Liked on YouTube: QI | They Say Of The Acropolis Where The Parthenon Is…

Wadda they say, wadda they say? An all-time favourite moment.

26 September: On this day in 1687, the Parthenon was badly damaged by gunpowder.

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This clip is an outtake from Series E, Episode 1, ‘Engineering’ with Stephen Fry, Alan Davies, Bill Bailey, Rob Brydon and Jimmy Carr.

Liked on YouTube: Gary Vee: The Youth Pastor of Capitalism

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Today we’re looking at Gary Vee – analysing how he runs his business, makes his money and separates himself from all the ‘fake gurus’ out there. But is he as legit as he likes to try and make out…?

Check out my Patreon where I will be covering some extra Gary Vee gossip I found but couldn’t fit in this video:

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Copy to stroke the YT algo under its chinny chin chin like a little kitten:

Gary Vaynerchuk has always been one of those entrepreneur guru type figures on social media, constantly pumping out endless content on TikTok, Instagram, Youtube and Facebook to the younger generations with motivational content for young business wannabes needing inspiration. He’s also used the fact that he was an early investor in Facebook and Twitter to market himself as some sort of genius of the digital age. He has also made a couple of accurate predictions, such as Joe Rogan moving to Spotify. But his predictions aren’t always correct.

But he’s managed to skirt the same reputation as the likes of Tai Lopez and his ilk of ‘contrepreneurs’ by not directly and aggressively pushing an expensive course or event. He seems to be very concerned about separating himself from these people, and he makes his money in many other subtle ways, which I discuss in this video. This includes angel investing, in which he can get himself generous equity deals from startups just by simply being Gary Vee.

He also likely gets a huge chunk, if not most of his income through keynote speeches. He will get paid allegedly up to around $200,000 for a 1 hour keynote. However he doesn’t seem to have much of a moral compass around who he makes keynote speeches for. For instance, he has accepted money to make keynote speeches at MLM events and at Success Resources events, at which he gets paid to be the bait to lure people to sit infront of 8 hours of speeches from get rich quick gurus, so his fans who have come to see him get suckered into paying grifters up to $10,000 to become a ‘millionaire’.

Gary also runs Vaynermedia, which is a marketing agency that targets millennials and Gen Z. Billionaires will invest in this company to ensure it stays afloat because they believe Gary Vaynerchuk is the marketing gateway to the youth because he has positioned himself as this on social media. Gary seems to be underpaying his young workers at Vaynermedia however, and there are plently of accusations of a poor workplace environment there, unpaid overtime and a toxic hustle culture.

Gary’s message also includes advocating for toxic, over the top work ethic and constantly insinuates that hustling hard is the only thing that matters for getting rich. He also reckons being born poor or in an ethnic minority or being an immigrant or being African American is actually a privilege, because it makes you ‘tougher’, and that capitalism will rise you up if you’re tough enough and just work hard enough.

Sources & further reading:  

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00:00 Intro
00:50 The origin story
11:39 Where does his money come from?
22:04 Protect your privacy!
23:46 Vee for Vendetta (against social progress)
33:15 Endorsing MLMs (The Beachbody Speech) & dodgy companies
36:46 Vaynermedia’s awful employee reviews, opinions on social media
43:32 Conclusion
46:19 Song (Flashing Images!)

Liked on YouTube: Brian Ferneyhough – La Terre est Un Homme

A live recording from the Brian Ferneyhough ‘Total Immersion’ event held at The Barbican, London, on 26th Feburary 2011. This was the culmination of a day of concerts, performances, and talks, which also included the UK premiere of Ferneyhough’s more recent orchestral piece ‘Plötzlichkeit’. ‘La Terre Est Un Homme’ is one of the most notoriously dense and complex scores ever produced, as evidenced by its sheer physical size (demonstrated when conductor Martyn Brabbins triumphantly held it up at the end of the performance). But the music is by no means ‘inaccesible’. Tim Rutherford-Johnson, on ‘The Rambler’ blog, writes: “As if to make a mockery of both my slow assimilation approach to Ferneyhough’s music, and the view that compositional complexity is inversely proportional to emotional effect, this was a quite staggering kick in the guts. I have no idea how the performance measured up to those two from 1979 but frankly it didn’t matter — most of us were left speechless. The organisers and participants in this Total Immersion day had done their best to cut through the huff and bluster that surrounds Ferneyhough and his music, but they struggled. In the end it came down to this one piece.”

“And one particular moment. You see, there is a dark secret to La terre: a hushed string chord of incredible luminosity that suddenly leaps out of the pages of phenomenally dense writing. As a moment of recontextualisation I know nothing else quite like it; it was so unlike anything I had been prepared to expect that I was almost knocked out of my seat. You had to be there. In the end, nothing spoke so eloquently or gripped so powerfully as Ferneyhough’s music itself.”

The only previous recording of this work is of the world premiere, from 1979, in which what sounds like a fine performance is marred by horrendous sound quality – effectively losing 50% of a work which is packed with so much detail and colour. In any case, a recording cannot really hope to capture the full impact of this piece, heard live, with musicians and instruments sharing one’s physical space; nonetheless, as it’s not likely to be performed very often, this recording (from the radio broadcast of the concert) is probably the best we’ll have to go on for some time.

The performers are the BBC Symphony Orchestra, conducted by Martyn Brabbins; the painting shown in this video, from which the composition derives its title, is Roberto Matta’s ‘La Terre est Un Homme’.