EXTENDED PLAY by DJ POOLHOUSE ━━⊱⋆⊰━━ 7 original machine art-produced songs in an ELECTRO ROCK style by DJ Poolhouse. I am very excited to share this playful and highly imaginative musical collection with you when it drops via BACKKLASH next Friday!

it actually delights me so whenever I am asked for advice. when it’s repeat business, I beam. I find great pleasure in putting myself in someone else’s situation, and then trying to boil away the complexities and distill down What’s Really Going On, so that I can make a recommendation. I love being old and wise and I am so pleased that there are people who trust me in this way. that’s some real benevolent humanist shit.

I think Elizabeth Holmes is an empty husk for audiences to project what they hate about themselves onto

women will really put a tight controlling leash on a man because they see any moment he’s away from the house as an opportunity for him to cheat, and then wonder why their man behind to see the few limited times he gets to leave the house unsupervised as an opportunity to cheat

I can’t believe I’ve been saying her name wrong this whole time… it’s been KUH-LEES, not KEE-LISS???

WOR$T GIRL IN AMERICA

It’s a joke to you / I’ve got feelings too

not only is this deranged and insulting and indicative of the asinine response to this film that I’ve come to loathe, but this woman was absolutely ROBBED

in an alternate timeline, Katy Perry is the CEO of Theranos who successfully launches its IPO while Elizabeth Holmes is a megapopstar with a string of international hits across multiple decades, sort of a 21st century Alanis. #MKUltra

Gwen Guthrie - Ain’t Nothin Goin On But the Rent (1986) was a Paradise Garage classic written & produced by Guthrie herself and boasting a classic mix by Larry Levan himself. timeless sound that sits at the intersection of disco, dub and electro-funk. can you guess which Poolhouse

every single Gators fan I’ve dropped this like for this season has laughed their ass… okay, so maybe the fandom is a teensy bit rayyycist 🤏

Billy (the film’s actual star) and Holmes represent postwar America: the soft-but-masc vitalist who is white (but also Jewish) and the not-quite-ready for prime time autistic entrepreneurial girlboss momager behind him. they invite in their media-trickster collaborator, mistakenly believing their shared objectives to be one and the same. instead, their entire world order is upended. moms in jail, dads a gay cokehead, and the jewish instigator is gonna win an Oscar. America 2026!

one final thought: I’m surprised more people haven’t compare YCSE to Fellini’s 8 1/2. both films are about primarily about authorship within their respective media ages, exploring what happens when the control freak auteur begins to lose control of the situation he’s controlling

from from the opening title, the filmmakers seem to be confessing to us that they can’t be trusted. the title YOU CAN SEE EVERYTHING is projected over a beach horizon, but the horizon is slightly askew, leaving part of the last word dipping just beneath it. the letters are slightly clipped. a perfect little confession masquerading as a visual flourish: you can’t actually see EVERYTHING. in documentary, you can only see what the filmmakers allow you to see. here, they seem to announce that even what they claim to show you is being partially concealed. a curious bit of soft disclosure hiding in plain sight.

main reason I loathed YCSE was that I sensed its makers are PORNOGRAPHERS OF TRUTH, possessed by an almost fetishistic compulsion to mislead. 2/3 of the film is spent moralizing about documentary ethics, all while flagrantly violating virtually every principle of the form I’ve ever heard of. only to result in something that I admit was fascinating to watch, but was certainly not a documentary. oh, and btw:

you gotta lean into the groove, cuz the floor is gonna move — that’s just how it’s built! stay woke (with based aesthetics), Pool Boys! u gotta watch for The Tilt!