Skip to content
WIL WHEATON dot NET WIL WHEATON dot NET

50,000 Monkeys at 50,000 Typewriters Can't Be Wrong

  • About
  • Books
  • My Instagram Feed
  • Bluesky
  • Tumblr
  • Radio Free Burrito
  • It’s Storytime with Wil Wheaton
WIL WHEATON dot NET
WIL WHEATON dot NET

50,000 Monkeys at 50,000 Typewriters Can't Be Wrong

Category: Music

Still Alive . . . in Joust

Posted on 15 January, 2008 By Wil

Still Alive may be my favorite song of 2007, and is certainly the greatest video game song to be recorded since I had Pac-Man fever.

Here’s a version of Still Alive, sung about Joust.

My life is complete.

(via JoCo)

made of 100% win

Posted on 30 November, 2007 By Wil

One of Jonathan Coulton‘s fans sent him a French translation of RE: Your Brains. JoCo (which I suppose I need to call him now, since that’s what his fans call him, and I’m quite obviously a fan) recorded the French version, and released it yesterday:

While recording I couldn’t help but notice an opportunity in the
third verse for a reference to “Alouette,” that famous old French song
about plucking feathers off a bird. My first ever joke in French! Vive
me!

The result is this new version of Re: Your Brains for French
speaking zombies everywhere (yes, even Canada). I hope zat you like eet.

Re: Vos Cerveaux

Freaking. Awesome. Please to be Propelling eet?

RIAA, through SoundExchange, is lying to webcasters

Posted on 18 September, 2007 By Wil

The RIAA and its goonsquad, SoundExchange, is working very hard to destroy internet radio, by forcing webcasters to pay royalties that will run from 60%-300% of their annual revenue. For context, satellite radio pays 5%-7%, and over-the-air broadcasters pay nothing.

Why is the RIAA trying so hard to destroy Internet Radio? I wrote in a Geek in Review a while ago:

Because the
RIAA (which is essentially the major labels) has spent a lot of time
and a lot of money building a monopoly with a few media conglomerates,
and it’s been very profitable for them all for decades. 

This effort to wipe out independent online radio has nothing to do with
protecting artists, and everything to do with protecting a status quo
that supports a very few top 40 acts at the expense of everyone else.
In their effort to protect their outdated business model and insanely
corrupt relationship with a few broadcasters, the RIAA is happy to
prevent their artists from having a magnificent way to reach potential
customers who will buy albums, merchandise, and concert tickets.

I am rather worked up about this because I believe it’s about choice.
The airwaves in the United States are supposedly
owned by the American people, and licensed out to broadcasters for use, but in practice, that’s not the way it works at all. In practice, the airwaves are owned by Clear Channel, and they work hand-in-hand with the big four record labels to limit our choice of music. It’s a great scam they’ve got going, and it’s been a very profitable system for all of them for a very long time.

For the rest of us, though, this system sucks. For guys like me who can’t stand top 40 music, who can’t stand the utter crap they play on KROQ these days, and who want some fucking variety in their music, we’re screwed . . .

. . .with the notable exception of Internet radio, where we have choices as diverse as Radio Paradise, WFMU, Groove Salad, and Indie Pop Rocks.

Indie webcasters like SomaFM have been working tirelessly with the Save Net Radio Coalition
to educate our representatives in congress so that legislation can be
passed which would make it possible for these indie broadcasters to
stay in business. The RIAA doesn’t like this, so they’re trying to fight it, but in a surprisingly competent move, Congress is forcing RIAA and its goonsquad SoundExchange to negotiate realistic and fair royalty rates with webcasters.

That brings us more or less up to today, where we discover that the RIAA is getting desperate, and doesn’t like that it can’t get its way simply by threatening a lot of people and paying off a lot of congressmen.

Rusty Hodge, the GM of SomaFM, has been in DC for a couple of months, working like crazy to save his business and an entire industry. He’s been blogging about his experiences, sharing the little victories and big frustrations during the fight.

The RIAA must be afraid of Rusty and everyone who is working to save internet radio, because they’ve now resorted to outright lying to webcasters, in their latest efforts to threaten and scare them:

RIAA has SoundExchange issue press release to try and trick congress
into thinking the royalty situation has been solved. Nice work guys.

The reason many people are signing is because they fear lawsuits
from the RIAA. RIAA representatives have been calling webcasters and
telling them if they didn’t sign by Sep 15th, they would be operating
in violation of the law. That’s the only reason they signed.  It’s like a Sporano’s episode.

The only way that webcasters can escape the high royalty rates is by signing this current agreement and only
playing SX affiliated label music. This means less independent music,
and more big label music. Which is exactly what the RIAA wanted.

The press release Rusty is referring to is reprinted in his blog, but here’s the short version: 24 webcasters signed an agreement with SoundExchange that gives them slightly-better royalty rates now, but expires in three years, putting them right back where they are today. If SoundExchange can scare enough indie webcasters into signing this horrible agreement, the RIAA will be able to go to congress and tell them that they really don’t need to pass the Internet Radio Equality Act, which would permanently save internet radio by preventing the RIAA and SoundExchange from jacking up royalty rates so high, it would force indie webcasters out of business.

And this "deal" is actually a giant load of bullshit. According to Wired’s Listening Post:

However, the agreement only covers artists and labels who are
SoundExchange members.  Webcasters who sign the agreement but still
want to play music from other bands would have to pay SoundExchange the
higher per-song rates originally specified
by the CRB for those songs, because that music is not part of the
deal. In essence, small webcasters who sign have an economic incentive
to avoid lesser-known music.

So that’s what this is all about: stopping lesser-known music from even having a chance at finding an audience. The RIAA’s major members — Universal, Warner, Sony BMG, and EMI —  are trying to put indie webcasters out of business. They’re not working to protect artists. They’re working to protect their monopoly, and now they’re lying to do it.

i meant every word i said

Posted on 29 May, 2006 By Wil

Dinner is finished, and Anne is helping Nolan with some homework at the dining room table. I’m sitting outside by the fire pit, enjoying the fruits of our weekend of patio labor. I am surrounded by freshly-planted wildflowers, two types of tomatoes, and the sweet smell of lavender, roses, and just-turned dirt.

I was listening to Big Tracks on XM, through DirecTV, on our home stereo. I sang REO Speedwagon’s Keep On Lovin’ You a little too loudly while I sipped a Stone Pale Ale and digested the most amazing chicken soft tacos (marinated in tequila, lime, salsa and Tapatio) I think I’ve ever cooked, when Ryan came out to the patio from the kitchen.

“Can I turn off XM and put on Live Aid?” He said.

“No, you can’t,” I said, a little perturbed that my REO Speedwagon rocking had been interrupted.

“But you’ve been monopolizing the TV, and you’re not even inside,” he said. Very reasonable.

“
. . . I meant that I loved you foreverrrrr, and I’m gonna ke–“ I sang. “Dude. I’m trying to get my rock on, and you’re totally harshing my mellow.”

“You’re trying to get your rock on . . . to REO Speedwagon?” He said, incredulous. Tough to argue with that. “You’re the only one listening to this, so isn’t it fair to consider the rest of the family?”

Dammit. I raised him to think like this. I’m so proud of him, but . . . Big Tracks, and Stone Pale Ale, and sitting by the fire pit! Shit. Shit. Shit.

“Did you ask your mom what she thinks?” I said.

“She’s going to say that she doesn’t care, because she’s helping Nolan with his homework.” He said.

REO Speedwagon ended, and Asia began: “I never meant to be so bad to you . . .”

“Okay,” I said, “let’s go inside and ask your mom what she thinks.”

We walked into the house, and found Anne and Nolan at the dining room table. Ryan related our discussion, and asked Anne if she cared if he changed the channel.

“I don’t care,” she said.

Ryan jumped up and pointed at me. “Ha! I told you!”

“I don’t care about the radio, either,” Nolan said, with a pointed smirk at me.

“Yes! I get to put on Live Aid!” Ryan said. He started toward the living room.

“Uh, wait.” I said, “we haven’t reached consensus.”

“Oh, we totally have, Wil,” he said with a grin, “you’re 25% in favor, and mom, Nolan, and I are
75% opposed. We have a majority.”

I was done. I’d lost, and now it was time to take it like a man.

“Dude, I have, uhm, extra . . . uh . . . powers.” I said.

“What?” Ryan said.

“Yeah, I went up, up, down, down, left, right, left, right, B, A, start,” I said.

“Okay,” Ryan said, “so you get extra lives on Contra. What does that have to do with the radio?”

I don’t know how he knew that it was the Konami code, but I’m sure he picked it up from me, somewhere over the years.

“Okay,” I said, “just because you knew that, you win. Go put on Live Aid.”

Queen is blasting out We Will Rock You, from Wembley Stadium in 1985, as I type this.

lately it occurs to me

Posted on 19 May, 2006 By Wil

Firefoxdead2ke
T
wo out of three deadheads make me stabby, but since I first heard
American Beauty when I was in my teens, I’ve considered myself a casual
fan of the Grateful Dead. Put into nerd terms: I’d go to a Star Trek convention, but I wouldn’t go in a spacesuit. Well, maybe in a spacesuit, but certainly not with a latex forehead. And I’m not following Avery Brooks around the country in a van; that’s where I draw the line, man.

While I never wanted to go to a live show, (goddamn hippies with their
patchouli and their hemp pants) I absolutely love listening to recordings of
their shows, and I’ve spent a lot of time with some of Dick’s Picks, because the Dead are probably the best example of a band that makes good records, but takes their music to an entirely different level when it’s played live. For an example of that, pick up just about any live Dead recording where they play Darkstar, and make it last for six hours without ever getting lame, or pick up this 1971 show linked below and listen to The Other One -> Me and My Uncle -> The Other One. Wow.

I haven’t listened to the Dead in a long time, but earlier this month Pauly advised everyone to pick up the August 6, 1971 show from the Palladium in Los Angeles from archive.org.
Because everyone else was doing it, and I wanted to be popular, I
grabbed it, unzipped it, and didn’t listen to it until this morning.

Wow. What a great show this is, and how surprising that it was recorded
at the Palladium, which is probably the worst venue in the entire city.
The energy, the quality of the recording, and the cool, bluesy strains
of their songs is just perfect writing music for today: it’s 79
degrees, my patio is covered with finches squabbling over the bird
feeders, my dogs are sleeping at my feet, and a gentle breeze is
carrying the smell of recently-transplanted lavender into the window.

A few minutes ago, I followed a link to the 2+2 forums, and found that
cool Firefox/Grateful Dead mashup image as an avatar, and took it as a sign that I
should post something about this cool music I’m enjoying today, and spread firefox.

Hey, everyone else is doing it – I just want to be popular.

  • Previous
  • 1
  • …
  • 18
  • 19
  • 20
  • …
  • 22
  • Next

Search the archives

Creative Commons License

 

  • Instagram
©2025 WIL WHEATON dot NET | WordPress Theme by SuperbThemes