Listening: Mashups

You flick on the radio and the low opening drum riff of the Dandy Warhols' Bohemian Like You begins but then as soon as the guitars kick in you hear the opening lyrics of Mousse-T's Horny (don't try to pretend you don't know it) come in over the top - Horny, horny, hornyhornyhorny.

Huh?!?

You keep listening and even though the juxtaposition is bizarre, the song actually really seems to be working. The rhythm/beat/tempo/vibe of the Dandy's music and Mousse-T's lyrics (the rest has been removed) mash together perfectly - and I should probably add quite hilariously. Finally when the trademark Dandy Warhols' Whoo Hoo Hoooo chorus thingy tops off a line of I'm horny, hornyhornyhorny you know you're listening to something interesting. (Not to mention having them singing And I like you, and I like you and I like you I like you I like you)

But in case you're not yet convinced - take a look at this.



Ok, so we're in the world of the MashUp - what's it all about?

The wikipedia entry on mashups is (unsurprisingly) quite rich - here's the primary definition (I'll leave the rest for you to explore - but I really do encourage you to do so)

Mashup, or bastard pop, or bootleg, is a musical genre which, in its purest form, consists of the combination (usually by digital means) of the music from one song with the a cappella from another. Typically, the music and vocals belong to completely different genres. At their best, bastard pop songs strive for musical epiphanies that add up to considerably more than the sum of their parts.

In short, the mashup has a loooooong history - from classical composers borrowing from traditional folk tunes centuries ago to djs mixing up Orson Welles War of the World broadcast with music tracks to the modern day where digital technology has made it possible for virtually anyone to have a crack.

I've even had a brief toy with it (with horrendous results) but plan to come back to it one day.
If you're interested, check out this site - http://www.paintingbynumbers.com/bootcamp/
for some handy hints.

(Damn and I thought this was going to be an easy post - the more I read the more I want to talk about. I think the best thing to do is to give you some links here and you can peruse at you leisure.)

At one point I was having a bit of an internal dialogue about the whole - is this art or is it just lazy/stealing? - thing but I had a few thoughts that put me in the "it's art" team.

I mean, the history of music is one of artists learning from those who have come before, taking inspiration and often times copying and changing. Listen to the main riff in Smells Like Teen Spirit - now listen to Boston's More than a feeling - more than a little similar no? (And yes, Kurt admitted taking inspiration from that song).

Now let's take a bit of broader look at the history of art in the 20th century. We've got the Dadaists who turned art upside down and made the point that the art aristocracy was bloated and inbred and you can take a urinal and stick it in a gallery and make it art. Pop Art and Andy Warhol carried on this tradition by taking images and icons in the world around them and effectively remixing them to create something which depended on the work of others but which was special and unique in it's own right. It became as much about the ideas and the intention as it did about the actually work itself.

So yeah - it's about the ideas I guess and the way you can use juxtaposition of two things to create a third. (This is just the same as editing in a film - say you have an image of a child in a playground and then you have an image of a gun - you can't but help create a meaning which combines the two).

As to the matter of infringing on copyright - well you just know that this is a matter blown out of all sensibility by the moneymen who have no interest in the art at all. Instead of taking the commonsense view that exposure is good and could well inspire someone to go out and investigate the source of mashup (ie go out and buy Bohemian like you and/or Horny), they are determined to wring every last cent of every last 1 and 0 of their artist's music.

I think there is probably a case to be made for making some kind of payment to the original artists if you're going to be making money from their work - and giving them full credit if you aren't making money (it's only manners) but beyond that, the sky should be the limit.

Anyways, enough of my prattle - here are some links for you to chew on.

2 Many DJs - http://2manydjs.free.fr/
The Kleptones - http://www.kleptones.com/
Bootie USA (Best of Bootie 2006) - http://www.bootieusa.com/

And one more clip.

Which one's pink?

I had a bit of a Pink Floyd The Wall moment this morning when I decided to shave off the moustache that I'd been growing since the start of November.

You know the scene where Bob Geldof comes out of his drug/alcoholic haze and gets ready for the show by shaving all the hair on his body (thereabouts)? Well obviously I didn't go that far but having had this very large fuzzy caterpillar taking up a fair proportion of my face for the last few months, it's sudden absence was much odder than I'd expected.

I mean, logically I was returning to the face I'm most familiar with so you could imagine it would work as a happy homecoming but everything just looked a little small, bald and odd. Big puffy cheeks and a tiny tiny mouth surrounded by blank skin.


That said, I've adjusted to it already so it can't be that big a deal but it was really quite a surprise. (Maybe I'll go and shave off the eyebrows as well then? :)

Bit of wikipedia trivia (that I'm not 100% about but here goes anyway) - the aforementioned shaving scene was based on something Syd Barrett did during the recording of Wish you were here.

I had a fascination with Pink Floyd The Wall as I was growing up - the movie came out in 1982 when I was in Grade 5 and living in a family with shall I say conservative musical tastes I wasn't exposed to much in the way of rock. (Never watched Countdown).

I did from time to time though see the odd video clip that they would stick on during the afternoon cartoons and in particular one from The Wall, with Gerald Scharfs brilliant animated fascistic marching hammers among other things and in particular the lyrics "We don't need no education, we don't need no thought control", which kind of blew my mind at the time and I think probably was an early spark to whatever sense of rebellion I still carry.

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Watching : Strangers with Candy

Strangers with Candy is one of those relatively obscure films that sit on the shelf in the video shop (dvd shop?) - in fact I'm not 100% sure it got a cinema release in Australia - that you look at the cover for 10 seconds and move onto something else.

But that would be a mistake.

Strangers with Candy is the movie version of a tv series (on SBS a few years ago I think) where a 46 year old ex-junkie/hooker/delinquent/jailbird, Jerri Blank (Amy Sedaris) returns to high school to start her life over in the hope of bring her father out of his coma.

Co-written by (and co-starring) Stephen Colbert (of the Colbert Report and earlier The Daily Show with John Stewart) along with director Paul Dinello and Amy Sedaris (apparently the only woman who can make David Letterman laugh), this film features some of the best comedy dialogue I have ever come across.

Many times when you talk about great quotes or scenes in a comedy film, you give away the best jokes - the good news is that I can do this here pretty easily as this film is wall to wall gold. These in particular where some of my favourite scenes.

Jerri Blank: Faggot.
Chuck Noblet: What did you say?
Jerri Blank: What did you hear?
Chuck Noblet: I'd rather not repeat it.
Jerri Blank: Then I guess we'll never know.

While the writing in this film is definitely the highlight, the performances come a very close second. Again, all gold - particularly Amy Sedariswho does is able to mesh a dumb teenager with a streetwise adult perfectly, creating an utterly immoral and thoroughly lovable character in the process. Like all good comedy, the best performances are those taken over the top - Stephen Colbert I'll mention again as well as the guy who played the principal Onyx Blackman, Greg Hollimon.

Throw in some shining guest spots from Phillip Seymour Hoffman, Allison Janney (CJ from West Wing), Matthew Broderick and Sarah Jessica Parker (who I actually thought was Jennifer Aniston in the movie) and you have a very lively cast.

I'm going to have to hunt up the original series now.

Five reasons to watch Strangers with Candy:

• Stephen Colbert


• Amy Sedaris


• What did you say? - What did you hear?


• I wasn't pushing you away, I was pulling me towards myself


• Jerri Blank on drugs

Watching : Body Melt.

Philip Brophy is one of Australia's most widely respected artsy-fartsy types*, making films, soundtracks, curating shows and doing all manner of cool new-media stuff. (*Among people who also do that kind of thing)

Bodymelt is a horror film project that he put together in 1993 in Melbourne which for some reason or another I've always had something of a mental block about. Perhaps it was the scathing reviews I read at the time criticising it's shoddiness or something but of course I should have realised that films like this don't generally review well in the mainstream.

Which is a shame as it is fantastic.

This is the blurb from IMDB

Residents of peaceful Pebbles Court, Homesville, are being used unknowingly as test experiments for a new 'Body Drug' that causes rapid body decomposition (melting skin etc.) and painful death.

The story is told well, spending enough time to get a feel for the characters but simultaneously keeping the action moving and the freakiness on the boil.

It ticks the boxes with the use of tried and tested horror staples (the country mutant family a particular favourite of mine) without being formulaic, there is a thoughtfulness and creativity in the use of gore that reminded me a little of David Cronenberg and his fascination with the body and while the effects (created by the Kiwi team that worked on Braindead) aren't necessarily that convincing they look cool nonetheless.

(Here are some examples of the gore style from YouTube)



The bulk of the story is set in a beautifully shot new-estate suburbia and it's nice to see that while some fun is made of suburban life and it's idealisation in mainstream media (ie Neighbours), Brophy doesn't take the attitude that "inner-city cool" filmmakers often do that suburbanites are mindless whitebread sheep leading lives of quiet desparation. The use of a number of popular actors from Australian soaps (Ian Smith - Harold from Neighbours, one of the Daddo's as well as "before-they-were-famous" Lisa McCune and William McInnes) in horror roles adds to the sense of play with the suburban ideal.

If you are familiar with Brophy's other work, it's nice to see his influences and interests come into the film - the use of (now-primitive looking) 3D modelling and computer voices and his electronic music score and stings - and it was great to see in the end credits that always interesting Melbourne art "identity" Maria Kozic was responsible for Art Direction, giving a unique look to the country mutant family's house in particular.

The performances are solid enough (although Daddo's probably shouldn't act - they are kind of Australia's answer to the Baldwins) and I also quite liked the editing. Shot selection and juxtaposition just had this extra bite for me some reason and everything really seemed to work well with everything else. (Call me a wanker about this if you will - the general rule of thumb is that you shouldn't notice the editing at all in a good film but having done a bit myself, you do pay attention).

If you don't mind a bit of horror with some art mixed in and some nice pointed commentary, check it out.

Watching : Idiocracy

I've been reading bits and pieces online over the last few months about a new Mike Judge film (Office Space, Bea vis and Butthead) called Idiocracy which was given a very limited release by Fox. (Half a dozen or so cinemas for a couple of weeks)

This is the blurb from IMDB

Private Joe Bowers, the definition of "average American", is selected by the Pentagon to be the guinea pig for a top-secret hibernation program. Forgotten, he awakes 500 years in the future. He discovers a society so incredibly dumbed-down that he's easily the most intelligent person alive.

As it hasn't been released in Australia yet, obviously I haven't been able to see the whole film :) but there have been a bunch of clips appearing on YouTube.

This one shows us what Fox News looks like 500 years from now - surprisingly similar I'd say. (Wonder if that's why Fox didn't release this film properly?)



The premise is set up well at the beginning - essentially dumb people have far more kids than smart ones and over time they just dominate the world.



Comment online about this film has been pretty starkly divided with people either loving or hating it. (Interestingly, the people posting comments who hate it always seem to be far less articulate and literate than the fans - you get the feeling that they might have taken offence.)

Anyway, there are a fair few more YouTube clips up at the moment (and I wouldn't be surprised if you couldn't find the movie online as well) so I certainly think it's worth checking out. I mean, what's not to love about a future society where the number 1 tv show is called Ow My Balls. (Which looks surprisingly like a dumbed down JackAss).

Pimp my pod

A friend was talking to me about pimping her pod - helping her to rip some of her cds to her shiny new iPod (at least I think that's what she meant ;) - and it made me think about the album vs track thing.

Personally I'm a fan of the album as a piece of art in it's own right. An album isn't just a single song (though you may well buy an album for a particular song), it's a collection of songs arranged in a particular way that hopefully becomes greater than the sum of it's parts. Ideally this collection of songs works together to create a mood or tell a story (or a bunch of related stories), with each track working with the next.

This is why I pretty well always put albums rather than individual songs on the iPod.

I've had discussions with track people who make a pretty good point that it's rare to get an album that's "all killer and no filler" (thanks Jo) and why waste space with dud tracks and if you're going to pop it on shuffle anyway, what does it matter. I like switching over to shuffle from time to time - it's kind of like your own personal radio station although without the surprises.

I keep meaning to do an iTunes cull one of these days - create a little more space on the hard drive and weed out some of the filler - but what if a song which is weak in it's own right still plays an important part in an album as a whole?

(Or maybe I'm just a hoarder)

Not sure where this places compilation albums of course - either to a theme or best-ofs - but maybe that's for another time.

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Yes we have no bananas

I don't know what it is about this song that has managed to wedge itself firmly in my brain for at least the last 20 years but it's still there and it still manages to pop up time and time again - most recently this morning when I found ripe bananas on sale for $3.28 kg - the first time I've seen them at a price I was happy to pay for pretty well a year. (Since cyclone Larry wiped out the QLD banana crop)

The other thing with this song is that the version I recall is mashed up with another one (possibly done by Rodney Rude which is set in a pet shop where they don't have any chihuahuas - fragments of lyrics (which I have possibly improvised) come to mind here such as "We've dalmations, alsations, the fruits of a flirtation, and half pint pekinese if you can pay" - or something along those lines anyways.)

I think it's the rhythm of the thing that has made it stick - or the melody perhaps - or do I mean the same thing?

Funny how the mind works.

Ah, good ole Wikipedia tells me that this song dates back to the 1920s and a gentleman by the name of Sigmund Spaeth suggested that the melody could have been derived from a combination of parts of other songs including the Hallelujah Chorus from the Messiah by Handel, "My Bonnie Lies Over The Ocean" and "I Dreamt I Slept in Marble Halls.

Here's an audio clip if you're curious.

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Playing Scarface : The World is yours.

In the proud tradition of all new years resolutions, I present the triumphant return of Brown Couch - the blog :). (To be followed in about a weeks time by the somewhat less triumphant easing off of aforementioned blog)

So ju focks, listen up - I been playing da fockin game Scarface : The World is yours for the last few fockin' days now (ok, that's enough of the bad Tony Montana impressions for now) and have been absolutely loving it.

(Image from http://screenshots.teamxbox.com/screen/48299/Scarface-The-World-is-Yours/)

I've long been a fan of what are commonly called "Sandpit" games - games where you are given free rein to roam around, drive a range of cars/boats/etc, do side missions, blow stuff up and general indulge the inner criminal. (As well as a curious trend in a lot of games to do a whole bunch of shopping - consumerist training anyone? - though having said that, it is in keeping with the Tony Montana American Dream story).

Rockstar Games have to date been my favourite purveyors of the Sandpit game, with the Grand Theft Auto series as well as Canis Canem Edit (a.k.a Bully).

So yeah, Scarface : The World is yours (or S:TWIY) slots nicely into the Sandpit game genre. In fact, I would probably go so far (though I haven't finished it yet) as to put it on top of the heap.

S:TWIY takes up the story from the end of Brian De Palma's 1983 film Scarface - but where Tony Montana - a Cuban immigrant turned drug lord - dies in the climactic battle in the film, in the game he manages to fight his way out. This sets the scene for his struggle to get back his power, turf, wealth and to take revenge on Sosa, the guy who nearly took him down.

Visually the game is great - sharper than the GTA series and with a pretty good rendering of Tony Montana (played in the film by Al Pacino). It also seems slightly less cartoonish looking than the GTA series. It's probably just faded memory talking but in some ways it reminds me of the feel of the old Driver games. (Though I'm sure if I revisited them, I'd be horrified)

The audio is another high point of this game - a tremendous ingame library of cool 80's music across a range of genres and some pretty talented voice acting as well. The opening credits lists at least a dozen celebrity voices (though I can't say I've noticed them in the game so far) including Al Pacino (though the main voice is a Pacino soundalike), Ricky Gervais, James Woods, Ice T, Cheech & Chong, Elliot Gould, Jason Mewes and Shaft himself, Richard Roundtree.

Audio forms a key part of the gameplay as well - both in earning "balls" from having conversations with random people on the street (which are well written and kept fresh) as well as taunting enemies when you have killed them to work up "Blind Rage".

The story and dialogue have been written by David McKenna, who wrote Blow and American History X, so it's nice to see that story has been taken seriously here as well. (And how could you not love a game where you can swear pretty well non-stop in a thick Pacino-esque Cuban accent - fockin' cock-a-roaches)

The strength of the game truly is in it's gameplay though - all the elements mentioned above provide a very polished game but S:TWIY also delivers with the action. Missions are rarely easy but never seem impossible, the pressure is kept at a high level and there are surprises around most corners.

Missions are as varied as they can be in this kind of game (let's be honest, it's pretty much drive fast, kill these guys, save those guys, deliver these packages) but there are some interesting innovations in the way you deal with people. When you do drug deals or try to intimidate a thug or fast talk the cops, there is a meter - kind of similar to the power/swing meters in golf games I guess - that you need to land a button press/hold within a certain zone to succeed.
This brings a certain unpredictability to your interactions which gives the game extra spice.

I've certainly found that the game has that "just one more mission before bed" factor.

There are a couple of minor faults that will hopefully be sorted out for the next game (you know there will be) - music is a little difficult to switch off at times, (mainly during missions) meaning that it can be annoying when you can't hear the things that people are telling you but this is trivial compared to the major problem which is the map system.

S:TWIY covers a fairly large map and trying to work out where you are on the map at any one time is nightmarish. The streets on the map are white and you are a little white triange (with a small drop shadow). Enough said? There are a plethora of icons on the map at any one time (both in the HUD mini-map and on the fullscreen map) but for the most part, they really don't stand out from the background. Eventually you get a feel for where you are and it gets easier but this really needs some work.

Small whinges aside, this is a truly amazing game.

(And apparently I get to buy a tiger at some stage - what's not to love)

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Flickr

This is a test post from , a fancy photo sharing thing.

Brown Couch - Animal Testing

Brown couch - Introduction

Brown Couch - (I've been contemplating) Silverside

Brown Couch - The man in the hat

Brown Couch - Videophone

Brown Couch - Stoned raver chatline

Brown Couch - chainsaw pastie

Brown Couch - Burnt look

Ooh, just changed the template from the fairly grotesque 93 model orange and pixelly lighter orange text, much nicer now.

Hi Y'all - back in the game now.

Previously this was just being hosted on the Brown Couch website but I've realised that things are much easier if I pop it back over here, in blogspot land.

(Never could work out the archiving thing on my website)

That and I was hoping to snaffle another gmail address - colin at g mail dot com - alas, I wasn't a regular enough user on this baby so I've been denied, just have to make do with colin dot simpson at g mail dot com instead. (Not putting the email address in standard format for fear of evil email address trawling spam robots)

C'est la vie.

Well as I write this, reports are coming in about Farenheit 9/11 breaking all kinds of records for documentaries in the US, go Michael. Interesting to see the somewhat predictable right wing backlash playing the man not the ball (i.e - attack Moore's credibility or personality rather than address the specific accusations made by the film)

One of the things that shites me about the right wing / left wing thing in the media is that the left wingers, for the most part being by far the intelligent and fair side (IMHO) will generally always make a case using facts and figures whereas the right wing always seems to get away with making a case based on so called "common sense" and highly emotive and abusive language (and the occasional unattributed anecdotal evidence). Yet because this is often more entertaining, it gets taken just as seriously (if not more so) than the reasoned arguments of the left

Yes Michael Moore is opinionated and uses the tools of the right in this regard (although more often than not backed up by the historical record and aforementioned facts and figures) but bless him for doing so.

Again, I've been neglecting the blog - for some good (and one bad) reasons.

Firstly, lots going on in my life right at the moment - looking for a new housemate (one day I'll build the housemate tester app that I've always idly thought would be fun), bringing in the money (got a new job, yay) and generally filling in the days.

The bad reason is that I can't figure out how to archive my previous posts so I'm trying to keep it under some sort of control.
I follow the instructions to the letter, set up a folder on my website to put stuff in but my screen seems to be missing the crucial archive button when it all comes down to it. One day I'll get it.

Been thinking about putting another blog together about my experiences in the online dating world as well. Sad but true. I've been doing it for a few weeks now though so the backtracking might make it all a bit hard.

The media is still pretty much the same, enjoying (guiltily) the new Big Brother series and it's little twists and turns. Frustrated by the random acts of programming perpetrated by the regional commercial networks in Canberra - anything after 10.30 is shunted every which way. (Except perhaps Buffy and Angel, Channel 7/Prime seem to be somewhat more on the ball - but still screw around endlessly with Futurama so shouldn't be too smug)