Third Man is proud to present the first vinyl release from one of our favorite local bands recorded live in our blue room as openers for Seasick Steve this past October. Promised Land are one of the most promising (see what we did there?) bands in Nashville right now. They're all youthful scruff and bluff and they crank out tunes that would be right at home in Link Wray's 3 Track Shack or hanging with the specters of long lost 45s that haunt Nashville's overflowing legend filled cemeteries. Pay attention y'all, there's big things coming from this gang. Purchase the live 7" single here.
NAM JUNE PAIK: I MAKE TECHNOLOGY RIDICULOUS
MAY 16th - 7pm / Purchase Tickets here.
It’s hard to imagine a 20th century artist who more accurately predicted the 21st century media and information landscape than Nam June Paik. Even Warhol, in his depiction of a celebrity obsessed monoculture, focused merely on a potential destination of a media-saturated society while Paik foresaw the “electronic superhighway” that would take us there.
Paik is best known as a formative member of the Fluxus art movement in the 1960’s and as a pioneer in the field of video art. His elaborate sculptures, often composed of dozens of cathode-ray screens, can be found in prominent collections worldwide, including the Smithsonian American Art Museum and the National Museum of Contemporary Art in Seoul (home of Paik’s The More the Better - a 60ft tower which displays video on 1,003 monitors.)
On several occasions, Paik worked in the very medium from which he took inspiration, via New York’s beloved WNET channel Thirteen. Through it’s groundbreaking TV Lab program, Thirteen/WNET facilitated production and exhibition for the earliest generation of video artists. Cutting edge works by trailblazers like Ed Emshwiller, Bill Viola, and Douglas Davis were available to anyone in the New York area with a television. NAM JUNE PAIK: I MAKE TECHNOLOGY RIDICULOUS highlights three of the artist’s seminal TV Lab contributions, serving not only as an overview of Paik‘s creative vision, but also as a testament to the potential of quality public television. The Light & Sound Machine dedicates this program to Thirteen/WNET, which celebrates it’s 50th year of broadcast in 2013.
EDITED FOR TELEVISION, d. Calvin Tompkins & Russell Connor, 1975, 28min
Produced for public television station WNET/Thirteen in New York, Nam June Paik: Edited for Television is a provocative portrait of the artist, his work and philosophies. This fascinating document features an interview of Paik by art critic Calvin Tompkins (who wrote a New Yorker profile of the artist in 1975) and ironic commentary by host Russell Connor. Taped in his Soho loft, with the multi-monitor piece Fish Flies on Sky suspended from the ceiling, Paik elliptically addresses his art and philosophies in the context of Dada, Fluxus, the Zen Koan, John Cage, Minimal art, information overload and technology. "I am a poor man from a poor country, so I have to entertain people every second," states Paik. Excerpts from his works include Suite 212 and Electronic Opera Nos. 1 and 2; Charlotte Moorman performing TV Bra for Living Sculpture, and Moorman and Paik performing excerpts from Cage's 26'1.1499" for String Player in 1965. On a guided tour of his loft, Paik discusses the prototype of the Paik-Abe Synthesizer and demonstrates his early altered television sets and video sculptures. - Electronic Arts Intermix
SUITE 212, d. Merrily Mossman, 1975/1977, 30min
Suite 212 is Paik's "personal New York sketchbook," an electronic collage that presents multiple perspectives of New York's media landscape as a fragmented tour of the city. Opening with the 1972 work The Selling of New York, a series of short segments designed for WNET's late-night television schedule, Paik critiques the selling of New York by multinational corporations and the city's role as the master of the media and information industries. Russell Connor is the ubiquitous television announcer whose droning statistical information on New York is ridiculed by a series of "average" New Yorkers; a burglar steals the TV set on which we see his talking head. Intercut throughout this comic scenario are appropriated Japanese TV commercials of American products. At the core of Suite 212 is a series of short collaborative pieces that form an accelerated, vibrant romp through New York neighborhoods. Street interviews with Douglas Davis' neighbors, Jud Yalkut's rendering of a Chinatown noodle shop and a colorized walk along the bridge to Ward's Island, and Paik and Shigeko Kubota's hallucinatory tour of the Lower East Side with Allen Ginsberg are among the segments in this dizzying time capsule of New York in the 1970s. - Electronic Arts Intermix
GUADALCANAL REQUIEM, d. Nam June Paik, 1977, 29min
One of Paik's most overtly political and poignant statements, Guadalcanal Requiem is a performance/documentary collage that confronts history, time, cultural memory and mythology on the site of one of World War II's most devastating battles. Guadalcanal in the Solomon Islands is the iconic setting upon which Paik inscribes symbolic gestures and performances. Scenes of Charlotte Moorman performing with her cello, interviews with American and Japanese veterans and Solomon Islanders, and archival footage of the battle are juxtaposed, synthesized, layered, colorized and otherwise electronically manipulated. The imagery is haunting and often surreal: Charlotte Moorman crawls along the beach in a G.I. uniform with a cello strapped to her back, plays a Beuys felt cello, and performs while concealed in a body bag. The subtext of this extraordinary collage is Paik's assertion that global conflict arises as a result of cultural miscommunication. - Electronic Arts Intermix
Tickets available for Belcourt members at a discount for $8 via the Belcourt website.
All member and non-member tickets purchased online will be available via will call, day-of-film, at Third Man beginning at 6pm. TICKETS WILL ALSO BE AVAILABLE AT THE DOOR BEFORE THE SHOW!
We are pleased to announce the launch of the new and improved Third Man Records Vault. For those of you not yet familiar, the Vault is our quarterly subscription service, previously hosted by Modlife. Vault subscriptions are available in 2 levels: Gold, which allows you access to online content, and Platinum, which allows access to said online content as well as a quarterly exclusive package featuring a 12”, 7” and bonus item that only Vault members will receive. (Examples of past Vault packages can be found here.)
The exclusive, online content on the new Vault will be open to all until we announce our next quarterly package in early July, so we’d like to take this opportunity to invite members and newcomers to poke around.
If you find that you are enjoying the content, we encourage you to consider a membership. Content will become exclusive again after the Vault package #17 is announced in early July. Please note that the Vault Novelties store will not launch until Package #17 is announced, and other features like live stream and pre-sales will become available in the coming months.
Please keep in mind that this new & improved Vault is new to us too. We liken the way we feel on this day to the way the engineers of the Hadron Collider must have felt when they flipped the switch… so we appreciate your patience with us as we get these protons accelerating and unlock the keys to the universe.
This is it! Tomorrow is the deadline to sign up for Vault Package #16 on Modlife as well as the final day of the Vault in its current form, meaning… Wednesday is the official launch day of the new and improved Third Man Records Vault! As we mentioned previously, your subscription with Modlife will NOT carry over. ALL members will have to re-subscribe to the new Vault in order to maintain a continuous subscription.
We realize that many of you prefer not to renew your quarterly subscription until the corresponding package has been announced, and we don’t want any loyal Vault members to miss out on content due to the timing of this launch. For that reason, all Vault content will be open and non-exclusive until Vault Package #17 is announced in early July, though please note that Vault Chat and comments will be closed to those who have not yet re-subscribed. Similarly, the Vault Novelties Shop, which will be accessible only to Platinum members, will launch AFTER the Package #17 announcement, so all members have equal opportunity to score the wares we will have to offer. (We know, we can hardly wait either!)
We have strived to fill the new Vault up with a solid collection of fun goodies for the launch, however please keep in mind that this is just the beginning. We are thrilled to use our new platform to bring you many more exclusive videos, tracks and photos, as well as the inside scoop on Third Man news and events in the weeks ahead.
This new & improved Vault is new to us too. We liken the way we feel on this day to the way the engineers of the Hadron Collider must have felt when they flipped the switch… so we appreciate your patience with us as we get these protons accelerating and unlock the keys to the universe.
Like always, please contact firstname.lastname@example.org if you are having any trouble using the site. We hope you agree that this new Vault is going to vastly improve the way we bring you the content we all love, and we look forward to rolling out all the site’s features in the coming months.
In the meantime, don’t forget to sign up for Vault Package #16.
Please note that new subscriptions can presently only be purchased via credit/debit. We will be able to accept Paypal shortly.
Third Man Records is proud to announce the worldwide release of the vinyl version of The Great Gatsby film Soundtrack. Anticipation is already high for this companion piece to Baz Luhrmann’s groundbreaking film of the F. Scott Fitzgerald classic.
The soundtrack was executive produced by Shawn “JAY Z” CARTER, and produced by the film’s co-writer/ producer/ director Luhrmann.
It features an all-star line up from Jack White, JAY Z, Florence + The Machine, The xx, Beyoncé x André 3000, The Bryan Ferry Orchestra, will.i.am, Lana Del Rey, Fergie + Q Tip + GoonRock among many more standout contributions.
Drawing on his unique and unrivalled position in popular culture, JAY Z (with collaborator and the films executive music consultant, Jeymes Samuel) worked with Luhrmann and music supervisor, Anton Monsted, on the Gatsby project over the past two years, translating the Jazz Age sensibility of F. Scott Fitzgerald’s novel into the musical equivalents of our own times through the blending of hip-hop, traditional jazz and other contemporary musical textures.
Third Man is very excited to present the 17-track deluxe edition of the album on vinyl, housed in glorious gatefold artwork. Additionally, Third Man will also be releasing 7” single components to the soundtrack, including Jack White’s “Love is Blindness”.
Record Store Day at Third Man Records was an unequivocal success... where do we even begin?
From the die-hards who camped out overnight (more than 24 hours before doors opened!), to the transcendent live performances by Karen Elson and Mark Watrous, the sundry delights provided by our friends at Hot Diggity Dog (they killed it with their Detroit Dog), Fat Bottom Brewery, Bang Candy and Las Paletas, coverage from TWO local news stations... we are absolutely ecstatic as to how the day unfolded.
To be fair, most of our excitement is tied-up in the success of our Third Man Record Booth. The dozens of people who waited in line to record their very own 111 seconds of vinyl magic walked away with one-of-a-kind audio mementos that we (and they) will never forget. Whether it was a marriage proposal, folk song, last will and testament, poem, one act play, a Sir-Mix-a-Lot cover or birthday greetings, accompanied by everything from a vintage 1920's Gibson mandolin, a boombox or an iPhone, every last recording from the booth was inspired and fulfilling. Even Neil Young stopped by and recorded a song in the booth.
The booth was carefully monitored by two engineers throughout the day to ensure all the mechanizations were in fine working order. Third Man made the decision (at least for Record Store Day) to use the highest quality aluminum substrate lacquers. These blanks offer the best fidelity for cold needle record cutting and can be played dozens and dozens of times without any noticeable audio degradation.
Record Store Day weekend has really put the booth through its paces and our engineers (Third Mangineers?) have learned a lot from this weekend and are making the necessary modifications to ensure the booth can soon be a permanent fixture in the Novelties Lounge.
Jack White also did a recording in the booth this weekend and we share that with you here for free so you can hear the warm analog fidelity that radiates out of this booth.
View more photos of the fun here.