God Made Me Do It

Today a Texas jury found Andrea Yates not guilty by reason of insanity for the drowning of her five kids. Frankly, in this country that seems to be turning increasingly Christian, I’m a little surprised she wasn’t found not guilty. And not because I expect the jury to be sympathetic to a woman who suffered post-partum depression or anything like that. No, I half-expected (well not really, but for the sake of irony I did) her to be found not-guilty because there is a Biblical precedent for parents being instructed by the voice of God to kill their children.

To me, the Yates case seems rather similar to the story from the Bible about Abraham nearly sacrificing his son, Isaac. I’m most familiar with this story via Kierkegaard’s Fear and Trembling, but I think this phenomenon of God telling people to kill their children is fascinating.

According to Kierkegaard (and others), Abraham is the “father of faith.” The fact that he had complete faith in what God told him to do and was willing to do it set the template for how Judeo/Christian people should relate to God. That is, that God has a plan and that us mere mortal humans cannot possibly try to understand what He has in store of us but that ultimately whatever He wants from us is bound to be the best thing.

Abraham is a pretty major character from the Bible and based on my understanding, very few people consider him to be insane. Yet when it comes to Andrea Yates, the obvious answer is insanity. Why is that? I’m not sure. Because she is a woman? Because we no longer believe those Biblical stories? I really don’t know.

I just find it absolutely fascinating that nobody (as far as I know) has even suggested that God really did instruct her to kill her children. Granted, as an atheist I don’t think this is possible, but I really am surprised that with so many Christians in this country who claim such a devout faith and want to create laws based on their religion, they still decide to pick-and-choose when it comes to matters of faith.

During my senior year of college I wrote a paper that sort of delved into this issue (which reminds me that I really need to post some of those papers…). One of the “first American novels,” Wieland and Memoirs of Carwin the Biloquist by Charles Brockden Brown dealt with a man who was commanded by what he believed to be the voice of God to kill his family. Ultimately, it turns out that the voice was definitely not God (and was instead a man who was able to throw his voice), but how was Weiland supposed to know that?

What intrigues me about these cases is the ethical dilemma that arises: harming/killing children is considered to be one of the most horrible and “evil” things that humans do to each other. Yet as the “father of faith,” Abraham is given a free pass. Granted, in the end his son didn’t die, but that was only because God supposedly intervened to stop. The fact remains that Abraham did fully intended to kill Isaac, so as far as I’m concerned, that makes him just as guilty as someone such as Andrea Yates who also claimed to hear the voice of God, yet this time God (for whatever reason) decided not to intervene. And as Weiland shows us, how is anyone supposed to be able to really tell the voice of God from the voice of someone pretending to be God.

For all we know, Abraham really didn’t hear the voice of God, but could’ve been “insane” (as we’ve labeled Yates) or could’ve been the victim of a cruel prank (as is what happened to Weiland). Either way, it seems to me that blindly following faith and believing that God is giving commands resulted in a terrible lapse of judgment.

I am glad that the jury saw the Yates case for what it was. The poor woman was obviously not in a sane state of mind when she killed her kids. If Abraham was alive today and killed his son, I would’ve argued the same thing. Both were insane.

Switch Me On, Turn Me Up

Ooh La La Club Promo
I hate to say this, but I’ve been in a bit of a CD buying funk lately. I went to Tower Records down by the Space Needle last Thursday and, despite spending way too much on CDs, didn’t really come home with anything all that exciting. The last CD I’ve been genuinely excited to get was Depeche Mode’s “John the Revelator” single (and I’m still recovering from the kick-ass UNKLE re-construction). I even received a bunch of CDs that I ordered from SecondSpin on Tuesday, but most of those felt like filler CDs that I felt I should have or wanted to check-out or something along those lines. Additionally, the last few times I’ve walked into Everyday Music I’ve left without even going through all of the just-in bins after nothing immediately strikes me.

That was until last night when I headed over to get the new MSTRKRFT album, The Looks.

After checking through all of the new release shelves and not finding it, I was feeling really disappointed. I have really been looking forward to this album since I started checking out the MSTRKRFT remixes last fall or some time like that. But for whatever reason, Everyday Music didn’t have it. Woe was me.

Then I started aimlessly wandering along the electronic section, when I saw something I couldn’t believe at first: Goldfrapp’s “Ohh La La” club promo CD single. This single was a promo-only release (i.e., making it extremely difficult to find and a pretty rare find) and I’ve been dying to get my hands on it for a long time. I’d been searching eBay, but when I did see a copy of that CD the price was often well over $30 and I couldn’t quite justify buying it.

Ultimately, I did end up downloading pretty much every remix on the promo (Peter Rauhofer!, Tiefschwarz!, two by Benny Benassi!, Phones!, and Andy Bell from Erasure!) — how could I not??? While I did buy some legit “Ohh La La” remixes from iTunes, I admit some of them weren’t so legit…

But then last night I was lucky enough to find a real copy of the promo for only $5!!!

Yes, I was quite excited at this find and am certain that the CD buying gods/fates/time influencers/etc. sent this CD to me as a signal that I shouldn’t lose my faith in buying new music… though I still have to figure out what to do about The Looks. I guess it’s time to buy from Amazon or something…

Also, as a side note: The fact I did go ahead and download these “Ohh La La” remixes was indeed a good thing. I included the Benny Benassi remix on my latest mix (the “Gay Pride 2006” mix that I have yet to post about) as well as the as-of-yet-untitled “darker” mix which uses the Peter Rauhofer remix. Further, since I was familiar with all of the various remixes, I knew that when the DJ at Neighbours was playing the Rauhofer remix, that the Benny Benassi remix would be better for dancing and stuff. Ever since my friend and I made that recommendation, I’ve only heard the Benny Benassi remix played there.

If you want to hear what all the fuss is about, Hype Machine has a bunch of links to the “Ohh La La” remixes as well as the original (though I’m guessing a bunch have expired). You can also (like I did) buy the “Ohh La La” EP from iTunes. And don’t forget to checkout the “Ooh La La” video.

And In Music News…

Justin Timberlake and Paris Hilton
First, checkout “I’m Bringing Back Sexy” from The Observer Music Monthly which touches on topics such as Justin Timberlake’s drug use, his thoughts on tabloids, and what why “‘music’s gone to such shit.”

If that doesn’t fill your daily need of pop music writing, Slate has an excellent article titled “Paris Hilton, Anti-Hero.” Despite the headline, the article is mostly about all the “diva music” (i.e. female vocalist) coming out this summer (Mariah, Shakira, Pink, Ciara, Rihanna, Jessica Simpson, Nelly Furtado, Janet Jackson, Beyonce, etc. etc. etc.). It’s a really smart article and ultimately makes the point that the “king of pop” music title should now be called “the king of pop” since women are the best-selling pop musicians nowadays. Forget Frank Sinatra, Michael Jackson, or even Justin Timberlake — the women are where it’s at.

As for me, I prefer Justin’s “SexyBack” over Paris’ “Stars Are Blind” — but that’s just me…

The Devil Wears a Superman Costume

For the first time ever in my life (I’m 90 percent sure, at least), I saw the top two weekend movies. I saw Superman Returns on Wednesday night and The Devil Wears Prada on Saturday afternoon. Am I falling deeper and deeper into the sell-out/becoming mainstream pit?

Music Make You Lose Control

The idea that started this mix is basically the reason I started playing around with mixes in the first place. When I got Missy Elliott’s The Cookbook last year, I knew that I recognized the “music makes you lose control” phrase from somewhere else. It wasn’t until I became obsessed with remixes and, in particular, the work of Jacques Lu Cont/Thin White Duke that I remembered where I had heard it before: Jacques Lu Cont’s first foray into electronic music, his group The Les Rythmes Digitales and their song “Music Makes You Lose Control.”

Then while trying to find every Jacques Lu Cont/Thin White Duke remix I could, I came across his amazing remix of that very Missy Elliott song, “Lose Control,” as well as the Faint’s “The Conductor” from their Danse Macabre Remixes remix album.

Throughout all of those mixes I was mesmerized by the repetition of the word “control.” I imagined how cool it would be to mix all the songs together and really emphasize the similarities despite the fact that they were totally different songs.

In fact, my first attempt at making a mix started off with these same three songs, but I scrapped that idea since I didn’t feel I had the skills I wanted and did the Destroy Rock (And Roll) mix instead.

After that mix and playing around with mixing for a while, I figured it was time to revisit my original idea. To make things a bit more exciting I decided that I was going to try to take elements from surrounding sounds and place them in different songs. This would create somewhat of a weave idea. What I mean is, you have songs A, B, and C. You sample something from song B and include that element in songs A and C. For the Music Make You Lose Control mix I started with the phrase “music makes you lose control.” I got an isolated sample of the words from the original version of Missy Elliott’s “Lose Control.”

It turns out that finding isolated things from other songs wouldn’t be as easy, so I scrapped that idea (though I intend to experiment with it more in later mixes) and just reused that phrase “music makes you lose control” throughout the entirety of the song. I realize, now, that it gets tired after a while… so consider it something of an formal practice of something or a very obvious attempt at trying out a new (to me) technique.

Once I had the first three songs put together, I wanted to somehow maintain the idea of music losing control. This doesn’t seem to be the case for “Fearless” as much, but I really liked the Richard X remix and compared to the original, this one has far more beeps and blips, so I tossed it in.

With the Vitalic remix of “Technologic,” the music really does lose control. I consider this song to be a meltdown of sorts, especially when the somewhat industrial sounding noises start creeping into the end of “Fearless.” Back when I was playing around with the idea of weaving sounds, I had those strange noises break into “Fearless” much earlier. It’s great zip zapping sound, and I definitely want to reuse it again somewhere.

The idea of everything falling apart continued into the nosiest Madonna remix I’ve ever heard: the Green Velvet mix of “Sorry.” Like the Destroy Rock (And Roll) mix, I felt compelled to include Madonna. I especially liked the idea that such a pristine poppy song such as “Sorry” could sound so different and alien.

The height of things falling apart, however, is when Dimitri Tikovoi’s remix of Goldfrapp’s “Twist” cuts into the tail end of “Sorry.” If “Technologic” and “Sorry” introduced strange distortion noises, the crunching almost-organic stuff in “Twist” takes things to a new level. I contemplated using another Jacques Lu Cont remix (the “Conversion Pervsion” remix), but figured that might be overkill. Plus, as I said before, the mix I used is delightfully bizarre.

Also, I must note, I think the transition between “Sorry” and “Twist” is probably the best in the mix. I love how the sounds from “Twist” create something of a symbiotic invasion at the end of “Sorry” and how you really cannot tell that they are leading into a new song. The transition makes me think of Tetsuo from Akira morphing with that energy at the end of the movie. Initially, I didn’t like the Dimitri Tikovoi remix of “Twist” since it took so long to get into the singing, but by layering it with “Sorry” you don’t even notice.

So at this point I guess I figured, Well, music has lost control and now things are sounding like we’re on another planet… (and a scary one, at that). I could’ve kept going darker and stranger, but instead I decided that when music breaks down it turns into happier dancier music. Hence, the Dahlbäck & Dahlbäck remix of The Knife’s “Pass This On.” Those familiar with Destroy Rock (And Roll) may remember that The Knife’s “Silent Shout” was the height of darkness in that mix. To change things up a bit, I decided to show the lighter side of The Knife for Music Make You Lose Control.

Following up “Pass This On” was the most difficult part of this mix. For some reason, the beats at the end are extremely difficult to align with anything else. I remember being stumped here for quite some time. Then I heard the Armand Van Helden song “Sugar” somewhere and it got stuck in my end. Inevitably, it ended up in this mix, and although the transition isn’t great by any means, it’s better than anything else I tried. There isn’t much to say about the song itself other than the fact I like it, it’s catchy, and somewhat cheesy. Like I said, when music lost control it sorta spun off into a cheesy dance house world.

Perhaps, though, the height of turning into pop music would be to include something by Britney Spears… and oh, look at what I did! I included the totally awesome Felix Da Housecat remix of “Toxic.” I came across this remix back when I was really into Felix Da Housecat remixes (his best ever: “Playgirl” by Ladytron) and have wanted to share it with the world ever since. The song clocks in at 143 beats-per-minute, which makes it one of the faster songs I’ve included in a mix (most hover in the 125-135 range).

Following Britney’s act is a less-pop, but more-cool song by LCD Soundsystem: the Tiga remix of “Tribulations.” This transition works pretty well, and I love how for about a minute into “Tribulations” we still hear the Britster crooning “Toxic.” But why did I include this song? Good question. To be perfectly honest, “Tribulations” and “After Dark” by Le Tigre (and “Sugar” as well) weren’t included for any thematic reason. I liked the songs and thought they fit somewhat well into the mix.

The closing song, however, I had planned from the beginning. For those who don’t know, “Out of Control” by the Chemical Brothers is probably my all-time favorite song. Vocals are done by Bernard Sumner from New Order and Bobby Gilespie from Primal Scream contributes, as well, making the song a powerhouse of goodness, as far as I’m concerned. The lyrics of the song also allude back to the original idea for this mix: control.

So there it is: the second mix. Ultimtely, I feel that this mix isn’t as good as Destroy Rock (And Roll). I had too many thematic ideas for the first part (“control” and that breakdown of music thing) and after that everything just went sort of crazy. I should have tried to do a mix focusing on one of the ideas at a time or do a totally eclectic mix. Also, I feel that this one lacks the “shine factor” that I felt for the first mix. These songs feel too gritty or something (despite having songs like “Sugar” and “Toxic” and even “Tribulations” and “After Dark”). I feel that this mix has a more pastel or muted-color palette, which I don’t like as much.

A final thing worth noting: I’ve decided to take a “DJ name:” Who Shot JR? I think this is a great idea since my initials are J.R. and I love Dallas so much. I may have to add a “DJ” before it, but for now I just want to be Who Shot JR?

So what’s next? I’m already 80% finished with the Gay Pride 2006 remix (and yes, I realize that Seattle Pride was last weekend (I actually thought that it was in July until a week before it happened). So far I’m really excited about the mix. It’s totally cheesy but everything transitions nicely and you feel like you are in a gay club (which is the intention). The playlist includes my favorite songs from Neighbours from the past year or so.

00:00 — “Music Makes Your Lose Control” by Les Rythmes Digitales
02:32 — “Lose Control” (Jacques Lu Cont remix) by Missy Elliott
09:06 — “The Conductor” (Thin White Duke remix) by The Faint
16:08 — “Fearless” (Richard X remix) by The Bravery
21:49 — “Technologic” (Vitalic remix) by Daft Punk
26:46 — “Sorry” (Green Velvet remix) by Madonna
30:52 — “Twist” (Dimitri Tikovoi remix) by Goldfrapp
36:30 — “Pass This On” (Dahlbäck & Dahlbäck remix) by the Knife
40:56 — “Sugar” (original club mix) by Armand Van Helden
47:43 — “Toxic” (Felix da Housecat’s club mix) by Britney Spears
53:30 — “Tribulations” (Tiga’s Out of the Trance Closet mix) by LCD Soundsystem
59:46 — “After Dark” (Morel’s Pink Noise vocal mix) by Le Tigre
65:18 — “Out of Control” by the Chemical Brothers

[save]  Download “Music Make You Lose Control” (very low-quality)

If you want a CD version of the mix, let me know and I might go ahead and send you one. I will be designing a CD cover and everything (and will update this post once that has happened).