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A TRIBUTE TO CANYON CINEMA - May 15th, 7pm at Third Man Records
Founded by Bruce Baillie in 1961, Canyon Cinema has been the guiding light of America's avant garde cinema culture for more than 50 years. Not just a leading distributor and archive of fringe filmic expression, Canyon has striven to foster scholarship and an ongoing conversation surrounding cinema's most forward-thinking visionaries. Join us as we celebrate their achievements with a specially curated program of "greatest hits" and overlooked gems from their catalog, featuring work by Paul Sharits, Peter Kubelka, Will Hindle, and much more.
My Name is Oona (Gunvor Nelson, 1969, 10min)
Gunvor Nelson, (the) true poetess of the visual cinema. MY NAME IS OONA captures in haunting, intensely lyrical images fragments of the coming to consciousness of a child girl. A series of extremely brief flashes of her moving through night-lit space or woods in sensuous negative, separated by rapid fades into blackness, burst upon us like a fairy-tale princess, with a late sun only partially outlining her and the animal in silvery filigree against the encroaching darkness; one of the most perfect recent examples of poetic cinema. Throughout the entire film, the girl, compulsively and as if in awe, repeats her name, until it becomes a magic incantation of self-realization. - Amos Vogel
Trekkerriff (Will Hindle, 1985-87, 9min)
In the early 1980s, thanks to the encouragement and support of Shellie Fleming, Hindle began work on a new film. It was a difficult and troubling process, and the creation of the film was drawn out over a long period of time as Hindle struggled to find its form. The edit was finally completed around 1985, but Hindle then threw out the entire soundtrack (a piece of composed music), deeming it inappropriate. Between 1985 and 1987, he created an entirely new soundtrack, finally completing the film in early 1987. It was a difficult labor, and although Hindle was still not utterly satisfied with the film, he decided to release it. He communicated his plan to Canyon Cinema to send the new film there for distribution in Spring of 1987, but the print never made it, as Will Hindle very suddenly and tragically passed away on April 7 of that year. The film, Trekkerriff, remained in limbo for 24 years. The only people to have ever seen it were a few handfuls of Hindle's and, later, Shellie Fleming's students. Working from the only surviving print and Will's original magnetic sound masters, the Academy Film Archive has restored the film. Additional Will Hindle films are also in the process of being restored. - Mark Toscano
Down Wind (Pat O'Neill,1973, 15min)
A thoughtful treatment of some of the problems we (mankind) have been having in dealing with our fellow species, animal and vegetable. Actually an undercover "structural" film, this one seems at first to be some sort of berserk travelogue. I spent years going to travelogues as a child, and still have a great fondness for visiting natural history museums in strange cities. - Pat O'Neill
T.O.U.C.H.I.N.G. (Paul Sharits, 1968, 12min)
...an overwhelming stream of flashing colors which obliterate each other in succession as the viewer’s eye hangs, as if suspended in the field of vision, within a brilliant approximation of the reality of the succession of frames past a light-beam. Within the field, votive-like, hangs the image of a young man (David Franks)’s bust. He gazes down at the pair of scissors he holds open around his out-stretched tongue. He seems forever about to slice the fucker off in a moment of ecstatic self-mutilation. Unlike the silent “Piece Mandala,” however, “T,O,U,C,H,I,N,G” has a soundtrack. Composed by David Franks, the sound component to “T,O,U,C,H,I,N,G” outdoes Steve Riech’s early tape-phase pieces in its raw, direct message: a singe word, spoken at the height of counterculture, at the height of the Love Generation, over and over on top of itself seemingly a million times so densely that the ear hears entire sentences spun from its single sound: DESTROY DESTROY DESTROY DESTROY…
Schwechater (Peter Kubelka, 1958, 1 min, color, sound)
In 1957, Peter Kubelka was hired to make a short commercial for Scwechater beer. The beer company undoubtedly thought they were commissioning a film that would help them sell their beers; Kubelka had other ideas. He shot his film with a camera that did not even have a viewer, simply pointing it in the general direction of the action. He then took many months to edit his footage, while the company fumed and demanded a finished product. Finally he submitted a film, 90 seconds long, that featured extremely rapid cutting (cutting at the limits of most viewers’ perception) between images washed out almost to the point of abstraction — in black-and-white positive and negative and with red tint — of dimly visible people drinking beer and of the froth of beer seen in a fully abstract pattern. This ´commercialª may not have sold any beer in the twenty years since it was made, but I (as someone who hates beer) have woved that if I’m ever in Austria i’ll drink some Swechater, in tribute to what i consider one of the most intense, most pure, and most perfect minutes of cinema anyone has ever achieved. - Fred Camper
Mayhem (Abigail Child, 1987, 20min)
Perversely and equally inspired by de Sade's Justine and Vertov's sentences about the satiric detective advertisement, MAYHEM is my attempt to create a film in which Sound is the Character and to do so focusing on sexuality and the erotic. Not so much to undo the entrapment (we fear what we desire; we desire what we fear), but to frame fate, show up the rotation, upset the common, and incline our contradictions toward satisfaction, albeit conscious. - Abigail Child
I'll walk with God (Scott Stark, 1994, 8min)
Using emergency information cards surreptitiously lifted from the backs of airline seats, I'LL WALK WITH GOD pictorially charts an airline flight attendant's stoic transcendence through and beyond worldly adversity. Through an elaborate system of posturing and nuance that evokes an almost ritualistic synergy, the female protagonist(s) are shuttled toward a higher spiritual plane, carried aloft on the shimmering wings of Mario Lanza's soaring tremolo.
The Divine Miracle (Daina Krumins, 1973, 6min)
"An intriguing composite of what looks like animation and pageant-like live action is THE DIVINE MIRACLE, which treads a delicate line between reverence and spoof as it briefly portrays the agony, death and ascension of Christ in the vividly colored and heavily outlined style of Catholic devotional postcards, while tiny angels (consisting only of heads and wings) circle like slow mosquitoes about the central figure. Ms. Krumins tells me that no animation is involved, that the entire action was filmed in a studio, and that Christ, the angels and the background were combined in the printing. She also says it took her two years to produce it."
- Edgar Daniels, Filmmakers' Newsletter
Champs Provincial (Rose Lowder, 1979, 9min)
Champ Provençal presents a frame by frame construction of a peach orchard at three different periods from a single viewpoint : with pink blossom (April 1), with green leaves (April 16) and with red-yellow peaches (June 24). Although the filming procedure is similar to that of Rue des Teinturiers, the recording processes controlling the organization the material in Champ Provençal are adapted to specific characteristics of the location with the aim of setting up another visual experience.
Over the past 5 years, Third Man Records has brought to life many ideas that are new to the century-old vinyl format. So, when it came time for the creative hive to discuss the vision for the pressing of Jack White’s Lazaretto, we were keenly aware of what it would take to produce a piece of wax worthy of the music it would contain… No single innovation would suffice. We needed to go big. We needed to go bold. We needed to press an ULTRA LP.>
Watch masterminds Jack White and Ben Blackwell discuss and demonstrate the ULTRA LP features:
trouble viewing? click here.
Vault members needn’t worry – the Vault version and the standard version of Lazaretto both contain all ULTRA LP features. The LP will come with an MP3 download card. Pre-order begins today. Lazaretto will be officially released June 10th.
Festival season is upon us and we’re hitting the road!
First, this Saturday May 10th we’ll be parked at 430 N Cleveland St. in Memphis for the Goner Records record swap! There will be live music, DJ’s, and a general block party happening all day, so be sure to stop by.
We’re also happy to announce the Rolling Record Store will be in Gulf Shores, AL for Hang Out Music Festival May 16th-18th, parked on the beach side of the East Boardwalk! We’ll be making stops along the way to and from the festival, so check out our dates below:
We’ll be stocked with limited edition records and Rolling Record Store-onlymerchandise… all the good stuff. Stay tuned to our Twitter and Facebook for the most up-to-date info, and see you on the road! Keep on chooglin’…
Greetings, ladies and gentlemen, it's Monday afternoon in the USA. Go ahead and snap out of that daydream you call a three-day weekend and listen carefully. Third Man Records is pleased to announce that our second foray into the world of fine art and gallery openings will feature not only the impeccable linocuts and artwork of HAZE XXL (Tom Hazelmyer) but also the WORLD PREMIERE of Color of Noise, a documentary directed by Eric Robel exploring the character of the American underground during the rather explosive heyday of grunge.
RECIDIVIST NEOIST CROMAGNON STOMP is the latest installment in HAZE XXL's (Tom Hazelmyer) ongoing exploration of art intersecting music. The exhibition will touch on 20+ years of creating groundbreaking art for his seminal indie label AMPHETAMINE REPTILE RECORDS, showcasing Hazelmyer’s hand-carved and hand-printed fine art linocuts, often found on hand-made, ultra-small edition art records that have people traveling from around the world to attend shows in order to get their hands on a copy.
Eric Robel's COLOR OF NOISE is an exceptional look at the integrity of the American underground starting in the late 80's through the mid 90's, specifically targeting forerunners of the grunge movement, the collision of punk rock and printmaking, and beyond. Check the trailer below for a closer look...
NEOIST CROMAGNON STOMP
ARTWORK & LINOCUTS BY TOM HAZELMYER AND COLOR OF NOISEWORLD PREMIERE
DOORS 6pm FILM SCREENING AT 7:30pm
FRIDAY MAY 30th, 2014
BLUE ROOM AT THIRD MAN RECORDS
FREE ADMISSION THROUGH WEDNESDAY, JUNE 4th
OPEN DAILY 12 - 5pm
Whether it's because they brought Americana to the Izakaya in Kill Bill or because they're simply the rockin'est chicks in the land of the rising sun, you know Ronnie, Sachiko, and Akiko. We've put out a number of 220.127.116.11's records over the years, a live record, a blue series, and a 7" from Vault 7, but this Self-Titled LP is the wax that started it all. We reissued this record (originally released in 1994) in 2010, making it the band's first domestic US release, and one of our consistently most popular records — so popular, in fact, that we have trouble keeping it in stock! We've got plenty of them on our shelves right now, so if this isn't already in your collection, get it while the gettin's good. Don't say we didn't warn you... Sayonara for now, friends.