Considered by many the most influential woman on the planet, Oprah Winfrey is not only a celebrated author, television host, philanthropist, media mogul, and inspiration to millions, but she is also a great speaker. Her life, her journey, her opinions, and her suggestions about how we can live a better and more fulfilled life have been crafted into a live show and this Wednesday in Melbourne, Australia, Oprah will take it to the stage, bringing her personal story and insights in a one-of-a-kind intimate evening. It is with extreme pride that we announce the appointment of Perryscope as tour merchandiser for Oprah Winfrey's first ever tour of Australia and New Zealand arenas which commences in Melbourne's Rod Laver Arena. Additional cities include Adelaide, Perth, Brisbane, Sydney and Auckland, New Zealand.This tour marks her first appearance in New Zealand. Promoters Michael Cohl of Iconic Entertainment Studios and Paul Dainty of the Dainty Group will produce the events.
New York, NY- June 8, 2015
Perryscope Productions has been retained by JAM, Inc, which manages of the Estate of Janis Joplin, to develop a new comprehensive, global merchandising, licensing and retail program for Janis Joplin.
The announcement of the multi-year agreement was made today by Norman Perry, President of Perryscope Productions.
“Janis Joplin was one of the most iconic and celebrated singers of her time; instantly recognizable by both her voice and unique style, which remains as relevant today as it did in the 60s. We feel our myriad of global distribution partners and specialty licensees will be able to offer cutting edge fashion and lifestyle products and accessories to retailers in all tiers. We look forward to celebrating her legacy with original fans and emerging ones.” said Perry said today in a statement.
Jeff Jampol, President of JAM, Inc, said, "Janis Joplin's music is inspirational to millions across the globe. She is sheer magic. Janis represents something eternal - a humanity, a vulnerability, and an honesty - that people seem to be looking for, and instantly identify with."
Known for her explosive live performances including searing sets at the Monterey Pop Festival and Woodstock, Joplin has remained the Queen of Rock and Blues long after her untimely death at 27.
The Port Arthur Texas Native was first put on the map as a vocalist with San Francisco-based Big Brother and the Holding Company, where Joplin’s vocals on Piece of My Heart and remarkable cover of the Gershwin classic Summertime helped their 1968 LP Cheap Thrills reach the #1 spot on the album charts, selling over 1 million copies in a month.
Going on to form her own solo group, the Kozmic Blues Band, in 1969, Joplin released I Got Dem Ol’ Kozmic Blues Again Mama!, which immediately went gold. That same year she gave an iconic performance at the Woodstock Festival. In 1970 she assembled a new backup group, the Full Tilt Boogie Band where in 1970 she joined the Grateful Dead, The Band, and other artists for the Festival Express railroad tour through Canada. Her landmark final album Pearl, which featured such iconic songs as Me and Bobby McGee and Mercedes Benz, showed Joplin’s mastery of virtually all pop genres. The quadruple-platinum album became the top-selling release of Joplin’s career and was ranked amongst Rolling Stone’s “Greatest Albums Of All Time.”
Still a staple on classic rock radio throughout the world, Joplin’s legacy has remained both current and relevant, having inspired many of the newer female performers today. In 1995 she was inducted into the Rock and Roll Hall of Fame and posthumously given a Grammy® Lifetime Achievement award in 2005. In 2014, the United States Post Office honored Joplin with a US Postage Forever stamp. Two live theatrical properties, Love, Janis and the Broadway hit musical A Night with Janis Joplin continue to tour the country to sold-out audiences. A documentary film directed by Amy Berg and produced by Alex Gibney and Jeff Jampol will be released in 2015.
About Jampol Artist Management, Inc:
Dedicated to the re-introduction of timeless art through modern means, JAM, Inc. develops, preserves, protects and enhances the work of iconic artists and reaches out to successive generations of music fans. Using new distribution channels, new technology, and other emerging resources, JAM, Inc. manages the recordings, images, writings and other creations of their clients in order to keep them circulating in the cultural bloodstream. Among JAM, Inc's clients are rock legends The Doors, Ramones, and the estates of Jim Morrison, Janis Joplin, Otis Redding, and Rick James. The firm also serves as consultant to the Estate of Michael Jackson.
In 1965, Roger Waters co-found Pink Floyd with drummer Nick Mason, keyboardist Richard Wright, and guitarist/singer/songwriter, Syd Barrett
In 1990, Roger Waters staged one of the largest and most extravagant rock concerts in history, The Wall – Live in Berlin, with an official attendance of 200,000
Tickets for David Gilmour’s upcoming European tour went on sale March 6, and within 24 hours all 10 shows were sold out.
In fact, the demand for tickets was so high in London for the famed Royal Albert Hall shows that they sold out within 30 minutes of becoming available, and that is with two additional shows added to the three already scheduled, reports the Belfast Telegraph.
Strict regulations are being enforced on the purchased Royal Albert Hall show tickets to stem secondary sellers from making a quick buck off of reselling them. Those who have bought tickets will have their name printed on the ticket, and must supply a photo ID in order to gain entry. Tickets that have been bought through a secondary seller will not be accepted.
David will kick the European tour off September 12 at the historic Pula Arena in Croatia, with the final show being performed on October 3 in London. The tour is in support of his up-coming release slated for this fall. This will be Gilmour’s first album and tour since On An Island, released in 2006.
Life in Color today announced its "Big Bang - The Creation of Color" world tour, unveiling the first phase of an ambitious itinerary that is expected to include more than 130 cities and 50 countries this year.
Emboldened by a 2014 campaign that saw the SFX-owned company sell upwards of 600,000 tickets at more than 160 shows, Life in Color is seeking to scale its domestic dominance to an international level in 2015.
Mysteryland USA is closing out 2014 in style. As we gear up for the festival’s return to the sacred grounds of Woodstock ’69 in Bethel Woods, NY in May 2015, THUMP has named Mysteryland the #1 Dance Music Festival in all of North America—and for good reason:
“With its eye for tasteful details, bucolic surroundings, and something-for-everyone lineup, Mysteryland is easily one of the best festivals of the year.” Read the full write-up here.
The news comes right on the heels of another accolade for ML USA: the festival was the #2 most Googled music festival in the United States in 2014, second only to Coachella. This is no small feat given that 2014 marked the festival’s debut in America.
MLUSA will feature stages hosted by some of the world's biggest DJs, record labels, and NYC clubs. Verboten, Adam Beyer Presents Drumcode, Jamie Jones Presents Paradise, Webster Hall and the return of Sin Salida (2.0!) are just a scratch on the surface.
Watch the trailer for the entire list! http://bit.ly/1zGwqjy
By Andrew Seale | Yahoo Finance Canada
September 23, 2014
Before we even get into it, Norman Perry wants to know if I’ve got the right guy. It seems he has a bit of a thing with names.
“When I came to Vancouver in the seventies and started my promoting career many people thought of me as a guy named Norm Perry who was a broadcaster out of Toronto and had a show there,” says the Montreal native, music industry veteran and president of Perryscope Productions – which handles merchandizing and licensing for high profile acts like Pink Floyd and the legendary music festival Woodstock. “I’d say ‘ah, no, that’s not me’ – I was the complete opposite, this 23 year-old know-it-all who was the antithesis of that other gentleman.”
He says he’s surprised anything comes up even now when he’s Googled, as he’s tried to play it “fairly low key” over the years.
But Perry is anything but low key. The music industry legend speaks in long-winded sound bites, spinning soliloquys of adages and rapid-fire name-dropping twisting in a verbal blender until it’s just thick enough to be poured out as a barely concise thought. Then he follows it up with a crystal clear answer to your question, just to see if you’re listening.
His cadence is unsurprising. Perry has spent over four decades in the schizophrenic music industry doing “everything beside writing the songs themselves” including promoting, producing and merchandizing.
He’s tied to industry greats like Live Nation Canada Chairman Riley O’Connor – who he launched the original Perryscope promotions with in the 1970s and brought bands like the Clash, Blondie and the Police to Western Canada. He moved on to promoting shows for acts like the Rolling Stones before arriving at where he is now, the world of electronic dance music festivals likeTomorrowLand.
Norman Perry shared his thoughts on how electronic dance music (EDM) festivals managed to become the next big thing while his generation was looking the other way, why slapping the Woodstock logo on a lunch pail doesn’t degrade the brand and how it feels to have someone he’s never met restart Perryscope in Vancouver.
What’s changed about the industry since the heydays when you were basically introducing a whole generation to bands like The Clash and punk music in general?
Fifteen years or so ago people decided they could steal music and it became a real problem for a lot of us and in some ways it helped magnify the importance of the live side of the business and the merchandize side of the business because certainly those revenue streams became primary as records, royalties and publishing income started to diminish.
Where are the new frontiers then? Where is the money in the music industry if records aren’t being sold?
If you think back ten years ago, folks like you in the media would ask what’s going to happen when McCartney doesn’t want to tour anymore? What’s going to happen when U2 stops touring? And we really believed bands like the Foo Fighters and Metallica were going to be as big as all these other bands so we kept saying it. But in a way I don’t know that we believed it. We were just saying it to make sure we felt good and low and behold without any of us geniuses knowing it there was this other world evolving that has now become as big or bigger than anything we worked on.
It’s the world of Swedish House Mafia and it’s the world of Tiesto and Afrojack and Diplo and Major Lazer. And I’m personally blessed to be working in that electronic dance music festival world that has become the replacement for Jethro Tull and Ozzy Osbourne – not the ultimate replacement because I think there’s room for everybody but whenever they said the sky was falling, the sky wasn’t really falling and maybe the live experience has now evolved into the festival experience.
So EDM festivals and DJs like Tiesto are the next big thing? That makes sense to me with the ten highest paid DJs pulled in a collective $268 million last year. Tiesto himself made $28 million.
Kids love these festivals. And not just EDM, look at festivals like Coachella. They’re going and they’re seeing Tom Petty for the first time ever and at the same time they’re seeing indie acts likeSleigh Bells or fun. or young up and coming electronic artists. With these DJs that are now as big or bigger than the Bonos of the world, they are capable of helping kids to discover that past and be grounded in their appreciation of music and if they’re collaborations going forward include crossovers like working with the U2s and Madonnas that’s great because I think there’s too many silos. I admire what the festivals are doing – they’re trying to marry our cultures and different music styles.
Mind you at $400 a pop the tickets to these festivals are significantly more expensive.
As promoters, we need to take a step back and say what’s really affordable for a 20 year old. Can they afford a $500 weekend? Is $900 including travel for a person driving up to Toronto from Pittsburgh affordable and is a once a year event for them the same as what I grew up with, which was seeing a band every week? It’s so easy for a DJ headliner to be on an airplane with his USB stick. He could play Alberta one night and Argentina the next night and he can be in Australia on the third night. I worry that they might be playing too often in certain markets and it gets to a point where it’s not quite as special
I fear we've now become a little bit too selective. If somebody wants to see TomorrowLand then they might not want to go to a regular venue in Toronto to just check out up and comers.
Everything you touch these days seems to be involved in the big corporate side of the music industry. Do you ever feel far removed from the Perryscope days of booking shows at the Commodore Ballroom in Vancouver?
We used to think The Rolling Stones were pretty big business and they were a billion dollar business. We were blessed at one point to be part of their team, some of us were working on concert promotion, others on sponsorship and some on merchandizing and licensing and it was all for this big, big entity called The Rolling Stones. Whether your partner is Labatts or your partner is Live Nation or your client is Pink Floyd, we all get used to working in very large situations. When you have an act with a global footprint you have to adapt to that international opportunity.
Is there still space for the little bands?
I don’t really work closely with a lot of young bands. But I have seen DJs that are flying up the ladder in the same way that bands used to – you hear about them from the streets. Everyone hears about it from “a guy they know.” It’s always been the kids that helped get the word out and now they can do it through social but it’s still about bragging rights.
It all comes down to the team. Any band – small or large – with a good team, goes further.
At the current Perriscope Productions, you work with a lot of clients with massive legacies like Pink Floyd or Woodstock. Aren’t you worried that putting out things like a lunch pail with their brand on it will come off like you’re trying to squeeze revenue out of the acts?
The right Woodstock lunch pail might bring you a smile if you're also the parent that would put your kid in a David Bowie t-shirt. I think that if there were Woodstock gaming tables in Vegas or pinball machines the way there are Michael Jackson ones, I think your point would be very valid but I’ve been really lucky to be able to know or have clients that steer me away from bad deals and staff that keep me sane and credible when it comes to honouring a brand’s legacy. The insane thing that I think about everyday is people pay us for the privilege of saying “I’m into Pink Floyd”, whereas companies like Proctor and Gamble pay for the privilege of sticking an image in front of the public.
Do you find big music acts also seem to be really cashing in on the VIP element, those back stage meet and greets, lately?
With the VIP experience, I don’t think you can say Bon Jovi stole the idea from Wimbledon or the U.S. Open where these types of experiences have been happening for years. The way to keep the ticket prices low is to have the rich pay for what they can afford, it’s called a private suite, it’s called valet parking and it allows all the bands that have a conscience to be able to keep the majority of their prices affordable.
You’ve got Perryscope in the U.S. now but Dave Fortune, a former employee at the Perryscope you launched in 1977, seems to have revitalized the initial brand in B.C., how do you feel about that?
I’ve always been very proud of the team I’ve worked with and by no means did I actually even deserve to have a company called Perryscope, it should have just been Concert Promotions or something. But for whatever reason when it all started it was a bit of a visual pun and we went with it. And about a year and a half ago it came to my attention that somebody who had for a nanosecond, at least in my brain, worked for our organization in Vancouver, had reclaimed the name.
I see how that could be weird.
Apparently they did it for the right reasons – promoting had become very corporate and big business was ruining everything and wouldn’t it be good to try to revisit the good ol’ days when promoters did try to engage with their audience on a one to one basis and did try to connect them to the up and coming music of the day. Which is one of the reasons it was so successful in the first place. The reality is that there were alumni of that company that have gone on to be some of the most important people in the industry of entertainment specifically live entertainment and if any of them had come to me I would have given them my blessing. I thought his approach was kind disingenuous. Still, I wish him well.
Congratulations to the ID&T and TomorrowLand teams on another brilliant year! If you don't know what all the EDM hype is all about, we'll just leave this here for you.
NEW YORK -- April 21, 2014 8:00 AM
SFX Entertainment, Inc. (SFXE), the largest global producer of live events and digital entertainment content focused exclusively on electronic music culture (EMC) and other world-class festivals, announced today it has acquired Perryscope Productions, LLC, a New York-based full-service licensing and merchandising, to implement its strategy for all SFX brands and events.