Problem: P. D. Q. Bach is a fictitious composer invented by musical satirist "Professor" Peter Schickele. Schickele developed a five-decade-long career, performing the "discovered" works of the "only forgotten son" of the Bach family. Schickele's music combines parodies of musicological scholarship, the conventions of Baroque and classical music, and slapstick. The name "P. D. Q." is a parody of the three-part names given to some members of the Bach family that are commonly reduced to initials, such as C. P. E., for Carl Philipp Emanuel Bach.

Schickele's works attributed to P. D. Q. Bach often incorporate comical rearrangements of well-known works of other composers. The works use instruments not normally used in orchestras, such as the bagpipes, slide whistle, kazoo, and fictional or experimental instruments such as the pastaphone (made of uncooked manicotti), tromboon, hardart, lasso d'amore, and left-handed sewer flute. There is often a startling juxtaposition of styles within a single P. D. Q. Bach piece. The Prelude to Einstein on the Fritz, which alludes to Philip Glass' opera Einstein on the Beach, provides an example. The underlying music is J.S. Bach's first prelude from The Well-Tempered Clavier, but at double the normal speed, with each phrase repeated interminably in a minimalist manner that parodies Glass's. On top of this mind-numbing structure is added everything from jazz phrases to snoring to heavily harmonized versions of "Three Blind Mice" to the chanting of a meaningless phrase ("Koy Hotsy-Totsy," alluding to the art film Koyaanisqatsi for which Glass wrote the score). Through all these mutilations, the piece never deviates from Bach's original harmonic structure. The humor in P. D. Q. Bach music often derives from violation of audience expectations, such as repeating a tune more than the usual number of times, resolving a musical chord later than usual or not at all, unusual key changes, excessive dissonance, or sudden switches from high art to low art. Further humor is obtained by replacing parts of certain classical pieces with similar common songs, such as the opening of Brahms' Symphony No. 2 with "Beautiful Dreamer", or rewriting Tchaikovsky's 1812 Overture as the 1712 Overture, with "Yankee Doodle" replacing Tchaikovsky's melody, and "Pop Goes the Weasel" replacing "La Marseillaise".

Did he write his own pieces, or use others?

Answer with quotes: Schickele's works attributed to P. D. Q. Bach often incorporate comical rearrangements of well-known works of other composers.

Question:
John Griffith "Jack" London (born John Griffith Chaney; January 12, 1876 - November 22, 1916) was an American novelist, journalist, and social activist. A pioneer in the world of commercial magazine fiction, he was one of the first writers to become a worldwide celebrity and earn a large fortune from writing. He was also an innovator in the genre that would later become known as science fiction.
London wrote from a socialist viewpoint, which is evident in his novel The Iron Heel. Neither a theorist nor an intellectual socialist, London's socialism grew out of his life experience. As London explained in his essay, "How I Became a Socialist", his views were influenced by his experience with people at the bottom of the social pit. His optimism and individualism faded, and he vowed never to do more hard physical work than necessary. He wrote that his individualism was hammered out of him, and he was politically reborn. He often closed his letters "Yours for the Revolution." London joined the Socialist Labor Party in April 1896. In the same year, the San Francisco Chronicle published a story about the twenty-year-old London giving nightly speeches in Oakland's City Hall Park, an activity he was arrested for a year later. In 1901, he left the Socialist Labor Party and joined the new Socialist Party of America. He ran unsuccessfully as the high-profile Socialist candidate for mayor of Oakland in 1901 (receiving 245 votes) and 1905 (improving to 981 votes), toured the country lecturing on socialism in 1906, and published two collections of essays about socialism: The War of the Classes (1905) and Revolution, and other Essays (1906). Stasz notes that "London regarded the Wobblies as a welcome addition to the Socialist cause, although he never joined them in going so far as to recommend sabotage." Stasz mentions a personal meeting between London and Big Bill Haywood in 1912. In his late (1913) book The Cruise of the Snark, London writes about appeals to him for membership of the Snark's crew from office workers and other "toilers" who longed for escape from the cities, and of being cheated by workmen. In his Glen Ellen ranch years, London felt some ambivalence toward socialism and complained about the "inefficient Italian labourers" in his employ. In 1916, he resigned from the Glen Ellen chapter of the Socialist Party, but stated emphatically he did so "because of its lack of fire and fight, and its loss of emphasis on the class struggle." In an unflattering portrait of London's ranch days, California cultural historian Kevin Starr refers to this period as "post-socialist" and says "... by 1911 ... London was more bored by the class struggle than he cared to admit."
Answer this question using a quote from the text above:

Are there any other interesting aspects about this article?

Answer:
by 1911 ... London was more bored by the class struggle than he cared to admit."