Category: Shut Up And Take My Money

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I Am Everything

Hell yeah, I’m in! Anything more cringe than Pat motherfucking Boone singing “Tutti Frutti?”

Produced by Bungalow Media + Entertainment for CNN Films and HBO Max, in association with Rolling Stone Films, director Lisa Cortés’ Sundance opening night documentary LITTLE RICHARD: I AM EVERYTHING tells the story of the Black queer origins of rock n’ roll, exploding the whitewashed canon of American pop music to reveal the innovator – the originator – Richard Penniman. Through a wealth of archive and performance that brings us into Richard’s complicated inner world, the film unspools the icon’s life story with all its switchbacks and contradictions. In interviews with family, musicians, and cutting-edge Black and queer scholars, the film reveals how Richard created an art form for ultimate self-expression, yet what he gave to the world he was never able to give to himself. Throughout his life, Richard careened like a shiny cracked pinball between God, sex and rock n’ roll. The world tried to put him in a box, but Richard was an omni being who contained multitudes – he was unabashedly everything. Directed by Lisa Cortés, LITTLE RICHARD: I AM EVERYTHING is produced by Robert Friedman, Cortés, Liz Yale Marsh and Caryn Capotosto and Executive Produced by Dee Rees.

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Oh No Crypto Bro

I’ve followed this story with some delight. Apparently Michael Lewis, who wrote The Big Short, has been trailing FTX guy Sam Bankman-Fried around, so we’ll certainly get a kick-ass film out of it someday. Among many, many remarkable facets to the tale is that the crypto market has supposedly lost $2 trillion of valuation this year… and Wall Street has barely flinched.
When Sequoia Capital – allegedly the most intelligent venture capital firm – invested $210 million in FTX last year, it asked to see financial reports and instead was told “we’ll send you a few bullet points.” It’s traditional when investing that much into a firm to have someone on the board, but Bankman-Fried wouldn’t let anyone on the board of directors, which was him, an attorney, and an FTX employee.
For a company “worth” $32 billion at one point.

Zero oversight! What could go wrong?

I’ve followed developing news with Patrick Redford of Defector, who is typically hilarious. But there are several excellent reporters and twitter feeds. Ed Zitron on Twitter is great.

Here, a professor of finance at King’s College splains it to us. He keeps showing photos of Phil Spector for Sam Bankman-Fried, so gotta respect his game:

It’s an exciting time to be in the crypto world.

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Don’t Ask Me What I Want It For

I know it’s probably verging on blasphemy for some when I say I’m really digging Giles Martin’s new stereo mix of Revolver. Thinking very seriously of grabbing it on vinyl.

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What, Me Worry?

Gone but not forgotten!

This video is only concerned with the artists who contributed to Mad in it’s first two decades – even if some of them carried on for longer. I’ve got nothing against those who came later but I’m selfishly only dealing with the ones who inspired and influenced me as I grew up. They taught me more than 4 years of college ever did. Apparently in the early Kurtzman comic years Mad was printed in colour, although all the examples I found were black and white only, and according to a particularly grumpy viewer Dave Berg didn’t die until 2002. Mea culpa.

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Pistols Ephemera Up For Auction At Sotheby’s

Check out all this cool stuff! By the way, that’s an Animation City single-cel composite for The Great Rock ‘n’ Roll Swindle, c. 1978 (Estimate: 1,500 – 2,000 GBP).

From The Guardian …

If Pistol, Danny Boyle’s recent TV series, was the story of a rock band, then this collection is the story of an idea: a collaborative multimedia art project in which Reid and McLaren, who met at Croydon art school, were at least as significant as Johnny Rotten and Sid Vicious. “They all brought their own unique visions and the Sex Pistols was the pot that everyone threw everything into,” Stolper says. Many of the images, ostensibly created to promote gigs and records, hold up as artworks in their own right. You could see them without having heard a note of the Sex Pistols’ music and know that they represented a radically significant moment in British youth culture. “This is all at the service of something else,” Wilson says, “and working out what that something else is is the intriguing part of it.”

Bidding opens October 10.