You know that strange moment when you see your old coworkers on YouTube doing a cover of an Adam and the Ants song? No: just me?
Still good to see the Bodleian put a fun spin on promoting their lockdown-friendly reader services. For some reason they’ve marked this video “not embeddable” (?) in their YouTube settings, so I’ve “fixed” the copy above for you.
One of the last “normal” things I got to do before the world went full lockdown was to attend a Goo Goo Dolls concert with Ruth, and so to see two musicians I enjoy team up to perform a song and share some words of hope and encouragement for a better future beyond these troubled times… feels fitting and inspiring.
Also awesome to see that Stirling’s perhaps as much a fan of Live in Buffalo as I am.
Fun diversion: I never know how to answer the question “what kind of music do you like?”, because I increasingly (and somewhat deliberately) find that I enjoy a wider and wider diversity of different genres and styles. But perhaps the right answer might be: “I like music that makes me feel the way I feel when I hear Cuz You’re Gone recorded from the Goo Goo Dolls’ concert in Buffalo on 4 July 2004, specifically the bit between 4 minutes 10 seconds and 4 minutes 33 seconds into the song, right at the end of the extended bridge. It’s full of anticipatory energy and building to a wild crescendo that seems to mirrors the defiance of both the band and the crown in the face of the torrential rain that repeatedly almost brought an end to the concert. Music that makes me feel like that bit does: that’s the kind of music I like. Does that help?”
My mother has long argued that a large category of popular music, second only to those on the subjects of sex and drugs, are about food. This so-called corpus of food songs is, I’m pretty confident, mostly based on mishearing lyrics, but I think she’d have a friend in the fabulous Bec Hill who’s this month made a follow-up to her video When You Listen to the Radio When You’re Hungry. And it’s even better (and to my delight, paella still manages to make a cameo appearance).
Unfortunately Warner Music Group don’t seem to have a sense of humour and you might find that you can’t watch her new video on YouTube. But thankfully that’s not how the Internet works (somebody should tell them!) and if proxying isn’t the best solution for you then you can just watch her new video on the BBC’s Facebook page instead.
Eight years, six months, and one week after I started at the Bodleian, we’ve gone our separate ways. It’s genuinely been the nicest place I’ve ever worked; the Communications team are a tightly-knit, supportive, caring bunch of diverse misfits and I love them all dearly, but the time had come for me to seek my next challenge.
Being awesome as they are, my team threw a going-away party for me, complete with food from Najar’s Place, about which I’d previously raved as having Oxford’s best falafels. I wasn’t even aware that Najar’s place did corporate catering… actually, it’s possible that they don’t and this was just a (very) special one-off.
Following in the footsteps of recent team parties, they’d even gotten a suitably-printed cake with a picture of my face on it. Which meant that I could leave my former team with one final magic trick, the never-before-seen feat of eating my own head (albeit in icing form).
As the alcohol started to work, I announced an activity I’d planned: over the weeks prior I’d worked to complete but not cash-in reward cards at many of my favourite Oxford eateries and cafes, and so I was now carrying a number of tokens for free burritos, coffees, ice creams, smoothies, pasta and more. Given that I now expect to spend much less of my time in the city centre I’d decided to give these away to people who were able to answer challenge questions presented – where else? – on our digital signage simulator.
I also received some wonderful going-away gifts, along with cards in which a few colleagues had replicated my long tradition of drawing cartoon animals in other people’s cards, by providing me with a few in return.
Later, across the road at the Kings’ Arms and with even more drinks inside of me, I broke out the lyrics I’d half-written to a rap song about my time at the Bodleian. Because, as I said at the time, there’s nothing more-Oxford than a privileged white boy rapping about how much he’d loved his job at a library (video also available on QTube [with lyrics] and on Videopress).
It’s been an incredible 8½ years that I’ll always look back on with fondness. Don’t be strangers, guys!
One way I’ve found to enhance my nights as Dungeon Master is to call on experiences as an amateur musician and fan, to ramp up the intensity and sense of fantasy with playlists of tunes from the history of composed and recorded music.
I realised that this might be something I was OK at when I saw our party’s rogue lost in imagination and stabbing to the beat of a bit of Shostakovich.
Over the months some of the collections I’ve curated have picked up a few followers on Spotify and upvotes on Reddit but I thought it was time to put more effort in and start writing about it.
The opening post from Lute the Bodies, a new blog by my friend Alec. It promises an exploration of enhancing tabletop roleplaying with music, which is awesome: I’ve occasionally been known to spend longer picking out the music for a given roleplaying event than I have on planning the roleplaying activities themselves! Looking forward to see where this goes…
You could fit almost the entire history of videogames into the time span covered by the silent film era, yet we consider it a mature medium, rather than one just breaking out of its infancy. Like silent movies, classic games are often incomplete, damaged, or technically limited, but have a beauty all their own. In this spirit, indie game developer Joe Blair and I built Metropoloid, a remix of Fritz Lang’s Metropolis which replaces its famously lost score with that of its contemporaries from the early days of games.
I’ve watched Metropolis a number of times over the decades, in a variety of the stages of its recovery, and I love it. I’ve watched it with a pre-recorded but believed-to-be-faithful soundtrack and I’ve watched it with several diolive accompaniment. But this is the first time I’ve watched it to the soundtrack of classic (and contemporary-retro) videogames: the Metroid, Castlevania, Zelda, Mega Man and Final Fantasy series, Doom, Kirby, F-Zero and more. If you’ve got a couple of hours to spare and a love of classic film and classic videogames, then you’re in the slim minority that will get the most out of this fabulous labour of love (which, at the time of my writing, has enjoyed only a few hundred views and a mere 26 “thumbs up”: it certainly deserves a wider audience!).
In the second half of this video (directly linked), Imogen Heap demonstrates how she uses her Mi.Mu gloves as an expressive music manipulation tool, and then goes on to sing the most haunting rendition of Hide and Seek you’ll ever hear. The entire video’s great – in the first half she brings Guy Sigsworth up to sing Guitar Song, finally answering after 17 years the question “What if Frou Frou got back together?” – but if you only listen to the second half of this video then it’ll still improve your life.
@AndyReganCDF: I nudged you about this last week but you were at Glastonbury and I don’t know if you picked it up after you got back, so here’s a renudge.
You know how sometimes you get an idea, and you already wrote and extended the code that makes it possible so surely you only need to do a little audio editing and CSS animation tweaking and graphic design and HOLY SHIT HOW DID IT GET SO LATE?