The first of a few old mix sessions I’m re-posting. I hope to have something new to post in the not-terribly-distant future, but for now, this will get things started.
Music
Music is a necessity. Though I focus mostly on alternative/industrial/EBM/electronic styles, my tastes are eclectic and wide-ranging.
Norwescon 36
DJ Wüdi will be DJing the Thursday Night Dance at the upcoming Norwescon 36 science fiction and fantasy convention in SeaTac, Washington!
Thor’s Day Night Dance!
We call it Thursday night, but we used to know it as Thor’s Day…and you can kick off your weekend of saving the world with a celebration worthy of Asgard itself! Join DJ Wüdi for an evening of tunes new and old for gods and mortals alike. Come dressed as your godlike representation or as your mortal alter-ego. Requests are not just welcome, but encouraged!
Any songs you know you’d like to hear? I’m already taking requests!
My First and Only Online Handle
From The Eternal Shame of Your First Online Handle:
Those of us who came of age alongside AOL must contend with something even more incriminating than a lifelong Google profile: A trail of discarded online aliases, each a distillation of how we viewed ourselves and our place in the world at the time of sign-on. The dawn of the Internet was an open invitation to free ourselves from the names our parents gave us and forge self-made identities divorced from our reputations IRL.
(via kottke)
I’m actually kind of lucky in this respect. I’ve only ever used one online handle, and while I’ve deprecated it a bit these days in favor of my real name, I still actively use it as a login name and occasional identifier. Most anyone who’s interacted with me online for any appreciable amount of time will recognize my online alias of djwudi.
A long time ago (though not in a galaxy far, far away), I was over at my friend Royce‘s house when his dad remarked that I “looked like a young Woody Allen.”
For a time, this little nugget of trivia was known only to Royce’s family and my own. At some point during my later high school years, though, a few things (namely, frustration at their being so many other Michaels in my age group, and a teenage-angst fueled desire to be “someone else”) led to my deciding to adopt the nickname of “Woody” full-time. It started with the yearbook and theater crew (both of which I was very involved with), and began to spread from there.
In the post-graduation years, I used “Woody” almost exclusively, in the social world and at my jobs. It wasn’t long before there were more people who knew me by “Woody” than by Michael.
Round about 1992 or so, the Anchorage alternative scene was somewhat in hibernation, especially for those under 21. I talked my way into a DJ spot at one club, then moved on to another, and then another, eventually spending around eight years DJing alternative/goth/industrial/retro/anything-but-pop for the Anchorage scene. My “DJ name” was obvious: DJ Woody, or, depending on how I felt when writing it out on flyers, DJ Wüdi, playing off Royce’s pseudo-Germanic version of my nickname.
The DJing eventually moved on into past tense rather than present, but as the world of the Internet grew, I soon found that short, unique names were both desirable and valuable, and that smooshing everything together into “djwudi” produced a string that, to date and to my knowledge, has not been used by anyone other than myself.
As the years have gone by, I’ve returned to using my given name in the real world and online, but I still claim djwudi on any site I sign up for.
More on Pulp’s ‘Common People’
Pulp’s ‘Common People’ has been one of my top ten songs for quite some time now. I’ve mentioned it a time or two in the past, which I spent a few minutes throwing together a silly little video putting the audio from the song against this mashup of the song and panels from Archie comics, which you might be able to view here or here on my blog, or maybe here on YouTube, depending on what the copyright rules are in your country.
So it was fun to come across this post about the song from The rage of Common People « 33revolutionsperminute’s Blog:
Insecurity breeds viciousness. The pathos of “watch[ing] your life slide out of view” and having “nothing else to do” gives way to blistering fury at those who “think that poor is cool” and that, in turn, to violence. In a verse cut from the single edit, Jarvis compares the “common people” to a dog lying in the corner who, without warning, will “tear your insides out”, a line so savage that it seems impossible that just two minutes ago we were still smirking in the supermarket. In the BBC3 documentary, Jarvis calls another section missing from the single edit (“You will never understand…”) the “punchline” to the whole song, and winces at the intensity of his own vocal. Did he intend the song to contain so much discomfiting ambiguity, or did it get away from him, as great songs often do?
(via MetaFilter)
I think it’s the slide from amusement to condescension to all-out-rage as the song goes by that really does it for me. This is one song that I just will never get tired of.
Juvenile Humor Alert: Changing ‘heart’ to ‘butt’ in song titles
I saw this game start on Twitter via @amandapalmer and the #changehearttobutt hashtag. When I got home, I cheated: I did a search in iTunes for any song with ‘heart’ in the title. Here are some of my favorites of the 190 or so possibilities…
AC/DC: Rock Your Butt Out
Tori Amos: Butt Attack at 23
Aztec Camera: Somewhere In My Butt
The Beastie Boys: Butt Attack Man
The Beatles: Sgt. Pepper’s Lonely Butts Club Band
Tony Bennett: I Left My Butt In San Francisco
Big Brother and the Holding Company: Piece of my Butt
Bigod 20: Wild at Butt
Blondie: Butt of Glass
David Bowie: The Butt’s Filthy Lesson
Kim Carnes: I’ll Be Here Where the Butt Is
Eric Clapton: I’ve Got a Rock-n-Roll Butt
Dead or Alive: My Butt Goes Bang
Deee-Lite: Groove is In the Butt
Depeche Mode: It’s Called a Butt
Neil Diamond: Buttlight
Celine Dion: My Butt Will Go On
Eurythmics: There Must Be an Angel (Playing With My Butt)
Everlast: Only Love Can Break Your Butt
Extreme: Hole Butted
Marvin Gaye: Take This Butt of Mine
Don Henley: The Butt of the Matter
Jesse Johnson and Stephanie Spruill: Butt Too Hot to Hold
Lenny Kravitz: Is There Any Love In Your Butt
Madonna: Open Your Butt
Dean Martin: You’ve Still Got A Place In My Butt
Moby: Why Does My Butt Feel So Bad?
Marilyn Monroe: My Butt Belongs to Daddy
Mötley Crüe: Kickstart My Butt
Nirvana: Butt Shaped Box
Sinéad O’Connor: You Made Me the Thief of Your Butt
Pink Floyd: Set the Controls for the Butt of the Sun
Queen: Sheer Butt Attack
Roxette: Listen To Your Butt
Frank Sinatra: Young at Butt
The Sisters of Mercy: Buttland
T’Pau: Butt and Soul
Disney: A Dream Is A Wish Your Butt Makes
Jason Webley: Absinthe Makes the Butt Grow Fonder
Paul Westerberg: Dyslexic Butt
Wolfsheim: A Look Into Your Butt
16volt: The Dreams That Rot In Your Butt
DJ Wüdi Mashup: Give It A Crablouse
For many years now, I’ve had the idea for a mashup bouncing around in my head. In fact, it has been rattling around in my brain for so long that it wasn’t even originally thought of as a “mashup” — just a mix I wanted to try. However, I’d been missing a crucial piece, so it never got beyond the conceptual stage.
Until now. Thanks to a little assistance from Mike Dickenson in supplying me with the crucial missing piece, I’ve finally been able to get this out of my head…and, hopefully, into yours.
Proudly presenting the second of my contributions to mashup culture: Give It A Crablouse (5.2 MB .mp3).
Sources: The Lords of Acid‘s “The Crablouse” (“In Its Native Environment (Album)” and “Whatever You Do, Remain Calm (Instrumental)”) mixes, and The Red Hot Chili Peppers‘ “Give It Away“.
The Blue Box
I’ve been buried in musical nostalgia for the past few days, and it’s been wonderful.
My family is a very musical family — all of my immediate family, and the majority of my closer relatives, have at one time or another in our lives played at least one instrument and sung in choirs — and my parents have a huge vinyl collection. While the majority of my mom’s side of the collection focused on classical and choral music, my dad’s albums, and those that they collected together, skewed more towards the pop music of the time, mostly folk, country, blues, and rock and roll. Understandably, this collection had a huge influence on my and my brother’s musical tastes.
When we got old enough, we had free reign over the music collection and dad’s record player on the family stereo, and we were encouraged to discover which albums grabbed our attention. Music was meant to be appreciated, not just as noise in the background that nobody pays attention to, but as a soundtrack to whatever was going on. I can remember many housecleaning days when mom would head off somewhere, leaving the boys to take care of the house, and dad would tell us to pick something to listen to and put it on, telling us to “turn it up to the threshold of pain” as we worked.
The musical education went both ways, as well, as Kevin and I grew older and started exploring and diversifying our own tastes. Sometimes mom and dad would enjoy what we brought home (a few years ago, I got a kick out of introducing dad to the country-blues-acid house fusion of Alabama 3‘s “Welcome to Coldharbour Lane” album), sometimes our choices fell flat. Even when they didn’t “get it,” though — and this is one of those not-so-little things that I will always be grateful for — they never condemned what we listened to or told us we shouldn’t listen to it, but they’d ask us about it, and we occasionally had some interesting discussions investigating why something worked or didn’t work for us.
One winter day, Mom and I were driving out of Anchorage to Eagle River, and I put Pink Floyd‘s “The Wall” cassette into the car stereo. As we drove along, listening to such lyrically cheerful songs as “The Happiest Days of our Lives” and “Young Lust,” Mom expressed her distaste at the content of the songs, and wondered how in the world I could be interested in such depressing music. The rest of the drive turned into a long discussion of the story and themes present in “The Wall,” what Roger Waters was expressing, how the music and lyrics worked together, the imagery in the film, and why I enjoyed the album. While I don’t think Mom is ever going to be a big fan of “The Wall,” I love that her response was a discussion and examination of why I was listening to such a dark work, rather than simply declaring it “off limits.”
But I digress.
When Kevin and I were younger, and too small to work dad’s record player, we had our own: the classic Fisher-Price phonograph. Not the glorified music box, with brightly colored plastic ‘records’ that tripped music-box teeth in the arm, but a real, working record player. To go with this, Dad gave us a small blue box (well, blue, white, and green, but I’ve always thought of it as blue) with a bunch of old 45s that he and his brother Doug had collected when they were younger.
These 45s were some of the earliest pop music education that we got, and it was an eclectic one indeed. The Beatles, Merv Griffin, The Animals, The Partridge Family, Paul Revere and the Raiders, The Four Tops, Fats Domino, and quite a few others. As we grew older, Kevin and I occasionally contributed to the box, adding 45s for AC/DC, Cyndi Lauper, Ozzy Osbourne, and a few other more modern artists. I credit a lot of my current all-over-the-place musical tastes to the eclecticism of this little blue box, and the hours spent playing the treasures inside it on that little old Fisher-Price player (which, as of a few years ago, was still in working order and in Kevin’s possession, though I don’t know its current disposition).
I’d worried for the last few years that the box had disappeared, but I really should have known better (I do, after all, come from a family of pack rats). Earlier this week I got a couple boxes of goodies from my parents, and in one of those boxes was the fabled blue box.
This week’s “when I’m taking a break from schoolwork” project has been reacquainting myself with the blue box and the music of my youth. I’ve scanned the labels for all the discs and added them to my vinyl photoset, I’m almost done recording all the music to my computer, and after a bit longer, will have it all edited, cleaned up, and imported into iTunes. Once I have all the audio archived, I’ll be packing this up and passing the blue box on to Kevin to share his boys, my nephews.
For those who are curious here’s a list of everything that the box contains. To the best of my knowledge, anything pre-1980 comes from mom, dad, and my uncle Doug; anything from 1980 on was added by me or Kevin.
Condition of Sale
In the midst of recording and digitally archiving some old 78s (and I do mean old, dating back to the early 1900s), I noticed the following language on a disc from the Columbia Phonograph Co. (catalog #3045, “Mamma’s Boy (Marching Song)”, tenor solo with orchestra accompaniment, sung by Byron G. Harlan):
CONDITION OF SALE
This record is sold upon the express condition that it shall not be copied or duplicated and that the full right of property or possession reverts to the Columbia Phonograph Co. upon violation of this condition.
Two things popped into my head:
- Wow, copyright lawyers have been rabid for at least a full century!
-
How in the world would the common consumer have copied or duplicated records in the early 1900’s? For reference, while there’s no definite pressing date on the disc, “Grand Prize Paris 1900”, “Grand Prize St. Louis 1904”, and “Patented December 10, 1901” are printed on the label, and “Patented Nov 25 1902” is pressed into the surface of the inner ring, so it’s reasonable to assume that the disc was pressed sometime after but reasonably close to 1904.
I love being able to listen to this old stuff.
Back To the ’80s!
Chances are you’re either going to love me or hate me for posting this. Personally, I think this is great — my tolerance for cheezy pop is really high — but there will be no hard feelings if you blame me for wanting to brillo pad your brain clean after watching this. :)