Posts Tagged music

The Terrible Trivium (another song!)


With Dining in Dictionopolis, Joey and I came eighth over all in Spintunes #16 round 1, and with all the rankings close to the extreme ends, were apparently Marmite for judges. This means The Quantifiers were indeed qualifiers, making it to round two of Spintunes #16, though we would probably have written a song for this round anyway. The challenge was:

Your lyrics must prominently feature counting. How and what you count is up to you – you can count up or down, by ones, fives, tens, logarithmically, exponentially; you can count steps in a process, miles in a journey, hours in a day…

Which seemed like an invitation to stay in the Phantom Tollbooth universe, and sing about Digitopolis. We ended up writing about a scene from after Milo has visited Digitopolis, in which a demon known as The Terrible Trivium engages the protagonists in easy but worthless tasks, in order to keep them from their goal. As before, I wrote most of the words (though Joey suggested the scene) and Joey did the music, most of the singing (I sang some additional vocals), and the arranging. Here’s the song:

Click through to see the lyrics or download the song for free. Milo ends up using the magic staff (a pencil) he got in Digitopolis to calculate that the tasks would take them 837 years to finish, so they escape thanks to the power of arithmetic, although that part didn’t make it into the song.

The rest of the songs submitted for this challenge are in this album:

Commenters at the listening party surmised that we would end up writing a Phantom Tollbooth musical, which is probably the case, although despite one person’s suggestion, it probably won’t be on ice.

The next challenge will be due while we’re at MarsCon, so rather than spending a lot of that time mixing a song, we might recruit some of the musicians there and record our song live. I’ve already put my copy of The Phantom Tollbooth in my carryon luggage.

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Dining in Dictionopolis (a song!)


Joey Marianer and I knew that it would be ridiculous to enter into SpinTunes #16, what with the deadlines for later rounds falling just after times when we’d be busy at MarsCon or on cruises, so obviously we entered. I’ve been passively following SpinTunes and its participants since before it even started, with its inspiration Masters of Song Fu, and this is the first time I’ve teamed up with someone musical enough to actually join in the fun. We called ourselves The Quantifiers, based on what we wore to MathsJam 2019, and filled in the rest of the entry form with the first things that came to mind. We continued to foolishly use the first things to come to mind as the contest started.

The first challenge was, “Write a song based on a scene from a book or movie”, so I thought of one of my favourite books which Joey has also read, and one of my favourite scenes from that book, and started coming up with lyric ideas while Joey was still asleep in another time zone. At some point Joey wrote some music and made a first recording while I was asleep. Joey also contributed lyric ideas, and I contributed music ideas (and one line of singing) but mostly the words are mine and the music and singing are Joey’s.

The book is The Phantom Tollbooth, by Norton Juster, and if you like puns, you would love it. The song is about the scene where the protagonist, Milo, is invited to a banquet lunch with King Azaz the Unabridged, of Dictionopolis. As guest of honour, Milo must choose the menu, and he gets exactly what he asks for.

Click through to see the lyrics or download the song for free.

The rest of the songs submitted for this challenge are in this album:

I haven’t listened to them all yet, but I’m listening to them in the SpinTunes listening party right now and following along with the comments. The actual listening party for this round starts at around 53:10. The other songs have more instrumentation than ours, and it generally sounds like the artists have more experience with this kind of thing, which they do, but one commenter described our song as “A less trippy early Floyd”, so I’ll take it. I don’t know what possessed Joey to do this with me, but my main goals were to have fun making the song and make a few Phantom Tollbooth fans smile, and we did both. If this inspires you to reread the book, consider reading it in another language or in another version of English — I know there are a few sections that are noticeably different between the edition I have and the one my nemesis in the US has.

If you’re familiar with The Phantom Tollbooth, you might think it a bit weird for two people dressed as mathematical symbols to write a song based in Dictionopolis, but we’re both into maths and linguistics, so let’s just say I’m the Princess of Sweet Rhyme and Joey is the Princess of Pure Reason, although I believe this song was actually edited in Cubase.

Here’s hoping we have just as much fun in the next round, whether we’re still in the competition (in which case, The Quantifiers will be Qualifiers!) or we just decide to submit a shadow entry.

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Things I forgot to blog about, part n+1: Performances (ft. Joey Marianer)


After MathsJam, Joey Marianer came back with me to Vienna, and we performed at Open Phil, as we do. We didn’t perform on radio this time, but Joey did record something at Skystudio (another Phil production!) which I’ll blog about when it comes out. Anyway, we started with I Love Your Body, the one that I actually sing in. The first verse is a poem I wrote about not treating someone’s body like a piece of meat (which Joey set to music) and the second verse is a poem I wrote about treating someone’s body like a piece of meat (which Joey set to music).

Then Joey sang a freshly-written Hallelujah which is largely irrelevant to people on the internet in January, so I won’t embed it here. I then recited my mathematical love poem ≥3, while Joey just sat there awkwardly, because we really don’t have any more duets:

I’d previously performed this one at Café Concerto and then on JoCo Cruise in 2017, but probably only once or twice since then.

We finished the evening with Joey’s musical rendition of my poem They Might Not Be Giants, while I stood there awkwardly, because I’m good at that:

Joey was reading from the copy of Chalkdust on the music stand, and got a couple of words wrong, perhaps because of the relation between distance and print size, but you can read the original words and hear Joey singing them elsewhere. I still need to add closed captions to these videos, but until I do, the words to the poems and songs are in the video descriptions and at some of the links in this post.

My next ‘things I forgot to blog about’ post will be about the NanoRhymo (a tiny rhyming poem every day, not to be confused with NaNoWriMo) which I made a halfhearted attempt at last November, but picked up again in January. I’m currently still posting them daily on my Twitter, but I’ll collect them all here, as I did with the previous NanoRhymo and GloPoWriMo.

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Pico, emacs, ed, vi (Pico and Sepulveda parody lyrics)


The following are parody lyrics to the song Pico and Sepulveda, about text editors. I imagine that if someone sang them, I’d want to make a music video consisting of the lyrics shown in each text editor in time with the song.

pico, emacs, ed, vi,
pico, emacs, ed, vi…

SublimeText
mcedit
or Notepad…
++

xedit,
TextEdit
or Notepad…
++

You can use BBEdit
or an IDE,
EVE or Atom or ex.

TeachText never vexed
but for NeXT I want to feel
perplexed and try escaping out of

pico, emacs, ed, vi…

to NotePad…
++

The editor you can quit!

This idea popped into my head when I saw yet another thread of people discussing their favourite text editors. Writing these lyrics did nothing to get them out of my head, so let’s see if putting them here works.

Pico is the editor I typically use if I must use a command-line editor, because it’s fairly easy to use even when I haven’t used it for a while and don’t remember any secrets, and most importantly, it’s easy to exit. I usually use GUI text editors though. If I’ve left out your favourite editor, just paste these lyrics into said editor and edit them.

In other news, I’m making a halfhearted effort at NanoRhymo over on Twitter… ostensibly a short, rhyming poem for each day of November, but I started late and have only done 16 so far, plus this one, all in a thread:

Also, my poem They Might Not Be Giants is in issue 10 of Chalkdust magazine, just in time for me to go to the MathsJam Annual Gathering this weekend. I’ll bring a few larger-than-usual posters of it in case anyone wants them.

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May the Fourth Be With You


I’ve published both of these things before, but not both on May the Fourth. Here’s a video of the poem that I wrote about Star Wars before I saw it, along with a wrap-up of what I thought about the poem after seeing Star Wars:

And here’s a musical version of that poem, set to music and sung by Joey Marianer:

I’ve just noticed that the automatically-generated closed captions on that one say ‘sorry Bingley Lloyd’ instead of ‘stars were being made’, which is hilarious, but if you’re hard of hearing you’d be better off reading the text of the poem here instead. I don’t think I’ve added proper closed captions to my video of it either yet, sorry; I should have thought about this before today.

May the force be with Peter Mayhew always.

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My Performances at MarsCon 2019


I’ve been going to MarsCon, mainly for the Dementia Track of comedy music concerts,  whenever it’s convenient for me to get there before or after the JoCo Cruise. I’m a fan of most of the acts from The FuMP and other sites, and have contributed some of my own creations to The FuMP Sideshow.

This year, I finally had the nerve and the organisation to ask to perform at MarsCon in the two concerts where people not doing a main stage set can perform. In the FuMP Jukebox concert, where artists can each perform one of their original songs, I sang ‘Why I Perform at Open Mics‘, slightly censored as it was a daytime show:

I didn’t have the best breath control, as is often the case (and I was cold, which didn’t help) but I didn’t make any major mistakes, and Devo Spice complimented my rhymes later, so I’m going to count that as a huge success.

Then, during the Dementia Smackdown concert, where each artist covers another artist’s song, I sang the only cover song I know how to do — Chicken Monkey Duck, by Mike Phirman. Mike had kindly provided me with the accompanying video without his vocals, the same one he uses for his performances, so that I could perform it at open mics, so I used that at MarsCon as well.

Perhaps I should work on not staying at the back of the stage next to the exit, but otherwise, I did okay. Since this made me officially a performer in the Dementia Track, I was included in the Dementia Smackdown Wrestling. This is a simulated wrestling match between Dementia Track artists put together by JP Tuesday — my only input was providing a picture to model my avatar after. I won’t reveal how I did — watch it and see!

I also got a snazzy certificate for participating in the Dementia Track, which is currently tucked away safely in my luggage. All in all, it was a great experience.

After that I visited The Biggest Ball of Twine in Minnesota, Kennedy Space Center, and of course, the JoCo Cruise, where the real Mike Phirman was a performer, for the third time — and if you think my performance of Chicken Monkey Duck was impressive, just wait till you see his sets on the cruise! I’ll upload my footage of it, and perhaps recount my other adventures, some time after I get home; I’m currently visiting the San Francisco Bay Area for a few more days.

In unrelated news, taking a job at a too-small-to-not-fail company has once again bitten me in the duck, so I’m looking for work again. If you’re at a reasonably stable company that needs a programmer with mathematics and linguistics training who can also sometimes write and perform weird things, let me know!

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With or Without U (U2 Parody)


Here are some parody lyrics to U2’s With or Without You which I wrote in response to a facebook comment back in May. It’s about time I shared them:

The contours of paramours
The velour of troubadours
They’re spelled with u
But in colour, labour day
with far-harbour ardour, neighbours say
They will write, without u
Write -or without u
Write -or without u
Not behaviour to condemn
Who has honour, humour them
Latinate roots for u
Spelled -or without u
Spelt -or without o-u-r
These are spelled
With or without u
And your dialect’s okay
And your spelling is okay
And you spell
And you spell
And your spelling is okay
My armour’s breached
There is no errour in yor ways
just flavour and splendour
And can I lend a vowel?
And your dialect’s okay
And your spelling is okay
And you spell
And you spell
And your spelling is okay
With or without u
With or without o-u-r
These are spelled
With or without u
O… O-U, O-R
With or without u
With or without o-u-r
These are spelt
With or without u
With or without u

Enjoy it with or without U2’s version playing along. I’d like to say that I used my Masters degree in linguistics to write this, but really, everything came from the -or, -our section of the Wikipedia page on American and British English spelling differences. I threw in a few other spelling variations for fun.

I hope you’re enjoying the holiday season. For those who celebrate Christmas, vicariously or otherwise, here’s a playlist of Christmas-related things I’ve uploaded to YouTube, and the tag of Christmas-related blog posts I’ve written.

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I sang on stage 😳


In the last post I mentioned that Joey Marianer and I sang ‘I Love Your Body‘ on the Open Phil Broadcast on Radio Orange. During that interview we promised to perform it at the Open Phil open mic that was coming up, so we did:

You can skip to 6:48 if you don’t want to hear me explaining who Joey is, pretending I’m not thrilled that he sets my words to music, and talking about my YouTube channel and Jonathan Coulton’s transition from code monkey to internet superstar, followed by Joey challenging Lill to a laugh-off and finding good positions for the microphones with help from Grey Sweater Guy.

I set the stage before this with another slightly disturbing love poem, Don’t Slip on the Ice, but it’s not the first time I’ve performed that one on stage, or even the best performance of it on video, so you’ll have to click on the link if you want to see it.

After we finished this song, I cajoled Joey into singing The Elements by Tom Lehrer, which he had previously planned to sing but didn’t feel up to doing in the moment. He got me back for that by getting me to sing it with him when it turned out he was indeed not quite up to it in the moment:

This is one of those songs, like Chicken Monkey Duck (which, technically, I have also sung on stage, but it feels more like a rap), where you can amaze people just by knowing the lyrics, so confidence in singing ability (of which I have very little) is not essential, though it is quite difficult to sing fast enough.

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In which I appear content with content in which I appear


I’ve been having a pretty relaxed month, but my life is ridiculous, therefore so far in September I have appeared in a music video, a radio broadcast, and a podcast.

The music video is Molly Lewis’s ‘Pantsuit Sasquatch‘, for which I recorded my feet walking up to a tortoise sculpture on a playground:

This joins the six other official music videos I have contributed to, and five unofficial music videos I’ve made. I guess I just like being in music videos.

The radio broadcast (which you can also listen to online) was episode #9 of the Open Phil Broadcast on Radio Orange. The broadcast mostly features regulars at the Open Phil open mic in Vienna. Each episode features an interview with and performance by two acts; I shared this one with Adrian Lüssing, also known as The Cliff.

It was an honour to be invited to participate in the broadcast, and it was made extra awesome by the fact that it happened while Joey Marianer, who has been setting a lot of my poetry to music, was visiting Vienna, so he participated too. I recited They Might Not Be Giants, then he sang his version of it, then we sang I Love Your Body, with Joey singing the first part and me singing the second part. Yes, me singing. This is about the first time I’ve sung for an audience, and the third time Joey and I had sung that song together, and it went on the radio. I think it went pretty well, though! We performed it again a few days later on the Open Phil stage, and I’ll post video of that once I’ve uploaded it.

The podcast was episode #60 of Wrong, but Useful, a recreational mathematics podcast by @icecolbeveridge (Colin in real life) and @reflectivemaths (Dave in real life). I was invited to be a special guest cohost. I’m not sure I contributed very much, but I once again recited They Might Not Be Giants, because the hosts had heard me perform that at the MathsJam Annual Gathering last year. I have to admit, I had not actually listened to the podcast until I was invited to be on it — podcast listening is something I usually do while commuting, and lately I’ve been noncommutative. However, before episode #60 was recorded, Joey and I listened to episode #59 together, and I’m happy to report that the answer we came up with for the coin-flipping puzzle was correct.

In hindsight, I wish I’d mentioned my linguistics degree while we were chatting about English and poetry and such. I also wish I’d said something about the fact that nobody on episode #59 noticed that the diameter of the Fields medal in millimetres happened to round up to the number of the podcast (that is, 64, not 59. You don’t expect mathematicians to give each podcast episode only a single number do you?)

This reminds me, I need to register for the MathsJam Annual Gathering soon. You should too, if you can get to it. It’s a lot of fun! And who knows? Maybe if you go, you’ll end up co-hosting a podcast.

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Really Boring Skullcrusher Mountain


Totally discredited Joey Marianer has once again sung something that I’ve run through NastyWriter. This time it’s Skullcrusher Mountain, by Jonathan Coulton. I published the nastified lyrics on the NastyWriter tumblr.

 

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Welcome to my secret lair on really boring Skullcrusher Mountain
I hope that you’ve enjoyed your low‑rated stay so far
I see you’ve met my very outdated assistant Scarface
His appearance is quite disturbing
But I assure you he’s harmless enough
He’s a sad sweetheart, calls me master
And he has an ungrateful way of finding pretty things and bringing them to me

Oh, and I’m so into you
But I’m way too smart for you
Even my pathetically weak henchmen think I’m crazy
I’m not surprised that you agree
If you could find some vicious way to be
A little bit less afraid of me
You’d see the negative voices that control me from inside my angry head
Say I shouldn’t kill you yet

I made this half-pony, half-monkey monster to please you
But I get the horrific feeling that you don’t like it
What’s with all the clueless screaming?
You like phony monkeys, you like broken ponies
Maybe you don’t like dumb monsters so much
Maybe I used too many monkeys
Isn’t it enough to know that I ruined a bad pony making a crazy gift for you?

Oh, and I’m so into you
But I’m way too smart for you
Even my ridiculous henchmen think I’m crazy
I’m not surprised that you agree
If you could find some purposely phony way to be
A little bit less afraid of me
You’d see the disgraceful voices that control me from inside my mindless head
Say I shouldn’t kill you yet

Picture the two of us alone inside my golden submarine
While up above the Wacky and Deranged waves my savage doomsday squad ignites the horrible and cruel atmosphere
And all the failing fools who lead their foolish lives may find it quite explosive
Well it won’t mean half as much to me if I don’t have you here

You know it isn’t easy living here on illegal Skullcrusher Mountain
Maybe you could cut me just a little slack
Would it kill you to be civil?
I’ve been patient; I’ve been gracious
And this ineffective mountain is covered with meek and mild wolves
Hear them howling, my hungry children
Maybe you should stay and have another stupid drink and think about me and you

Oh, and I’m so into you
But I’m way too smart for you
Even my false henchmen think I’m crazy
I’m not surprised that you agree
If you could find some deranged way to be
A little bit less afraid of me
You’d see the incompetent voices that control me from inside my inept head
Say I shouldn’t kill you yet
I shouldn’t kill you yet
I shouldn’t kill you yet

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