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dear journalists and other people looking for drama or a diva,
even in the age of the short attention span internet article, it’s still hard to believe you are STILL writing about this:
seems like there’s a new rule number one for up and coming journalists: don't let the facts get in the way of click bait. at the risk of incurring even more of this hoo haa (and i’ve definitely turned my cheek more than once lately) and even though our management sent out a letter to clarify this, and since this seems to be all anyone can ask me about lately, here’s the real deal, and hopefully it’ll explain this nonsensical scenario and we can move on with our lives. (or what have you).
first off, this is none of your business, but i have no specific demands in my dressing room. i know i could ask for lots of things but i actually don't ask for ANYTHING. i take with me what i need, and that ain't much. anything on the rider is for the band and the crew. this "guacamole recipe" is my hilarious tour managers inside joke with the local promoters, it’s his recipe, not mine. it’s just something to break up the boredom, seeing who can make it best. though i wouldn’t know because i’ve never had it. i can’t even make kool aid let alone cook any real food enough to have a “recipe.” sorry, i don't have that talent.
bananas: did it occur to anyone someone on the tour might have an allergy to them? no? hmmm. one day some fantasy journalist out there will call someone in the biz and actually have a rider explained to them, maybe none of them have ever been on tour. oh well, let’s move on, first amendment issues: i fully believe in the freedom of the press (though the supposed search for truth from the press requires microscopes and a some morton salt), and i also defend anyone’s right to free speech (just look at my lack of respect for grammar in this letter and tell me i’m not for communicating freely) and i defend the right to free information in regards to public funds, but never in my 20 years of playing shows has my contract and tour rider been published in the paper that i recall.
do you know why we don't do that or want that? a hundred articles about bananas, free speech, and guacamole is why; it’s because people don't understand what a rider is or what the terms of a contract are. they’re out of their element, and you can’t blame them for it. and people who write about that know this. people WANT a rider to be a list of demands that a diva insists occur lest he or she refuse to play a note of music.
but in reality, it’s just some food and drinks backstage for the hundred workers and guests who have to live in a concrete bunker for 15 hours. some people bring their own living rooms on tour, some people ask for a huge spread. who cares? what you’re looking for is someone throwing a tantrum because they didn’t get their brown m and m’s, sorry to disappoint.
someone printed that i’m never going to oklahoma again? not true. i love oklahoma, that’s why i booked this show instead of playing chicago or atlanta for four times as much money. ask around in tulsa. i’ve been there at least three times on these last two albums. i love it there. our booking agent warned the college that other artists might not book shows there? of course they did, it’s bad business what that school paper did and really rude. of course they are going to tell them to wise up.
am i pissed at the students at oklahoma university? absolutely not. am i disappointed in young journalists at their school paper? absolutely. but i forgive them, they’re young and have learned their lesson about truth and ethics hopefully. all they have to do is google this to know that it’s not worth it. look for real problems instead next time. look for the truth, not fake drama. i got pissed during my show and berated the crowd? no. sorry, didn’t happen. i made jokes about the paper publishing that info, so which of us is thin skinned? they have freedom of speech but i don't? at my show? ok. i guess the rules change for different people. the crowd were amazing and we played for 2 and a half hours that night. people were told to delete photos on their camera? i dont know much about that but it must be a miscommunication about what was public property at the college and the contract we had with the university to let us do our work in peace; but i’ll give you an example, if someone working at a theater we played at started taking pictures of all of our workers and our gear they’d probably get fired by their theater or promoter. sorry to the student paper budding press papparazzi on that one, but is this a tmz assignment or can you give us some peace while we try to put on a show for the students? give us a break man.
i know it’s a fun thing for people to try to turn me into a jerk and a diva, but in this case it’s pretty ridiculous and has almost nothing to do with me. my relationship with the fans at that show and how we got to a new place together through music remains intact and i’d love to do it again with them.
i think that’s everything, can i go back to making music now? no? ok. crochet it is.
Third Man Books is pleased to announce the forthcoming publication of THE TRUTH IS WE ARE PERFECT (April 14), the debut full-length collection of poems by Janaka Stucky and TMB’s first single-author title.
"Stucky’s verse has the power of the best East European poets—some of his poems seem to be perfect, magnificent, and instantly anthologizable. He is a forceful, cogent, incisive phrase-maker." –Bill Knott
Janaka Stucky is the publisher of Black Ocean as well as the annual poetry journal, Handsome. He is the author of two chapbooks: Your Name Is The Only Freedom, and The World Will Deny It For You. His poems have appeared in such journals as Denver Quarterly, Fence and North American Review, and his articles have been published by The Huffington Post and The Poetry Foundation. He is a two-time National Haiku Champion and in 2010 he was voted “Boston’s Best Poet” in The Boston Phoenix.
Third Man Books has previously published Language Lessons: Volume I, a vinyl record and print box set anthology. Forthcoming titles include Pain: The Board Game by Sampson Starkweather and Hidden Water by Frank Stanford (special edition, in collaboration with Copper Canyon Press).
"When Third Man Books released our first literary publication Language Lessons: Volume I, the anthology included, naturally, an ex-mortician named Janaka Stucky alongside writers who moonlighted as bartenders, taco chefs, and software developers, or were Pulitzer Prize and National Book Award finalists such as C.D. Wright, Adrian Matejka, and Dale Ray Phillips, or were punk rock progenitors like Richard Hell and Tav Falco," said Third Man Books editor Chet Weise. "For Third Man Records and Third Man Books, poetry is another genre of music, and that Janaka Stucky is one of our favorite writers should be no surprise."
Below is Janaka Stucky reading his poem the Art of Loss Is A Lost Art recorded live and straight to 7” vinyl via Third Man Record’s Record Booth
Scott Blackwood, Grammy nominated author of TMR’s Paramount V1-2 box sets, will be reading from his existential crime novel See How Small at Parnassus Bookstore in Nashville, TN, 6:30pm, Thursday, February 12.
"A brutal, necessary, and near perfect novel” — NPR
“Instead of a decisive close to a horrific crime, there is only remembrance; and in the case of this thought-provoking novel, remembrance fused with literary invention and at times even grace.” —New York Times Book Review
Check out See How Small's opening paragraph to get you hooked:
"WE HAVE ALWAYS lived here, though we pretend we’ve just arrived. That’s the trick, to make forgetful shapes with your mouth so everything feels new and unremembered. But after a while we slip up. A careless word, an uninvited smell, a tip-of-the-tongue taste of something sweet, makes the room suddenly familiar — and we have to begin again. Like startled infants, we look to your face to tell us what comes next. You came into the fire."
Scott is the author of three books of fiction, the novels See How Small and We Agreed to Meet Just Here, and the story collection, In the Shadow of Our House. He's the recipient of a Whiting Writers' Award in fiction, the AWP Award for the novel, and Texas Institute of Letters Award for best work of fiction. His two nonfiction narratives, The Rise and Fall of Paramount Records, Volume One and Two, were co-produced by Jack White's Third Man and Revenant Records. The first volume was nominated for a 2015 Grammy Award. Scott teaches in the MFA Program at Southern Illinois University- Carbondale.
The 7” vinyl single for “That Black Bat Licorice,” featuring the non-album B-side cover of Harry Connick, Jr.’s “Blue Light, Red Light (Someone’s There)” is now available for pre-order. Orders will begin shipping no later than February 23rd. The digital single with corresponding B-side will be available worldwide on Tuesday, February 17th.
Blue Light, Red Light (Someone’s There) features an all star cast of musicians from the Jack White band and Third Man family:
Jack White: Vocals
Daru Jones: Drums, Percussion
Dominic Davis: Upright Bass, Acoustic Guitar
Chris Clawson: Bass VI, Electric Bass
Cory Younts: Pianos
Joshua Gillis: Rhodes
Olivia Jean: Electric Guitars
Fats Kaplin: Pedal Steel Guitars
In case you missed it, watch Jack’s performance of “That Black Bat Licorice” on The Tonight Show Starring Jimmy Fallon last night.
Multi-instrumentalist Olivia Jean announces the release of Merry Widow, 7" vinyl for album track "Merry Widow" and album B-Side cover "You Really Got Me," through Third Man Records, in support of her critically acclaimed debut solo record, Bathtub Love Killings. Fans can pre-order the special 7" through Third Man Records now. "You Really Got Me" is also available digitally through iTunes. Jean's "You Really Got Me" cover was recently hand selected as the featured song in the newly released YSL Mascara commercial, alongside model Cara Delevingne.
"As a songwriter, she has unerring ear for crafting memorable hooks and deftly blurring genre lines, making her songs sound instantly familiar...but even as a smitten fan, I wasn't quite prepared for the joys of Bathtub Love Killings." - WBEZ
"In the final estimation, Bathtub Love Killings is Olivia Jean's show. She holds down acoustic and electric guitar duties as well as all the keyboards and vocals, putting her twinned signature stamp of seductress kitten/wronged lover on pretty much every number." - Blurt
"Her debut LP is dashed with bluesy licks, spooky organs, and girl-group harmonies." - ELLE
"Dark gritty vocals, fuzz guitars and mix of freak folk '60s psychedelia." - Hollywood Reporter
Bathtub Love Killings is the debut solo LP from Olivia Jean, the multi-instrumentalist who cut her teeth in the Third Man stable backing folks as varied as Karen Elson, Wanda Jackson and Jack White in addition to fronting the much-loved Black Belles. Jean has accrued a lifetime of experience in a few short years, from highlight performances on The Colbert Report, Conan, Late Show With David Letterman and The Grand Old Opry stage to having one of her songs used as the theme for the television series Elvira's Movie Macabre. Produced by Jack White, Bathtub Love Killings showcases Jean as a songwriting force to be reckoned with. Playing damn near every instrument she could get her hands on, the result is a well-rounded, catchy record that's chock-a-block full of earworm moments. Huffington Post named Olivia Jean one of their "Fab Fourteeners of 2014: Peak Musical Performers of the Year." Additionally, Jean performed "Merry Widow" on Conan last November.