Famed horror novelist Stephen King has published over 50 books, which means there's a lot of King memorabilia out there for fans to collect. But the trove of manuscripts and first edition novels produced by the author got a little smaller on January 16. As Bangor Daily News reports, about 2000 rare Stephen King works were destroyed by a water main break in Bangor, Maine.
The ruined collection belonged to Gerald Winters, owner of Gerald Winters & Son Rare Books. He’d spent the past two decades traveling the world acquiring signed books, galleys, manuscripts, and rare prints from King’s body of work. Even though Winters makes a living selling rare books, he held onto the valuable King collectibles for a more noble purpose: opening a museum dedicated to the writer's works for more fans to enjoy.
A year ago, Winters moved from his home in Thailand to King’s hometown of Bangor, Maine to realize that dream. Now, following a water main break outside his business that filled his basement with a few feet of water, that dream looks a lot less likely. The writings, which Winters normally stored upstairs, had been moved to the basement so he could reorganize his shop. He estimates that only 10 percent of his original inventory remains.
Among the works that were lost were manuscripts of “Dolan’s Cadillac,” Maximum Overdrive, and The Eyes of the Dragon typed by King himself. Winters had also collected signed books from the authors J.R.R. Tolkien, J.K. Rowling, and George R.R. Martin.
“You can’t replace this stuff,” he told Bangor Daily News.
After hearing about the tragedy, Stephen King told Bangor Daily News that he felt horrified. “As a book lover, my heart goes out to him,” he said. He plans to contact Winters and offer what help he can.
Guy Holmes popped the tape into the cassette player in his car and waited. The British record promoter was eager to hear new acts, but knew that the majority of them weren’t going to be good or unique enough to cut through the noise of the worldwide music scene. In 1991, it was still a multibillion dollar business, not yet smothered by file-sharing. Success was determined by decision-makers at record labels and radio stations, whose tastes were often mercurial and hard to anticipate.
The cassette had been given to Holmes by a friend, a 19-year-old named Tamzin Aronowitz. She was dating Rob Manzoli, the guitarist of an act called Right Said Fred, and insisted the group—which also consisted of brothers Richard and Fred Fairbrass—had a hook. He listened.
I’m too sexy for my car
Too sexy for my car
Too sexy by far
And I’m too sexy for my hat
Too sexy for my hat
What do you think about that?
Holmes was driving with a friend, a man of Russian descent who had been drinking vodka for most of the night. As Richard Fairbrass sang about other things he was too sexy for—Milan, Japan, parties, his shirt—Holmes noticed his passenger bouncing in his seat and mouthing the words.
This might be a dumb song, Holmes thought. A very dumb song. But it’s catchy.
By 1992, “I’m Too Sexy” was the number one tune in 32 countries, including the United States, and the Fairbrass brothers went from being gym managers and sporadic musicians to the kitschy pop act of the moment. But they wondered whether people knew they were in on the joke, and whether they had the ability to survive the plague that had taken down so many talented musicians before them—the affliction of being an overnight success.
Richard Fairbrass was born in East Grinstead, Sussex in 1953. His brother, Fred, followed three years later. Raised in a relatively well-off environment by Peter and Mary Fairbrass, Richard thought he might wind up becoming a politician; Fred was more interested in athletics. By their late teens, both had gravitated toward music, forgoing any thought of a formal career in exchange for odd jobs and band practice that led to small gigs with London punk bands. At one performance, an irate—or possibly enthused—fan managed to pee on Richard.
From 1977 to 1987, they performed under a variety of names, including Trash Flash and Money, and landed a series of not-quite-breakthrough gigs. Richard got a job as a session musician for three David Bowie music videos, while Fred had a stint backing up Bob Dylan. Their act wavered from punk to rock to a blend of the two.
After an unsuccessful tour of New York, the brothers returned to London in 1988. Both took to going to the gym to build their bodies back up and shaved their heads. They also met Rob Manzoli, a guitarist, and Brian Pugsley, who had access to computer synthesizers that the brothers thought might evolve their sound into something more palatable than their acoustic act.
Jamming in Pugsley’s apartment one night over a bass line inspired by Jimi Hendrix, Richard took off his shirt—it was hot in there—and proclaimed he was “too sexy” for it. From that line evolved an entire hook that played on the narcissism the brothers had witnessed both in the gym and among the models in New York’s fashion scene. The song wasn’t about the band thinking they were too sexy, but about the self-absorbed egos who really believed it. Supported by a backing track from a DJ named Tommy D, "I'm Too Sexy" was polished into an anthem about vanity.
Now going by Right Said Fred—a name they took from a 1962 Bernard Cribbins song about furniture movers—the trio started shopping the single to record labels. No one was interested. The only bite was from Holmes, who tried to entice executives but was met with the same resistance. In a self-admitted act of “belligerence,” Holmes produced copies of the single himself, while his secretary, Aronowitz, became the group’s manager. It was a homegrown operation, one in which the group was urged to formally record the final version of the song in an unheated studio because it was cheaper.
“I’m Too Sexy” made its way into the hands of producers at the BBC and Capital Radio. “I’m not sure if this is good or it’s crap,” one radio producer said, then played it anyway. The song spread quickly, making its way to the top of the most-requested queues in England. A DJ from Miami was on vacation in Europe when he heard it. From there, it spread to the United States and abroad, topping the Billboard Top 100 chart for three weeks straight and becoming a perpetual club selection well into 1992. (It only rose to number two in the UK, trumped by Bryan Adams’s “(Everything I Do) I Do It For You.”) The pop icon of the era, Madonna, announced she was sexually interested in Fred. Truant students announced they were “too sexy” for school. Stewardesses asked the brothers if they weren’t “too sexy” to be on a plane, a variation on a joke that they would wind up hearing thousands of times.
“It’s part of the job,” Fred said of the jokes.
Almost immediately, Right Said Fred underwent what industry veterans would call an "image makeover." A fashion designer squeezed them into vinyl outfits, fishnet shirts, and various half-clothed stage uniforms. Though they were in their early thirties, they fibbed and told reporters they were in their early twenties. They were advised to ease up on the weightlifting, as their pumped-up physiques were deemed too frightening for general public consumption.
Holmes produced their first album, 1992's Up, and helped them spin off two more successful songs: “Don’t Talk Just Kiss” and “Deeply Dippy.” They made the requisite MTV appearances and fended off speculation that “I’m Too Sexy” was a sign of them being the prototypical one-hit wonder.
Unfortunately, "I'm Too Sexy" wound up proving exactly that. But the brothers would argue that it was not their fault—it was Holmes’s.
Up had taken just five weeks to record. Their sophomore album, Sex and Travel, took nine months. Released in 1993, it failed to capture the public’s attention in the way “I’m Too Sexy” seemed to reverberate with kids, teens, and adults.
The brothers would later point the finger at Holmes, claiming he had chosen to release the wrong single tracks; Holmes countered that Richard and Fred had final say over what got the “A” side of the records. Subsequent albums followed—nine in all—but none ever reached the heights of their event-filled summer of 1991.
“I’m Too Sexy” remains a popular jab at people who indulge in vanity, and the brothers still perform it as part of their regular gigs. (Manzoli left the band in the mid-1990s.) They approved a new version targeting Syrian president Bashar al-Assad (who was revealed to have had the song on his playlist) and debuted it on Last Week Tonight with John Oliver in 2014. (“I’m too sexy for this shirt” became “You’re too awful for this Earth.”) To this day, however, Fred believes there’s still some confusion over whether the song is to be taken seriously. He tried to clarify it for Rolling Stone in 2017.
“They didn’t get the cynicism and the joke,” he said. “But the idea of the song is that you obviously can’t be too sexy, right? No one can be too sexy.”
More people are watching documentaries these days, which likely means that more people are rocking their faces off with nonfiction. Far from Ken Burns’s soothing tones, these music-filled films demand amplification and an unseemly amount of perspiration.
Rock documentaries are tricky beasts. Though they often have the built-in advantage of following around famous people, they aren’t immune to boredom and eye-rolling faux depth. Keeping it simple by showcasing the music can be good, but it’s no way to be great. The best of the best manage to deliver a stellar soundscape, offer a backstage pass to the real humans who make it, and hold our ears even if we aren’t already devoted fans. If a little history gets made in the process, even better.
Grab a seat next to Penny Lane on the bus. Here are 13 of the best documentaries that every music—and film—fan should add to their Must Watch list.
1. WHAT’S HAPPENING! THE BEATLES IN THE U.S.A. (1964)
A singular piece of filmmaking where nonfiction talent met transcendent musical genius on the threshold of gargantuan stardom, this is the best Beatles documentary ever produced. Directed by legendary documentarians Albert and David Maysles, the film captures the band’s first frivolous jaunt through America, where they raised the screaming decibel level in The Ed Sullivan Show theater and goofed off in hotel rooms. It’s an explosion of youth before they changed music forever.
2. DON’T LOOK BACK (1967)
Another marriage of style, skill, and subject, Don't Look Back helped shape how the rockumentary genre could provide insights into the people who shape our popular culture. That so many iconic moments emerged from D.A. Pennebaker’s watershed work, which strolled with Bob Dylan through England in 1965, is a testament to the legendary musician's infinite magnetism. The cue cards, singing with Joan Baez in a hotel room on the edge of breaking up, the Mississippi voter registration rally, and on and on. Since it portrayed fame’s effect on the artist, the art, and the audience, most every other rock doc has been chasing its brilliance.
3. GIMME SHELTER (1970)
The rockumentary has evolved to be as diverse as the sonic landscape itself, which is why Popstar: Never Stop Never Stopping can send up the current scene just like This Is Spinal Tap! did in the 1980s. Still, 1970 feels like the year that defined the rockumentary. Another Maysles joint, this profound doc captured The Rolling Stones touring at a time when they were one of the biggest bands in the world and only getting bigger. The music is powerful and immediate, and the film closes with their appearance at the Altamont Free Concert, which turned deadly when—after a day of skirmishes between concertgoers and the Hell’s Angels acting as security—a fan with a gun was stabbed to death when he tried to get on stage during “Under My Thumb.”
4. WOODSTOCK (1970)
The other 1970 film that helped define the genre allowed thousands to claim they’d been to the biggest concert event of the generation without actually going. If rock ‘n’ roll emerged from unruly teenage years into conflicted young adulthood in the 1960s, nothing stamped that image in henna ink better than Woodstock and the documentary that accompanied it. The bands that appear are legendary: Crosby, Stills & Nash; The Who; Joe Cocker singing The Beatles; Janis Joplin; Jimi Hendrix; and many more. It’s a fly-by of the three days of peace and music that you could play on repeat with summery ease.
5. ZIGGY STARDUST AND THE SPIDERS FROM MARS (1973)
Rock doc royalty D.A. Pennebaker captured David Bowie’s final performance in his red-domed sci-fi persona at London's Hammersmith Odeon with a flair that captures the frenetic energy of the room. The crowd is as much a part of the moment as the band is, as the camera places you in the middle of a transitional moment in music history. To see Bowie that close up now is a wonder. And, naturally, the music is out of this world.
6. THE DECLINE OF WESTERN CIVILIZATION (1981)
Instead of following the famous, Penelope Spheeris’s debut dug its nails deep into the Los Angeles punk scene at the turn of the decade. Black Flag, The Circle Jerks, and other bands your parents have never heard of perform mosh pit-sparking anthems and show off their living conditions like a grungy proto-version of MTV Cribs. There’s a purity here missing from most music docs—a chronicle of people whose passion far, far outweighs their paychecks, and a screening that led the LAPD to request that the movie never be shown in LA again.
7. SIGN "☮" THE TIMES (1987)
Having Prince at the center of your concert doc is a shortcut to ensuring it’s one of the best of all time. There’s the music, of course. Hits like “Little Red Corvette” and “U Got the Look,” and Sheila E. beating the hell out of her drum kit. There’s also The Purple One's inexhaustible energy and stage presence. As a bonus, the film jumps between concert footage and (instead of candid hotel conversations) a sci-fi narrative where we get to go to Prince Planet. It’s a rocky, disorienting experience that could have only been held so tightly together by a master showman.
8. MADONNA: TRUTH OR DARE (1991)
It might be hard to explain to a younger audience just how dominant Madonna was as an artist coming out of the 1980s or the kind of landmark event this film represented because of her status. The travelogue of her Blonde Ambition Tour was like peeking into the insane world of the ultra-famous—not least because Madonna was dating Warren Beatty at the time and part of the film involves her hanging out with Al Pacino, Lionel Richie, and more. There are threats that the Canadian police will arrest her for simulating masturbation in her show, the Pope trying to get the tour canceled in Italy, and a slightly awkward return home to see family. All par for the course for someone whose personal life was carved up for public consumption.
9. RHYME & REASON (1997)
An unparalleled look into the lyricism and lifestyle of rap musicians from the genre’s rise through its global domination of the 1990s, the concert and party footage is fantastic, and the number of interviews is staggering. Peter Spirer spoke with more than 80 rap and hip-hop artists to craft a snapshot of what life was like for a group of musicians who discovered their voices could echo across the world as well as those who followed after to even greater success. Instead of going deep on one person behind the music, it’s a historical document of the culture itself as seen through the eyes of those at its very center.
10. THE DEVIL AND DANIEL JOHNSTON (2005)
For those who don’t know Daniel Johnston’s music, this doc is a crash course not only in its stripped-down, anti-folk vibes but the head it all comes spilling out of. Instead of romanticizing or ignoring his bipolar disorder, Jeff Feuerzeig’s movie engages with it directly, drawing beautiful gems from a troubled mind. An absolute masterpiece, it’s less a vision of a musician giving glimpses into his real life than it is a vision of a human being who makes music.
11. AWESOME; I F*CKIN’ SHOT THAT! (2006)
Rockumentaries follow two major formats: the raw concert doc that’s like a ticket to a show you couldn’t attend, and the profile where artists drop quotables in between performances. They’re safe and familiar, which is probably why the Beastie Boys gave both styles the middle finger in favor of a grand experiment. A year before YouTube launched, the rap trio gave 50 fans in their Madison Square Garden audience camcorders to capture the concert. The result is a genuine, fans’-eye-view of the experience, and a chaotic mashup of perspectives.
12. THE PUNK SINGER (2013)
It’s astonishing how much time and ground Sini Anderson’s portrait of Bikini Kill leader Kathleen Hanna covers. It’s so much that labeling her Bikini Kill’s leader is woefully reductive. Artist, pioneer, feminist, activist, and a dozen other titles swirl around Hanna’s sweat-covered brow as we get to know her both as an artist and as a person. It’s also a punk fever dream of riot grrrl greatness, featuring incendiary archival footage and excellent talks with members of Le Tigre, Bikini Kill, and Julie Ruin, as well as Carrie Brownstein and the Beastie Boys’s Adam Horovitz (who is also Hanna’s husband).
13. JANIS: LITTLE GIRL BLUE (2015)
A fairly recent addition to the pantheon, Amy J. Berg’s doc is a stirring tour of archival footage of the gravel-throated songstress. Narrated by musician Cat Power, instead of losing perspective to the fog of history, a blend of modern conversations and ghosts from the past offer fresh eyes and ears to create a heartsick celebration of one of music history's most beloved artists, whose career was cut woefully short.