreciate as well. But so far I don't think my batting average is very high on that.
Caller: Yeah she wasn't a big fan of the tommy gun Atlantic city '05.
BK: Eh, well there's other worse ones that she could not be a fan of that are bloodier...
6. Caller: How can you explain how the same poster can have two different colors? Just run out of ink?
BK: You mean for Atlantic City?
Caller: Yeah. I have the pink one. There's also a green of blue I was thinking, right?
BK: Well there was two nights for that show and there was originally supposed to be one color. Some nights the merchandise company would say "Hey if it's two shows in the same city just change the colors but that wasn't the case. The printer ran out of ink. He ran out of pink ink. And so when I came in to pick up the posters he said "Hey we had to do X amount of them in red." And then there were two guys at the print shop and one of them just messed around and was like "What if we did this in green, or that?" And he made I think like four one-offs that are like green and purple and different...
TR:*takes caller*
7. Caller: Do you design in (Adobe) In Design or Photoshop usually?
BK: Most everything starts off in pencil and paper with a sketch. And then I'll take the sketch and keep elaborating, elaborating and then I'll ink it. I'll ink that and then take the... And then I scan the inked part. Sometimes I use the pencil drawing as well, but I'll take either the pencil drawing or the ink into the computer. Usually it's Photoshop that I use to clean stuff up and to color stuff and to set up my file separations and to do all that so without Photoshop I'd be in trouble. Sometimes I use Illustrator as well. Not In Design. I used In Design for the book layout but not for poster stuff.
TR:*gives out number* Brad, what's your process for letting a song work it's way into the posters. For example the Severed Hand poster from Toronto that's in the book as well. Do you draw from the lyrics and your own experiences in something like that? Like are you taking your own acid flashbacks, if you've ever had any, into the poster or...
BK: Yeah, actually. Usually with songs there might be a lyric that stands out and it's very visual and you can instantly go "Oh! I could draw that." Some other lyrics could be sort of abstract, but with Severed Hand I instantly heard that song right away and was like "I have to draw something for this!" because from my own experiences... There's that one lyric "Look around the room's taller now." I think the first time that I'd tried acid...
TB:*feigns shock*
BK: Sorry mom... The architecture in the room was changing. The perspective was getting all screwy...
TB: No it wasn't...
TR: Your face is melting... My face is melting...
BK: I honestly think that song is probably the best well written concise pieces of literature out there you could find on what tripping's actually like. I don't think anyone's actually put it to paper so well as Ed did with those lyrics. If you want to know what it's like... You watch Hollywood movies and stuff you always get the dumb trippy cartoon thing that happens or some farty cartoons come out of something... It's way more mental and I think that if anyone's curious about it listen to that song and you'll get a pretty good idea.
TR: I said yeah!
*laughter*
BK: That was the other thing too, that line "You'll see dragons after three or four." Prior to my experience with acid I used to always think "If you took acid you would see dragons." I don't know why I held that naive notion but that's what I've always sort of assumed and it almost seems like a dumb cliche. So when you hear those lyrics you think "I'm still waiting to see dragons. I have yet to find dragons yet."
TR: I think I'm glad I never saw dragons...
*laughter*
BK: I never thought they would be harmful. I never thought there would be a knight having to slay a dragon. I just figured it would be something worth seeing.
TR: The color scheme in this one, in the Severed Hand poster from Toronto 05/10/06, that has got the dragons and the expanding room, how did you settle on that color scheme?
BK: I don't know. The colors usually kind-of change throughout the whole process. That's one of the great things about the computer; is that I can go through a spectrum of colors and decide which ones work better with which ones. I don't know if the blues and the black, if that had anything to do with those... Any sort of experiences that I've had. I was very much into using black paper at that time so I think it just had something to do that fit well with black paper.
TR:*gives out number* The one from Hartford '08. The one from June 27th 2008 has got so much going on in it. It looks like another hallucination thing going on, which personally, I'm a big fan of...
BK: Many of the posters are probably during some sort of altered state. There's probably some level of altered-ness going on.
TR: Well it really works, and what's interesting about this is, I find this was what I found to be the best poster of that tour and it turned out to be the best show of that tour. So maybe tell people about the inspiration behind this one with all the exploding sky and stars and funnels and it looks like you standing in the middle of whatever that is there *laughs*... And also besides the inspiration behind it, when you do a poster like this, and I guess you're designing for a whole tour, do you associate ones with different cities? Like "Oh this one would fit better with this city and this town or this date." or anything like that? Does that play into it?
BK: Yeah, for sure. There's usually,... If I'm given multiple, like three or two posters to do for a tour there might be one design that I'll know will work better for a particular city. And usually try and tie in the city as best as I can. Sometimes there's... I just have something that I like, that's visually interesting and doesn't tie into the city at all. But there have been occasions where I know that I've got a design in my sketch book that will work really well for a particular city.
But for Hartford, I don't remember how many I had done for that tour and I think I had not run out of ideas, but had came up with an idea for that one and that one's basically the funnels... I take my dog Zoe, I used to take her out to the park at night to play Frisbee and I would always come up with ideas during those walks. And there would be nights were it actually felt like I had a funnel on the top of my head and that I used to feel like the stars were dumping information into that funnel. Cause I'd go out to this park and play Frisbee with Zoe and I'd come back full of ideas, and it honestly felt like images had been downloaded. I could see things in my head.
I would go on these walks and come back and be like "Okay I know what this is gonna look like. I know what I'm gonna do for this." So the Hartford poster is a bit of a self portrait. That's sort of me standing on that little platform getting cosmic inspiration from the Heavens. Which I think we're now floating through in outer space. Isn't this, isn't Sirius... Aren't we in outer space at the moment?
TR: And it actually translated into this show, which I think really works. It's a great double-whammy to have a great show and a great poster to remember it by.
TB: Yeah, Brad needs to make a PJ radio poster, right?
TR: There we go!
BK: Like a logo or something...
TB: That'd be great!
TR: *gives out number and plays "Immortality" from Jun 27, 2008, Dodge Music Center, Hartford, Connecticut*
*station ID*
TR: A definite highlight from 2008 there: Immortality from Hartford. The one time it was played in 2008. And that's a favorite song for our guest Brad Klausen who is in our studios in Seattle along with Tim Bierman. And we're helping Brad promote his book From a Basement in Seattle: The Poster Art of Brad Klausen. It's a beautiful coffee table sized book with many of your favorite Brad Klausen PJ and other assorted posters.
TR:*takes caller*
8. Caller: What do you guys think about the e-bay thing? (The after-market selling and purchasing of poster artwork)
BK: At first it really used to bother me when I first started doing it (making posters for PJ) just because there were people buying posters specifically to resell them and if you have... Over time I've come to sort of grips with it. It's sort of a blessing and a curse in certain ways. But for people who are buying posters and have them in their homes and you put it on e-bay, everybody has the right to do what they want to with their stuff. If you have something like that, you have a collectible and it's worth money then sell it.
9. Caller: When you make the poster for the 2011 Atlanta show have you thought of anything that you'd be doing with that yet?
BK:*laughs*
Caller: We're starving out here. We're starving.
BK: I'm more than happy to do a poster for that show if there were to be one. So if anyone wants to, I'd gladly do one for that.
Caller: I stopped buying (posters) because I can't keep putting in my basement. And my wife, as much as she loves Pearl Jam too, she's like "Where do you put so many of these?"
BK: That's sort of the, one of the shames about collecting art, especially posters. There supposed to be seen and I have plenty myself and I buy stuff and they go sit in a flat file drawer. And that just seems sort of wrong: To put art in a drawer where it never sees the light of day.
10. Caller: Do you think you'll doing maybe some of them into shirts? You've done, with the Eddie Vedder Tour, did you do the Eddie Vedder Tour ones?
BK: Yeah. Uh huh.
11. Caller: I know there was a shirt that was similar to some of them (a poster). I was wondering if you'll do shirts of some of the ones, like, in the future?
BK: Uhhh, I don't have any plans for it but you never know.
TR: *takes caller*
12. Caller: I wanted to see if you've developed anything that you're working on for the 20th Anniversary festival/outing/weekend thing that we're all so anxiously looking forward to.
BK: I don't have anything in the works. But it sounds like a difficult task: To encompass 20 years of a band's history into a single image would be daunting. It would be interesting. There's gotta be something planned for all that stuff. What was there... Was there supposed to be a show or a festival?...
TB: We're working on some stuff, yeah. It's not a festival, but there's gonna be a weekend celebration at some point somewhere, where we're gonna try to have the biggest greatest thing that we possibly can...
BK: Have the band play the whooooole weekend straight.
TB: Just start...
BK: Every song...
TB: Cause people on the board have some great ideas, like: "All the drummers get to play!"
Caller: There's actually an interesting, like ahh, fan poster design with that showing, you know, like all the drummers for each album and whatnot, but uhhhh...
TB: Yeah. I don't think Brad's gonna do that poster.
*laughter*
(jokingly) I think in order to get Brad inspired to do that poster we're gonna have to send him to South America with like, a Terence McKenna kind of thing...
BK: (jokingly) Yes! I would do... Will you guys do that? That sounds great!
*laughter*
I will sign up for that trip in a heartbeat!
TR: It wouldn't be the All Encompassing Trip if we didn't take a call from Texas...*takes new caller*
13. Caller: The Neo-Con discussion makes me wonder, have you ever had any... Have you ever gotten close to pulling back cause they (poster designs) were a little too dangerous, or would've caused some unneeded waves somewhere?
14. Once a tour is announced and you know which posters you're doing, do you work on more than one at once or do you spend all your time on one and move on to the next?
BK: The first part I don't think there was anything that I've done that I got too nervous about. I know there was the South America one that the band got a little nervous about. But I don't think there's anything that I though would be too risky. I don't think the stuff I do is that risky anyway.
As far as the tour, sometimes there's multiple ideas happening at the same time and if I'm struggling with one I'll move on to the next one so it's always good to have two or three concepts to be working on at the same time because if you get stuck with one you can go to the next one and that's helpful.
TB: And just so you know we kind of let Brad and Ames Bros and if there are any other artists involved kind of work with the band sort of divvy up who gets what and what makes the most sense for Brad or Ames Bros to tackle a particular city or date or whatever.
BK: Yeah, and if they've done a city like four times they don't want to do it again so I'll take that one. Or sometimes they'll say "I want to do this one." For D.C. I really wanted to do that one.
TR: So you can't wait to do the next L.A. one.
*laughter*
TB: He'll never get a Montana poster that's for sure.
BK: I was supposed to do Missoula once and then Jeff got it. Jeff took it from me. He apparently has ties to that area.
TR: I really want to thank our guest Brad Klausen for coming in today and taking people's calls. And I want to encourage everyone out there to go an pick up Brad's book From a Basement in Seattle: The Poster Art of Brad Klausen it's really a beautiful, beautiful piece of work. So thanks very much Brad.
BK: Thanks very much for having me. It was nice being here, and talking to you all out there in outer space.
TR: Thank you Tim. Thanks for being your good old humble self and clarifying things for all the fans out there.
TB: I just wanted to say one more thing. We made a little post here (http://forums.pearljam.com/viewtopic.php?f=4&t=146334) in the last hour that people are checking out. So just wanted to let people know there's some stuff happening again.
TR: There's news?!
TB: There's a little bit of news. There some reiterating and speculating and getting excited, but we want people to be right there with us. Hopefully people can stop complaining and move on.
BK: And be nice with the nice...
TB: Be nice. It's nice to be nice to the nice.
TR:*ends show*
*If you only knew then what you know now!
**It's interesting that this method very much echoes how Ed incorporated his contact information into the solo demos he shopped around prior to joining PJ.
Post edited by HeavyHands on
"A lot more people are capable of being big out there that just don't give themselves a chance." -Stone Gossard
and you know, respect for Tim in how he handled all that. In context its nowhere near as bad as it had been made out to be....not at all. You know, he kinda of dealt with the price increase very well.
respect for Tim in how he handled all that. In context its nowhere near as bad as it had been made out to be....not at all.
I agree, this is the first chance I've had to review the whole show, and I'm reading it wondering why it was blown up into such a big deal - loved Brad's interview too, very interesting :thumbup:
Dublin, Reading 06 London, Copenhagen 07 MSG 08 SBE, Manchester, London 09 Dublin, Belfast, London 10
Thanks for the transcript. Finally got to read it and pick up on the stuff that I haven't heard first time around.
Great guest, enjoyed his stories, missed the first time around him asking is it supposed to be a festival.
Thanks for the transcript, interesting stuff. :thumbup:
"...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 week's guest (later today) is none other than long time PJ studio wizard Brett Eliason. Be sure to tune in. Station details are on the front page in the OP.
FYI: The transcript for last week's show with Regan Hagar won't be up today, unfortunately. External delays. Stay tuned though.
"A lot more people are capable of being big out there that just don't give themselves a chance." -Stone Gossard
This week's guest (later today) is none other than long time PJ studio wizard Brett Eliason. Be sure to tune in. Station details are on the front page in the OP.
FYI: The transcript for last week's show with Regan Hagar won't be up today, unfortunately. External delays. Stay tuned though.
All very welcome. Glad you like them. I hope to get last week's show with Ragan Hagar up by this Wednesday. It was a great listen!
Great work with the transcripts HH - it must take you f*kin ages to do them - especially that last one. Most appreciated by everyone here. (I'm going to try going back to taping the shows whenever I listen - as a fallback)
Cancel my subscription to the Ressurection
Send my credentials to the house of detention
Could someone ask in the show why was the 2007 European Tour never put out on official bootlegs? Thanks
2000: Manchester
2006: Dublin; Leeds; Arnhem
2007: London
2009: Manchester
2012: Manchester I & II : EV Manchester : Soundgarden Shepherds Bush
2013: Brad Manchester : Soundgarden Manchester
2014: Amsterdam I & II; Berlin; Leeds; Milton Keynes 2018: Berlin; London II; Boston II
Could someone ask in the show why was the 2007 European Tour never put out on official bootlegs? Thanks
Unless I'm wrong, they still could release them at one point. For the 2007 shows, they did not release them because, according to Tim, they didn't realize prior to the tour, that fans came to expect this as a standard thing to do yet for all future tours. It wasn't until 2008 that this became the way they would do things going forward. Someone please correct me if I'm wrong but that's what I recall hearing.
...just wondering if the transcriptions have been moved to another thread or are no longer happening?
I haven't seen a new one for a while and don't want to miss any (and I'm not meaning to rush anyone as I realise this is A LOT of work).
Thanks for all your efforts!
You're welcome.
**EDIT**
This thread is dead. It won't be updated any more. No consistent time to maintain it.
I think a better model has been hit upon: Someone creates a new thread for each week's show and people post their questions there. Hopefully people find it easier to use.
H^2
"A lot more people are capable of being big out there that just don't give themselves a chance." -Stone Gossard
Comments
Thanks to norm for recording this week!
Host: Tim Bierman (TB)
Host: The Rob (TR)
Guest: Brad Klausen (BK)
TR: Tim there's a lot of chatter about the new Ten Club membership options so maybe this is your shot to clear (it up)...
TB: There is? People are talking about it? *laughs*
TR: You know... Some people... You know, is it a $20 bill? Is it two $20 bills? It's such a hard choice. Maybe you just want to clear some things up here.
TB: Well, yeah. It's not my position to try to address everyone's issues. It seems like everyone's got a issue with everything.
TR: *laughs*
TB: But I can certainly say that the reason for this new sort of structure is we try to provide what we feel like the fans are asking for which is: more stuff, you know? So that's what we're trying to give them. We've been trying to figure out a way to... Everybody has to increase prices. Everything cost more. It costs us twice as much to send the single. It costs us twice as much to send the newsletter as it did five years ago. Like literally twice as much, if not more. And so we had to raise the rates. We didn't want to raise them a little bit at a time like the post office does. We wanted to take care of it all in one big movement. We had many meetings about this and one of the things that we heard the fans talking about was when they renew their membership they don't get anything and they have to wait around for us to finish the Christmas single. And, you know, the same old story: "We don't get anything."
Well we thought it would be cool if we could come up with something that we could give to people right away when they renew. And so we thought "Well lets just send them the news letter or the Christmas single right away when they renew" but that sucks for someone who. The Christmas single comes out on whatever day you guys wanna say; January 1st, or July 1st, and you renew your membership on June 1st you're not gonna get it until the following June.
So we thought it might be cool to just add a new item that people could get that's not such a timely matter. So the T-shirt idea came up and that will be a a 2011 Pearl Jam Ten Club T-shirt and there'll be a 2012 Pearl Jam Ten Club T-shirt and that's it. They're not gonna be able to get those any other time. And we thought people would really enjoy having a limited edition T-shirt that no one else could get unless they were a fan club member. Even if you don't wear T-shirts or don't like T-shirts you could certainly set it aside and get back to it at some other point, or give it to a friend or whatever it is. We just feel like there's some value in that and wanted to be able to increase the revenue coming through here so we can take care of a few things that have been neglected because of lack of cash flow.
So we're trying to make things better. The extra money that is coming in, we have earmarked for improving all of our services everywhere. So you can read into that what you want but we want to make the web experience better, the ticketing experience better, everything better for the fans. This is what we're trying to strive for. I know that people out there are saying that we're giving them less and charging them more but that's just not the case.
TR: I think what everyone is really, you know, most fans are most interested in the ticketing option and that is available for both levels.
TB: Yeah, we're not taking ticketing away from anyone. We want to maintain that. And that's definitely one of the thing people have said: "The only thing that I care about is the ticketing!" So, okay, if that's all you care about then we're gonna keep it. We're gonna give you the ticketing. We're gonna keep that and we have to keep the rate the same because it still costs money to run the ticketing system and put people out on the road to get people their tickets and all that stuff so...
TR: So before we get 20 calls about this at *gives out number* ...do you want to tell all those people about "Hey! When am I getting my T-shirt?!"
TB: That's a good question and we have a T-shirt designed and it's kinda... Hasn't been fully blessed yet. One of the band members is promising to deliver us artwork for a new T-shirt in the next couple of days. So hopefully...
TR: That's worth forty bucks right there! The band blesses the T-shirt?
TB: Yeah. For sure! Even the design for the T-shirt so. Hopefully those will start shipping out in a matter of 10 days to two weeks. Something like that so we'll start getting those in the mail for all those who have renewed in the 2011 memberships.
TR: And how much thought went into the Analog and Digital naming of this structure?
TB: We had a lot of brainstorming sessions along the way about the nomenclature and all of a sudden it just made sense that... Because we'd had this "digital membership" idea, but we thought that the Analog level of membership was a little bit cooler because you were indeed gonna keep getting the vinyl version. And all of a sudden someone said "Well what about Analog and Digital?" and it just kind of stuck and we dig it. It makes for kind of a cool visual thing too.
TR: Okay *gives out number, takes call*
1. Caller: Have you guys talked about keeping, I guess rotating... Cause you guys got the first two front rows (reserved for people) who don't have great (fan club) numbers. Are you guys gonna continue that or is that just a trial?
TB: Some variation of that or that exact thing, yeah. Until we put together a tour and approach that situation we're not gonna really know. But yeah, we like the idea of rotating the front couple of rows. It just gives people a chance and it puts some new faces in front of the band and that's refreshing for them and gives them new energy every night. We feel like that's a really important thing. It's been a positive thing for the band for sure.
...And just so you know... We try to select people randomly from the different levels. we try to take someone with a 150 number and we try to take someone with a 200 number. It's not like we just take people from the end of the line and move them up front.
Caller: It's amazing that people want to call in and whine and complain about what the band and the website are offering. I think that it's a wonderful feature that's offered to fans and to criticize it in any way... to me it's being ungrateful. I just wanted to call in and say "Thanks". It's wonderful and anything you do is great. So that's it. Thanks.
TB: Thanks... Appreciate it. You know it's not so much on this show. We don't get a lot of people calling and complaining. It's mostly people that are hiding behind their keyboard and feel like they have more of a voice there online. And they do. People have every right to voice their complaints. It's just unfortunate that people have to be so caustic and nasty on there... as they're sitting there, (jokingly) in their underwear drinking root beer or whatever it is you know.
TR: *laughter*
TB: I always have the same thing, you know. If you have such great ideas and you think you know how to do it, maybe you should start a band , sell several million records, and get a fan club, get a radio show, whatever it is... Just go ahead and do it. Cause talking about it is one thing and doing it is another.
TR: And speaking of things on the website let's nip this in the bud: hypotheticals. There will be no difference in the ticketing between your membership levels, correct?
TB: No, no difference in ticketing. Everything's still the same. You still have your same seniority. People that come in under one level are gonna get the same number as one next to the person who comes in at a different level. In other words, if you go buy a Digital membership and the (very) next person buys a physical or Analog membership you're gonna have pretty much the same level of seniority.
TR: *takes new caller*
Caller: In reference to the ticketing I've been in the fan club since, I wanna say 1996. And I remember in '98 when the ticketing system was different. You guys mailed out the tickets and a lot of people supposedly scalped the tickets... The last two times that the band has gone on tour... I've been shut out of tickets. I'm just not sure if I should still, and I have a good computer, I'm not sure if I should still be involved with the fan club. And I'm just wondering: Is it possible that the ticketing system is gonna change in the future? I don't know what the answer is, but...
TB: Well, I'm not exactly sure what you're asking...
Caller: Okay...
TB: It always changes. We have to change... There's lots of different things that change...
2. Caller: I guess what I'm asking you is: If I don't know that I'm guaranteed a ticket (why should I be in the fan club?)...
TB: We've never guaranteed a ticket.
TR: There's no guarantees.
Caller: Okay
TB: Never have. We do our best to get you guys all the tickets we can. We're allotted a certain number of tickets. In some, most markets, we have plenty and we can fulfill all of our ticketing needs. Some places we don't get enough tickets and people get shout out so we can't guarantee people getting tickets.
Caller: Okay.
TB: But we're not gonna change from that. We're not gonna change... We're not gonna all of a sudden say: "Oh look we're gonna get crappy tickets" or some people aren't gonna get 'em, or we're just gonna stop, you know?
Caller: Right. The tickets that you guys do get are phenomenal. They're in the first ten rows, I'm aware of that but I'm just saying that on the pre-sale, with the password I was not able to get tickets. And I had to sweat it out on the day of the public on-sale through Ticketmaster to buy a single ticket. That's all I'm sayin'.
TB: Well we're trying to make that better. That's one of our goals for this year and for the next time we do an on-sale. We want to have a better system and that's ... It's not a matter of going out and buying more servers like everybody suggests online, but... We're working on it.
Caller: I appreciate your time. You guys do a great job.
TR: And you are not alone in your quest for tickets.
TB: Thanks.
TR: *takes new caller*
3. Caller: I've renewed my membership for 2011 several weeks ago, then we get the update about the other option which I would love to, for lack of a better word upgrade... If I keep my membership now, how it is, I'm assuming I won't get a T-shirt, that type of thing...
TB: Right...
Caller: Is there a way to upgrade so I'm immediately Analog?
TB: Yeah. So basically the way we're handling those situations... And I'm assuming that we're gonna be reaching out to those people via e-mail that have done this... There's a finite number of you guys that have done this very thing... What we're gonna do is handle those situations individually. So someone's gonna send you an e-mail or you're more than welcome to send an e-mail to <!-- e --><a href="mailto:info@TenClub.net">info@TenClub.net</a><!-- e --> and just explain your situation and they'll walk you through the process.
We tried to come up with a solution to kind of automate that process but it just became a little too cumbersome and confusing and since there were so few people we thought we'd deal with it on an individual basis.
4. Caller: That's great! Another one that's kind of a funny question but I think a lot of the listeners are wondering... A couple of weeks ago we had Mike, who was listening, call in and then Eddie who was there in the office pop in. Do those guys hang out at the office frequently?
TB: Umm... Eh, yeah. I mean it kind of depends on what you consider "frequently" but right now (I) haven't seen a band guy for a while because everybody's sort of scattered around. A lot of people are in places that are much warmer than it is here. But yeah. I mean this is a place... Those guys look at this as one of their places of doing business, their office, their clubhouse, where they hang out, where they play music, where they create music, where they get their business taken care of. They have personal relationships with people in this building. So, yeah. I think hanging out here is kind of a loose way to say it, but sure.
Caller: Cool. Well that adds to the greatness of the Ten Club.
TR: Well thanks for addressing that Tim. I hope everyone is satisfied and can make their Analog or Digital...
TB: (jokingly) There's no waaaay! There's no way that everyone's satisfied! I'm sure that I just lit about a thousand more fires that are gonna... torch me...
TR: *laughter*
TB: ...on the boards and everything. There's one other point I wanna make here and it just... Something that I feel really passionate about. I don't mind people flaming me on the boards. It's just part of the job and I get it. But it's ridiculous that people think that I'm just gonna give myself a big fat raise...
TR: *laughter*
TB: It's ridiculous to think about that... And I can deal with it. But the thing that really bums me out is when people turn around and, like a couple of the callers we've had today that have complemented us on what we do, and we're really proud of the work we do here... But when people complement us on the boards, people turn around and say "OH! You're just kissin' ass!" or "You'll do anything that this band says! You're like a bunch of lemmings that whatever they do you're just gonna follow them over a cliff!"
It's like, come on people... Nice... goes a long way. Not just on the internet but in all walks of life. It's nice to be nice to the nice. I would rather be nice to those nice people than to the assholes on there but I don't really have that choice. I've gotta be as nice as I can to everybody. But it's like, come on, people. Don't *inaudible* flaming people for passing along a complement.
TR: Yeah. I think it's the advent of the internet too. Because before the internet how many letters and post cards were you getting chewing you out. I don't really think too many... *laughs*
TB: *laughs*
TR: All right lets put that to bed. We've spent our allotted minutes on that.* We've got a great guest today.
TB: Sorry Brad. I didn't mean to step all over your stuff.
TR: *welcomes Brad Klausen*
TB: Brad what do you think of the new two tier system?
*laughter*
BK: I am unfamiliar with the new two tier system.
TR: He's going Spirograph. That's where he's going
BK: I was back in the day when tickets got mailed. I think I even had a ticket that had my name at the top of it. And I think I even gave one of them away that probably got scalped so somebody out there might have a scalped ticket with my name on the top of it.
TR: Oooo, there's an e-bay item.
*laughter*
TB: Well you know it's funny because I say this to Brad because it used to be... You know when Brad worked here in this office, Brand and I would commiserate together over these things a lot.
BK: We used to go to the post office. Talking about getting all the letters, that used to be a daily thing. we used to go get all the letters. That doesn't even happen any more does it?
TB: No, it does. But it's not me it's someone else.
BK: Is it nearly as many?
TB: Ummm, there's still quite a bit of mail yeah. But it's not the same volume.
BK: The best... What was the... The bag of puke.
TB: Someone, not me but before I was here someone sent the woman who ran the fan club before me a bag of puke and I'm not really exactly sure if they knew this or not but she was, like, incredibly sensitive to puke. Not in...
TR: Well who isn't?!
*laughter*
TB: I guess she reacted pretty hysterically which is... unfortunate.
BK: I was always nervous about all the food people would send like cookies and treats. And I was always figuring they had... They were laced with something or there was something wrong with them. I didn't want to eat the cookies or any of that stuff.
TR: Don't give the internet generation any ideas.
*laughter*
TR: Well Brad's got a great new book out From a Basement in Seattle *gives out number*
Before we open up your book From a Basement in Seattle Brad, I'm curious as to your beginnings in the Art world. Were you influenced by the 60's Filmore posters and artists like Rick Griffin and Alton Kelley and Stanley Mouse, as well as modern day guys like Frank Kozik?
BK: I was aware of those early 60's guys but I wouldn't say that they influenced me so much. I think more of the influence was people like Kozik and Taz and stuff like that. The more sort of the, I don't want to say... I guess the late 80's early 90's. All the really vibrant neony orange and yellows and I think Kozik seemed like he was doing everything back then.
TB: Uhh Rob you've got to remember Brad's not nearly as ancient as we are...
*laughter*
TR: I know but I'm sure he's an appreciative artist as well as a...
BK: But I mean all of that stuff... If you're in to posters as a medium you're familiar with back to Alphonse Mucca and all that stuff. So all the people that are really good at the poster medium I think you pay attention to them and you see what they're doing and you try and incorporate it and take from them.
TR: Did you have a Spirograph as a kid because the cover poster on your... The cover on your book reminds me of being a kid with my Spirograph.
BK: *laughs* I don't think I ever had one. I've used one before but I don't think I ever had one...
TR: Okay...
TR: Well your book is gorgeous. You probably had a really hard time selecting. I'd like to see the cutting room floor of this book actually...
BK: Well originally the idea was to put every single poster I've done in there but it was going to cost too much money. The publisher said we had to cut out like 30 posters so that was sort of difficult to go through. There were certainly a few that I was happy to cut out, but for the most part I wanted it to be comprehensive. Everything from beginning to end so you could see how it's progressed. But yeah, it was a little trick to figure out what to put in and what not to put in.
There was one poster that I did for a screening of the movie Tron, and I really wanted to include that one but we started getting worried that Disney might sue us. Since it wasn't a licensed poster and Disney is notoriously litigious. So it was kind of... Made more sense to leave that one out.
But it was tough to get rid of all the... At least a quarter of the posters.
TR: In checking out your book it's pretty fitting how the first poster you ever did, and the one that opens your book, is for the low-power radio JAMPAC mission that you did back in 2001. And now it's 10 years later and that's just been signed in to law by President Obama and here you are on the radio. So I find that... To see that as the first one in your book and to find out that's the first poster you did that, I guess Jeff (Ament) had you do? Or brought that to you?
BK: Yeah. No, he came in one day and had an idea for it and I didn't know anything about it or what was going on. He just said there was this... That JAMPAC was doing this thing for radio broadcasts so that anyone else out there could get on the radio. And he had an idea for it and he just wanted me to draw it. And I think originally he wanted there to be a boot behind this one manned radio guy showing that the FCC was kind of crushing the little guy's way. The ability to speak out and be heard. But that seemed kind of harsh and heavy so I got rid of the boot.
But yeah, that was the first time I got to do a poster. It wasn't screen printed though, which is sort of a drag. But that was first one that I did. It's interesting that... Did it just go through recently?
TR: Ahhh, yeah. He just signed it to law yesterday actually. So good timing on your part!
BK: Awesome!
TB: It's a very good story!
TR: Speaking of great stories, your story of how you wound up working for PJ is really cool. I think you should probably tell people about it.
BK: Okay. Well I was... After I graduated from college I wanted to get a job in the music world doing album artwork and designing stuff for music magazines and that type of stuff. And that didn't really pan out super well. I went around to, I think, every record label I could find in southern California. And there was a lot at that time. I'm sure there's probably not nearly as many (now). But I handed my resume and portfolio to all of these totally uninterested receptionists at every record label that could probably care less about some kid out of college that wanted to make album artwork. And eventually realized that I didn't think I was gonna get a job doing graphic design work for music and landed a job at a broadcast design firm in Hollywood. And was really excited to have my first job but it wasn't the type of design work that I wanted to do.
And at some point I got one of the newsletters from the fan club and I looked at that and thought "This is exactly the type of design that I want to do." It was just really open and didn't seem to have boundaries on it. I had no idea at the time that the Ames Brothers even existed. I didn't even think that there was somebody who designed this. I just looked at it and thought "This is what I want to do." And so while I was at work I created a poster that sort of had a small little resume in the corner and sent it in to the fan club and said "If you guys need people to do... If you want me to do posters or album artwork I'd love to do it." And I think it was Liz who probably e-mailed me back and said "Thanks but no-thanks." I wrote in to say "Did you guys get that?"
TB: Oh, you got a rejection thing huh?
BK: Yeah! *laughs* I got an e-mail like a week later. It was probably Liz who, I think she was handling all that stuff at that time... And so I figured "Oh well. You don't get in if you don't knock." And then I got fired from my job, which was great actually! That turned out to be a really good thing because I wasn't very happy there.
But eight months later I got a phone call from my mom saying that PJ had called and asked if I wanted a job. And I started talking to Tim and he flew me up for an interview and asked me if I'd be willing to move to Seattle. I can't stand Los Angeles. Sorry to anybody in Los Angeles. But I was ready to move up here in a heartbeat. It was a pretty surreal experience. I think it still is a surreal experience. The whole thing.
TB: Well I've gotta tell my little part of that too. We got this thing from Brad this little poster mock up thing that he had done. I had just tacked it up on the wall. We had this big blue wall that was curved and it was sort of like the wall where I put a bunch of shit up just to greet everyone as they walked in to the Ten Club area. I walked past that thing every day and thought "That's pretty cool!" because a fan made that and I'd come by and after a while I kind of forgot about it.
But then we had been working with Ames Bros and Ames Bros had been handling all the graphic design stuff for PJ basically and they were becoming overwhelmed. And they were expanding their business and getting in to some other things that were a lot more lucrative for them and they wanted to show that they could work outside of PJ and were becoming successful.
So we... It was really imperative to Jeff, even though Ames Bros was his company, partly his company at the time... He wanted to find someone who was kind of young and hungry and fresh out of school and really passionate about the music and really wanted to get into it. And he came to me and said "Let's figure something out. There's gotta be somebody. There's gotta be a young creative person in the fan club or somewhere out there we can find." I was like "You know, I kind-of remember thins one thing on the wall. I think that the guy put his phone number on it." or whatever. And so I went over and I remember peeling the thing back and sure enough: there's a phone number! And I called Brad's mom and... I think you were in Europe or something...
BK: Yeah Europe...
TB: She was like "No, he's not here. He's in Europe with his girlfriend..."
BK: Cause that's what you do when you get fired. You go to Europe for a trip.
TB: *laughs* And so... Anyway that's my part of the story. A few days later, a few days after you got back you were up with your family and your girlfriend and we're like "What do you think?" And you were standing in the warehouse and ...
BK: I had to stay at that motel... Sleepy Motel 8 or whatever right by that old place on Denny.
TB: Nice!
BK: Yeah. But I was looking for a house to rend when I came up here because once you guys said "Yeah you can have the job"... But we lived in that motel for a couple of days. I remember thinking "We've gotta get out of here! We can't live in a motel!"
*laughter*
TB: Good times! The old days!
TR: *gives out number* Who published this (From a Basement in Seattle) for you Brad?
BK: A publishing company in New York called Akashic Books.
TR: And it's available everywhere, correct?
TB: Yeah except for the Ten Club. For some reason they still haven't figured out...
*laughter*
How to get that in the Ten Club store. But we're gonna get that too.
TR: Well that should light the phones up...
*laughter*
I'm thumbing through this book and Brad, another one of my favorite works of yours is the Neo-Con composite that you did for the Vote For Change Tour in 2004. It's so tastefully evil...
*laughter*
I'm wondering, did you have to restrain the amount of blood you used in this one? Was it originally envisioned that this would be a series that connected together from the five shows? Six shows?
BK: Well, yeah. Well originally I was asked to do just the one. Like a tour poster since there were just the six shows and I had the idea "Well there's six of them. Lets try and do a poster for each show." And had the idea for the Neo-Con set and presented it to Jeff and he really liked it.
As far as the blood, the interesting thing about that was the blood splatters... I was taking them and copying and pasting them and reusing certain splatters over again and tweaking them a little bit. But there was one layer in my Photoshop file that was hidden and I couldn't see it. And it was right on (President) Bush's head, like right on his forehead. And it had, like a motion to it like it was splattering out. And I turned... I just came across this layer that was turn off and turned it on and it was awesome cause his head is in the "O" of "Neo". And the O was made to kind of look sort of like a target too... And so here's Bush's head and he's got a blood splatter coming out of it.
And I showed it to Jeff and he loved it. He was like "Oh you've gotta leave it in there! You've gotta. That's great that it was an accident, that it wasn't done on purpose. You have to leave it in there!" And we were both really into the idea but after he left I started thinking "I don't know if the other guys in the band would be as into this..." And if you're gonna go "What if it causes some sort of commotion that PJ's going out trying to get people to register to vote and here they are with a poster that... What appears to be an assassination image of the President.
I didn't think that would go over so well with everybody else except maybe me and Jeff so I made an executive decision to take it off of there. But I wish it'd stayed in there because who knows if that would've caused any commotion at all. If people wouldn't have cared. But it was sort of an interesting little accident that probably should've stayed in there.
TR: And the FBI'd come knocking for you.
*laughter*
TB: I was gonna say the CIA... It sounds like Brad's covering his tracks somehow. Like that original version came out somewhere.
TR: What else is really interesting here in the book... You've got the Mock up, the pencil drawing, and on the last show, the October 8th Kissimmee show, you've got a choice between Tom Ridge, Condi Rice, Karl Rove, Richard Perle, and it winds up being Paul Wolfowitz. So did you just roll the dice on that one?
BK: Umm no. I had certain... There's enough Neo-Con's to choose from on that but some of them aren't as well known, and they would just be people that are behind the scenes and no one would recognize. Even like Richard Perle I don't think people would recognize him.
TR: Thank God...
BK: Even Wolfowitz and you know, everybody's seen (vice President Dick) Cheney and (Secretary of Defense Donald) Rumsfeld, and Bush, but I had to figure out who would be the most likely. Who would be the key players in this. Who would be the most recognizable. And Wolfowitz had to be in there. He's sort of one of the pricks of all those guys too so he had to be included.
TR: *takes caller*
5. Caller: Which one, out of all your PJ posters means the most to you and why?
BK: That's a tough choice because they're all like children. the one that I like the most recently I think it is the one for Dublin. The one with the skull and the tree. That one I feel like that one just came together really well: The symbolism. It ties into the song "In My Tree". The way that one all kind of, worked out... I feel like I did a good job on that one. There's certainly one where I fee like I could've done better. There's things I would change. And that one, I'm proud of that one.
I really like Mexico in 2005. I like that one too.
Caller: I have that one. That's the bull, right?
BK: Yeah. Yeah. The one where the bull is taking his vengeance out on the bull fighter.
Caller: That one is framed and up in my mancave.
*laughter*
TB: How does that make you feel?
BK: I find it interesting that "mancave" has become part of the...
TB: The lexicon...
BK: Yeah...
Caller: Unfortunately for guys like you to hear that's the only place my wife will allow my PJ posters to go.
TB: Brad has a mancave too, I'm sure.
BK: I hear people say that about their wives a lot. That their wives won't let them hang up and frame certain things so now I take that in to consideration when I'm designing stuff and I'm trying to think of the wife's sensibilities. What can I do to design something that both the husband and wife can hang mutually. I guess it would have to depend on if both parties are PJ fans. But hopefully I could make something that's artwork that is something wives will appreciate as well. But so far I don't think my batting average is very high on that.
Caller: Yeah she wasn't a big fan of the tommy gun Atlantic city '05.
BK: Eh, well there's other worse ones that she could not be a fan of that are bloodier...
6. Caller: How can you explain how the same poster can have two different colors? Just run out of ink?
BK: You mean for Atlantic City?
Caller: Yeah. I have the pink one. There's also a green of blue I was thinking, right?
BK: Well there was two nights for that show and there was originally supposed to be one color. Some nights the merchandise company would say "Hey if it's two shows in the same city just change the colors but that wasn't the case. The printer ran out of ink. He ran out of pink ink. And so when I came in to pick up the posters he said "Hey we had to do X amount of them in red." And then there were two guys at the print shop and one of them just messed around and was like "What if we did this in green, or that?" And he made I think like four one-offs that are like green and purple and different...
TR: *takes caller*
7. Caller: Do you design in (Adobe) In Design or Photoshop usually?
BK: Most everything starts off in pencil and paper with a sketch. And then I'll take the sketch and keep elaborating, elaborating and then I'll ink it. I'll ink that and then take the... And then I scan the inked part. Sometimes I use the pencil drawing as well, but I'll take either the pencil drawing or the ink into the computer. Usually it's Photoshop that I use to clean stuff up and to color stuff and to set up my file separations and to do all that so without Photoshop I'd be in trouble. Sometimes I use Illustrator as well. Not In Design. I used In Design for the book layout but not for poster stuff.
TR: *gives out number* Brad, what's your process for letting a song work it's way into the posters. For example the Severed Hand poster from Toronto that's in the book as well. Do you draw from the lyrics and your own experiences in something like that? Like are you taking your own acid flashbacks, if you've ever had any, into the poster or...
BK: Yeah, actually. Usually with songs there might be a lyric that stands out and it's very visual and you can instantly go "Oh! I could draw that." Some other lyrics could be sort of abstract, but with Severed Hand I instantly heard that song right away and was like "I have to draw something for this!" because from my own experiences... There's that one lyric "Look around the room's taller now." I think the first time that I'd tried acid...
TB: *feigns shock*
BK: Sorry mom... The architecture in the room was changing. The perspective was getting all screwy...
TB: No it wasn't...
TR: Your face is melting... My face is melting...
BK: I honestly think that song is probably the best well written concise pieces of literature out there you could find on what tripping's actually like. I don't think anyone's actually put it to paper so well as Ed did with those lyrics. If you want to know what it's like... You watch Hollywood movies and stuff you always get the dumb trippy cartoon thing that happens or some farty cartoons come out of something... It's way more mental and I think that if anyone's curious about it listen to that song and you'll get a pretty good idea.
TR: I said yeah!
*laughter*
BK: That was the other thing too, that line "You'll see dragons after three or four." Prior to my experience with acid I used to always think "If you took acid you would see dragons." I don't know why I held that naive notion but that's what I've always sort of assumed and it almost seems like a dumb cliche. So when you hear those lyrics you think "I'm still waiting to see dragons. I have yet to find dragons yet."
TR: I think I'm glad I never saw dragons...
*laughter*
BK: I never thought they would be harmful. I never thought there would be a knight having to slay a dragon. I just figured it would be something worth seeing.
TR: The color scheme in this one, in the Severed Hand poster from Toronto 05/10/06, that has got the dragons and the expanding room, how did you settle on that color scheme?
BK: I don't know. The colors usually kind-of change throughout the whole process. That's one of the great things about the computer; is that I can go through a spectrum of colors and decide which ones work better with which ones. I don't know if the blues and the black, if that had anything to do with those... Any sort of experiences that I've had. I was very much into using black paper at that time so I think it just had something to do that fit well with black paper.
TR: *gives out number* The one from Hartford '08. The one from June 27th 2008 has got so much going on in it. It looks like another hallucination thing going on, which personally, I'm a big fan of...
BK: Many of the posters are probably during some sort of altered state. There's probably some level of altered-ness going on.
TR: Well it really works, and what's interesting about this is, I find this was what I found to be the best poster of that tour and it turned out to be the best show of that tour. So maybe tell people about the inspiration behind this one with all the exploding sky and stars and funnels and it looks like you standing in the middle of whatever that is there *laughs*... And also besides the inspiration behind it, when you do a poster like this, and I guess you're designing for a whole tour, do you associate ones with different cities? Like "Oh this one would fit better with this city and this town or this date." or anything like that? Does that play into it?
BK: Yeah, for sure. There's usually,... If I'm given multiple, like three or two posters to do for a tour there might be one design that I'll know will work better for a particular city. And usually try and tie in the city as best as I can. Sometimes there's... I just have something that I like, that's visually interesting and doesn't tie into the city at all. But there have been occasions where I know that I've got a design in my sketch book that will work really well for a particular city.
But for Hartford, I don't remember how many I had done for that tour and I think I had not run out of ideas, but had came up with an idea for that one and that one's basically the funnels... I take my dog Zoe, I used to take her out to the park at night to play Frisbee and I would always come up with ideas during those walks. And there would be nights were it actually felt like I had a funnel on the top of my head and that I used to feel like the stars were dumping information into that funnel. Cause I'd go out to this park and play Frisbee with Zoe and I'd come back full of ideas, and it honestly felt like images had been downloaded. I could see things in my head.
I would go on these walks and come back and be like "Okay I know what this is gonna look like. I know what I'm gonna do for this." So the Hartford poster is a bit of a self portrait. That's sort of me standing on that little platform getting cosmic inspiration from the Heavens. Which I think we're now floating through in outer space. Isn't this, isn't Sirius... Aren't we in outer space at the moment?
TR: And it actually translated into this show, which I think really works. It's a great double-whammy to have a great show and a great poster to remember it by.
TB: Yeah, Brad needs to make a PJ radio poster, right?
TR: There we go!
BK: Like a logo or something...
TB: That'd be great!
TR: *gives out number and plays "Immortality" from Jun 27, 2008, Dodge Music Center, Hartford, Connecticut*
*station ID*
TR: A definite highlight from 2008 there: Immortality from Hartford. The one time it was played in 2008. And that's a favorite song for our guest Brad Klausen who is in our studios in Seattle along with Tim Bierman. And we're helping Brad promote his book From a Basement in Seattle: The Poster Art of Brad Klausen. It's a beautiful coffee table sized book with many of your favorite Brad Klausen PJ and other assorted posters.
TR: *takes caller*
8. Caller: What do you guys think about the e-bay thing? (The after-market selling and purchasing of poster artwork)
BK: At first it really used to bother me when I first started doing it (making posters for PJ) just because there were people buying posters specifically to resell them and if you have... Over time I've come to sort of grips with it. It's sort of a blessing and a curse in certain ways. But for people who are buying posters and have them in their homes and you put it on e-bay, everybody has the right to do what they want to with their stuff. If you have something like that, you have a collectible and it's worth money then sell it.
9. Caller: When you make the poster for the 2011 Atlanta show have you thought of anything that you'd be doing with that yet?
BK: *laughs*
Caller: We're starving out here. We're starving.
BK: I'm more than happy to do a poster for that show if there were to be one. So if anyone wants to, I'd gladly do one for that.
Caller: I stopped buying (posters) because I can't keep putting in my basement. And my wife, as much as she loves Pearl Jam too, she's like "Where do you put so many of these?"
BK: That's sort of the, one of the shames about collecting art, especially posters. There supposed to be seen and I have plenty myself and I buy stuff and they go sit in a flat file drawer. And that just seems sort of wrong: To put art in a drawer where it never sees the light of day.
10. Caller: Do you think you'll doing maybe some of them into shirts? You've done, with the Eddie Vedder Tour, did you do the Eddie Vedder Tour ones?
BK: Yeah. Uh huh.
11. Caller: I know there was a shirt that was similar to some of them (a poster). I was wondering if you'll do shirts of some of the ones, like, in the future?
BK: Uhhh, I don't have any plans for it but you never know.
TR: *takes caller*
12. Caller: I wanted to see if you've developed anything that you're working on for the 20th Anniversary festival/outing/weekend thing that we're all so anxiously looking forward to.
BK: I don't have anything in the works. But it sounds like a difficult task: To encompass 20 years of a band's history into a single image would be daunting. It would be interesting. There's gotta be something planned for all that stuff. What was there... Was there supposed to be a show or a festival?...
TB: We're working on some stuff, yeah. It's not a festival, but there's gonna be a weekend celebration at some point somewhere, where we're gonna try to have the biggest greatest thing that we possibly can...
BK: Have the band play the whooooole weekend straight.
TB: Just start...
BK: Every song...
TB: Cause people on the board have some great ideas, like: "All the drummers get to play!"
Caller: There's actually an interesting, like ahh, fan poster design with that showing, you know, like all the drummers for each album and whatnot, but uhhhh...
TB: Yeah. I don't think Brad's gonna do that poster.
*laughter*
(jokingly) I think in order to get Brad inspired to do that poster we're gonna have to send him to South America with like, a Terence McKenna kind of thing...
BK: (jokingly) Yes! I would do... Will you guys do that? That sounds great!
*laughter*
I will sign up for that trip in a heartbeat!
TR: It wouldn't be the All Encompassing Trip if we didn't take a call from Texas...*takes new caller*
13. Caller: The Neo-Con discussion makes me wonder, have you ever had any... Have you ever gotten close to pulling back cause they (poster designs) were a little too dangerous, or would've caused some unneeded waves somewhere?
14. Once a tour is announced and you know which posters you're doing, do you work on more than one at once or do you spend all your time on one and move on to the next?
BK: The first part I don't think there was anything that I've done that I got too nervous about. I know there was the South America one that the band got a little nervous about. But I don't think there's anything that I though would be too risky. I don't think the stuff I do is that risky anyway.
As far as the tour, sometimes there's multiple ideas happening at the same time and if I'm struggling with one I'll move on to the next one so it's always good to have two or three concepts to be working on at the same time because if you get stuck with one you can go to the next one and that's helpful.
TB: And just so you know we kind of let Brad and Ames Bros and if there are any other artists involved kind of work with the band sort of divvy up who gets what and what makes the most sense for Brad or Ames Bros to tackle a particular city or date or whatever.
BK: Yeah, and if they've done a city like four times they don't want to do it again so I'll take that one. Or sometimes they'll say "I want to do this one." For D.C. I really wanted to do that one.
TR: So you can't wait to do the next L.A. one.
*laughter*
TB: He'll never get a Montana poster that's for sure.
BK: I was supposed to do Missoula once and then Jeff got it. Jeff took it from me. He apparently has ties to that area.
TR: I really want to thank our guest Brad Klausen for coming in today and taking people's calls. And I want to encourage everyone out there to go an pick up Brad's book From a Basement in Seattle: The Poster Art of Brad Klausen it's really a beautiful, beautiful piece of work. So thanks very much Brad.
BK: Thanks very much for having me. It was nice being here, and talking to you all out there in outer space.
TR: Thank you Tim. Thanks for being your good old humble self and clarifying things for all the fans out there.
TB: I just wanted to say one more thing. We made a little post here (http://forums.pearljam.com/viewtopic.php?f=4&t=146334) in the last hour that people are checking out. So just wanted to let people know there's some stuff happening again.
TR: There's news?!
TB: There's a little bit of news. There some reiterating and speculating and getting excited, but we want people to be right there with us. Hopefully people can stop complaining and move on.
BK: And be nice with the nice...
TB: Be nice. It's nice to be nice to the nice.
TR: *ends show*
*If you only knew then what you know now!
**It's interesting that this method very much echoes how Ed incorporated his contact information into the solo demos he shopped around prior to joining PJ.
London, Copenhagen 07
MSG 08
SBE, Manchester, London 09
Dublin, Belfast, London 10
and you know, respect for Tim in how he handled all that. In context its nowhere near as bad as it had been made out to be....not at all. You know, he kinda of dealt with the price increase very well.
Brad K is just awesome. Off the chart awesome.
I agree, this is the first chance I've had to review the whole show, and I'm reading it wondering why it was blown up into such a big deal - loved Brad's interview too, very interesting :thumbup:
London, Copenhagen 07
MSG 08
SBE, Manchester, London 09
Dublin, Belfast, London 10
See the "When" section of the OP.
Great guest, enjoyed his stories, missed the first time around him asking is it supposed to be a festival.
"..That's One Happy Fuckin Ghost.."
“..That came up on the Pillow Case...This is for the Greek, With Our Apologies.....”
All very welcome. Glad you like them. I hope to get last week's show with Ragan Hagar up by this Wednesday. It was a great listen!
This week's guest (later today) is none other than long time PJ studio wizard Brett Eliason. Be sure to tune in. Station details are on the front page in the OP.
FYI: The transcript for last week's show with Regan Hagar won't be up today, unfortunately. External delays. Stay tuned though.
Great work with the transcripts HH - it must take you f*kin ages to do them - especially that last one. Most appreciated by everyone here. (I'm going to try going back to taping the shows whenever I listen - as a fallback)
Send my credentials to the house of detention
2006: Dublin; Leeds; Arnhem
2007: London
2009: Manchester
2012: Manchester I & II : EV Manchester : Soundgarden Shepherds Bush
2013: Brad Manchester : Soundgarden Manchester
2014: Amsterdam I & II; Berlin; Leeds; Milton Keynes
2018: Berlin; London II; Boston II
Bootleg Reviews: http://pjbootlegreviews.blogspot.com/
Unless I'm wrong, they still could release them at one point. For the 2007 shows, they did not release them because, according to Tim, they didn't realize prior to the tour, that fans came to expect this as a standard thing to do yet for all future tours. It wasn't until 2008 that this became the way they would do things going forward. Someone please correct me if I'm wrong but that's what I recall hearing.
You're welcome.
**EDIT**
This thread is dead. It won't be updated any more. No consistent time to maintain it.
I think a better model has been hit upon: Someone creates a new thread for each week's show and people post their questions there. Hopefully people find it easier to use.
H^2