Monday, April 17, 2017

All through New York City straight to The Hague

When I'm not listening to you-know-what, I'm listening to other music, some of which is from the prior millennium.

For example, one of my favorite songs is an Eiffel 65 song. No, I'm not talking about Doobie Doobie Do or whatever it is, but the title song from that album, "Europop."

Within that song, Eiffel 65 endeavored to establish themselves as Italian dance music stars, in the same way that Falco had endeavored to establish himself as an Austrian music star in the prior decade. In an effort to link themselves to the dance music scene, "Europop" contains the lyric

All through Amsterdam straight to Italy

(Ironically, one of the most notable dance music figures is the Italian Giorgio Moroder, but I always think of him as a German because he was in Berlin when he was working with Donna Summer. But I digress.)

Recently I've been listening to another song - not from Eiffel 65's 1990s, nor from Falco's 1980s, but from the 1970s. I was younger then, and during that decade I purchased a compilation record from K-Tel ("Fantastic") and another one from Ronco ("Far Out"). One of those had the amazing song "Get Dancin'" from the greatest band of the 20th century (more or less), Disco Tex and his Sex-O-Lettes.

No, the leader of the band was not called Disco Tex. The leader was called Sir Monti Rock III. (Of course.)

If you've never heard the song before, be warned:

1975 was a strange time.

Strange indeed. While the Sex-O-Lettes sang some standard disco choruses, Disco Tex - I mean Sir Monti Rock III - would then interrupt with an early incarnation of rap. But the good Sir would not rap about chicken that tasted like wood, or about gritty urban life, or about mom throwing away your best porno mag. The good Sir would rap about - well, just about everything.


Whether hairdresser, failed actor, or more or less or all combined, his screaming queen MC rants never fail to raise a smile -- the question is whether he realized the humor was unintentional or not. The title track provides some of his most memorable moments, screaming things during the instrumental breaks like "America needs you! We need you to go dance! We need you to get together, and boogie woogie woogie woogie! RADAR LOVE IS HERE!..."

Hold it. Stop right there.

Did he just say...Radar Love?

In the 1970s, "Radar Love" was the name of the international monster hit from Dutch band Golden Earring. Basically, nothing like the Disco Tex and his Sex-O-Lettes show. Golden Earring ROCKED.

Then again, Disco Tex did have the word "Rock" in his name.

(By the way, his birth name was Joseph Montanez, Jr..)

Saturday, April 15, 2017

Why I should have called my album "Gonna Win a Grammy"

I was just researching for another post when I ran across the story of what happened to Dr. Hook.

For those of you who don't know, back in the early 1970s the magazine Rolling Stone actually devoted itself to music. (Kinda like how MTV actually used to show music videos.) At that time, a musical act could get some serious sales traction from being featured in the magazine. (Today, of course, the magazine talks about everything.)

Rule Forty Two:

In 1972, cartoonist and songwriter Shel Silverstein visited Dr. Hook and the Medicine Show in the studio with a question: would they like to be on the cover of Rolling Stone? Since they were struggling for a hit, they said absolutely, although they couldn’t imagine how he would manage the trick. Silverstein then proceeded to play them “The Cover of Rolling Stone,” a complaint of jaded rock stars who haven’t yet achieved their dream of appearing on the front page of this publication...

So they recorded it.

The song became popular as kids like me listened to it. And guess what happened next?

By Rolling Stone; web source:, Link

Yes, that cover says "What's-Their-Names."

But wait - it gets better.

You'll recall that the original song includes a line that says, "Gonna buy five copies for my mother." Well, Rolling Stone was based in San Francisco at that time, so three members of the band went to Rolling Stone's offices to get those five copies. As Rule Forty Two notes, the band encountered a receptionist who apparently wasn't clued in to the music world.

“We were in full hippie regalia, with about thirty pounds of hair between the three of us,” Elswit said. “The receptionist didn’t know who we were or why we were there, and furthermore, didn’t much care. We were frostily informed that we could buy some from the dispenser machines downstairs."

At that point, someone with a clue showed up and gave the band members exactly five copies.

Dreams do come true.

P.S. If you haven't heard about MY album, go here.

Or listen to this. Not quite the rollicking fun of Dr. Hook, though.

Ontario Emperor Releases First Full-Length Album in Over 17 Years

Ontario Emperor releases digital album "Salad" on Bandcamp

Empoprises announces that musical artist Ontario Emperor has released his first full-length album in over 17 years. The ten-song album, "Salad," is available electronically on the "ontarioemperor" page at Bandcamp (

Ontario Emperor's music was originally released on in 1999 and 2000, including the full-length album "Digital Judge" that was released in November 1999. After ceased operations, Ontario Emperor released a free track on GeoCities. After GeoCities ceased operations, Ontario Emperor released a free collection of songs on After ceased hosting music files, it was on to Bandcamp, where the song "Bare Plate" was released last month.

"It's been a while since I've released a full-length album," said the marketing flack who is pretending to speak for Ontario Emperor. "I'm happy that 'Salad' is finally available, and those who love melodic synthetica will enjoy the songs on this album."

The marketing flack also put words in the mouth of John E. Bredehoft of Empoprises. "Empoprises has been primarily known for textual content, but we are happy to be associated with musical content also."

The ten songs can be previewed on Bandcamp. Purchase of the album, or of selected individual songs, allows unlimited streaming as well as download of the song files.

Thursday, April 6, 2017

No, this isn't a new Pepsi ad, but it may have been a better one

I'm writing this after the fallout from the recent Pepsi ad in which Kendall Jenner saves civilization by sharing a Pepsi with a cop. By the time I got around to seeing the video itself, Pepsi had already pulled it.

After some thought, I decided that Pepsi should instead focus on the negative side of things - what crises would befall the world if people DIDN'T share Pepsi with others?

Well, as us older folk already know, that story was already told many years ago.

Saturday, April 1, 2017

"Underground Rocket" by Bruce Wyman is now available on CD Baby and Spotify

So anyway, a few months ago my wife and I visited some friends at their home. At one point during the evening, I wandered out to the garage and admired the husband's music setup (which is, to put it mildly, much more extensive than my own). That visit was one of the things that prodded me to finally restart my Ontario Emperor project.

I chose to release the Ontario Emperor music on Bandcamp.

My friend Bruce Wyman chose CD Baby.

As I write this, only the song "Underground Rocket" is available, but Wyman has plans to release a full album later this year.

And one advantage of being on CD Baby is that Wyman's music is (unlike my own) also available on Spotify.

Tuesday, March 28, 2017

#oealbumreveal And the tentative title for the forthcoming Ontario Emperor album is...


While the final track listing is yet to be worked out, one of the songs will be entitled "Plate." It may or may not bear a similarity to the already-released song "Bare Plate." (Less bare, presumably, although you can't really count on that.)

As of right now, "Salad" is NOT available. Stay tuned to for further information.

P.S. While "Bare Plate" will not necessarily provide an indicator of what "Salad" will sound like, I can say that "Salad" sounds more like "Bare Plate" than, say, "Macarena." Here's a listen to the previously-released "Bare Plate."

Monday, March 27, 2017

The consequences of personal headspaces

For most of human history, music was a communal activity. All of the people in a particular room or small area would listen to the same music.

But over the last few decades, that has begun to change.

By Adamantios - Own work, CC BY-SA 3.0, Link

As a result of this little invention, coupled with other items such as Walkmans and smartphones, a dozen people in a room may be listening to a dozen different things - and thus living in a dozen different headspaces.

This hit me over the weekend while I was out walking in my neighborhood, iPhone in my pocket, earphones in my ears. (This was not an iPhone 7, so such a configuration does not require workarounds.) From my perspective, I was walking down the sidewalk, and my ears were filled with the sound of Ladytron's "White Elephant." From the perspective of the gentleman in the front yard I was passing, he was standing in the grass, and his ears were filled with the sound of the water in his water hose.

But what if he had also been wearing earphones? (Watering the yard can be drudgery at times.) We would have an aural (rather than a visual) case of differing perspectives. My Helen Marnie would be his Robert Plant or whatever.

I've been thinking about headphones a lot lately, since the Ontario Emperor project is emerging as a "headphones" type of project. I don't think that I'll be performing "Bare Plate" in a live venue any evening soon - even if Renee Myara is singing along.

So what type of personal headspace am I creating for my listeners?

Monday, March 13, 2017

"Bare Plate" by Ontario Emperor now available on Bandcamp

If you've been reading the Empoprise-MU music blog recently, you've probably gotten an idea that something's up.

It started by my February 27 post about the temporary (or perhaps permanent) demise of's Music Manager, which once allowed me to host the entire "Brevity Is" music collection. The post concluded with the words

Of course, there are other music hosting services...

Then I wrote something a little over a week ago, along with a picture.

Then last Friday, I posted some instructions on how to replace the Microsoft GS Wavetable Synth in Windows 10.

Then yesterday (Sunday) I noted that Bandcamp songs scrobble to if you're using the Chrome extension, and I even embedded a song in the Sunday post - "Ringed by Lovers" by Helen Sventitsky, a long-time favorite song of mine that can be found on Bandcamp.

Well, tonight I'm going to embed another song that you can find on Bandcamp.

Yup. Tonight I can formally announce that for the first time in almost eight years, an Ontario Emperor song is now available on the tubes.

And, as you can probably figure out, it's on Bandcamp. This means that (at least for now) it's not available on Spotify, but (as noted above) I can still scrobble it to my heart's content.

And so can you.

"But wait a minute," you might be saying. The picture that you shared previously was in color, but the picture for 'Bare Plate' is in black and white. What gives?"

To be continued...

Sunday, March 12, 2017

Bandcamp plays scrobble to

Well, at least when using's Chrome extension (which also supports scrobbles from YouTube, but the tags are sometimes messed up).

Good to know.

P.S. Apparently you have to go to the Bandcamp site for the scrobbler to work; it won't scrobble from an embedded player. But you should play this song anyway because I like the chords.

Friday, March 10, 2017

Replacing the Microsoft GS Wavetable Synth in Windows 10

I guess it's fairly obvious that I'm working on something in regards to my old Ontario Emperor music project. But as I got deeper into the project, I decided that I needed to address something.

You see, the very first Ontario Emperor mp3 files - i.e. most of the ones that I uploaded to - were all created on a Macintosh. But the final ones - "Non Sequitur 15" and the entire "Brevity Is" collection - were created after I got rid of my Mac, and therefore were composed and assembled on various Windows computers.

And they were...lacking.

Finally, after a decade and a half of putting up with this, I thought that maybe I ought to explore the issue and understand why MIDI files on Windows (I convert MIDI to audio) didn't sound all that great.

On Windows, the system used to generate MIDI sounds is called the Microsoft GS Wavetable Synth. It was a good solution (back in 1991).

Microsoft GS Wavetable Synth is the MIDI Synth that is bundled with Windows releases. It is licensed by Roland and based off of the first release version of Virtual Sound Canvas, at the time a commercial product. It contains its SC-55-based sound set which, while more compact and downsampled, was considered to be high quality at the time. Though its limitations have caused it to age poorly, it is still used as a standard for MIDI composers.

It turns out that it's really easy to upgrade to a better MIDI synth on Windows 10 - so easy that I could do it. To do so, you need a different MIDI synth, as well as a different (i.e. bigger) soundfont.

For the MIDI synth, I followed Anvil Studio's recommendation and installed the VirtualMIDISynth from CoolSoft - although there are others available.

For the soundfont, I chose Timbres of Heaven from Don Allen - primarily because it had step-by-step instructions on how to use Timbres of Heaven with VirtualMIDISynth. Again, there are a number of soundfonts out there.

After that, the only thing that I had to do was to go into Anvil Studio and set my MIDI Out Device to be CoolSoft (in the View menu, I chose the "Synthesizers, MIDI + Audio Devices" menu item).

So after that was set up, I played one of my MIDI files through Anvil Studio - and noticed a significant improvement.

Time to redo some audio files...

Sunday, March 5, 2017

The Ontario Emperor music project is set to announce...something

Back in 2009, I wrote a post about my Ontario Emperor six-song collection "Brevity Is" and how wonderful Anvil Studio was (although the free version limited songs to less than a minute) and how wonderful was as a host.

Then last month, I discovered that access to my uploaded files was disabled - for all I know, permanently. (Yes, I know that is supposedly working on something new and wonderful, but I've been down this road before.)

But what if I were to find another music file host, and if I were to start uploading stuff - perhaps an audio file, perhaps some artwork?

And what if (before uploading any audio files to that host) I were to finally get around to ordering Anvil Studio's Multi-Audio 1/8 accessory that would allow me to create audio files of more than a minute in length?

Yeah, that would be nice.

Monday, February 27, 2017

If Ontario Emperor rises again, it may not be on

Some of you know that before I blogged under my own name with the "Empoprises" brand, I blogged under the pseudonym Ontario Emperor. But Ontario Emperor dates long before I began blogging in October 2003. I won't take you back to the raw beginnings of Ontario Emperor, but back in 1999 (and until 2003), you could go to and buy CDs with Ontario Emperor music. Track listings for a lot of the CDs are provided at my old Tripod site, but that site now has zillions of pop-up ads so I'll just reproduce the information here.

October 2000
Rudy Left. Surround. Road Array. Nixon Landslide. Burning Coals. Days Summer Days. Firehose. Teasze Me. Non Sequitur 15.

Rudy Left
September 2000
Rudy Left. Windy Ridge. Bush League. Besieged by Reality. Transmission. Calculus Two. Veggie Stew.

Road Array
June 2000
Road Array. Facial. More Tea For Me. Tireless. Green Stream. Lost. Armsley Square. Flies.

March 2000
Latent Image. Surround. So Long I Sold You. Urban Plowman. Deeper in Debt (Jerry). You Want to Fly. Driving Two.

Digital Judge
November 1999
Finding My Anonymity. Or a Little Faster. Winter at Halfway House. Marooned with Mary Ann. Down the Pyro Lawn. Finding My Serenity. Gonna Walk. Deeper in Debt. November. Trashed Your Room. Finding My Tax Return. Run to the Snare. Football You Bet. I Demand a Japanese Car. Side of the Grove.

Or a Little Faster
July 1999
(deleted from CD catalog October 2000)
Or a Little Faster. Down the Pyro Lawn. Or a Little Rougher. Bucharest Sweat. Dial 911 at Boulder.

Firehose MaxiDisc
April 1999
(deleted from CD catalog October 2000)
Short Firehose. Taped Firehose. Ritalin Wail. Broken Beerlobe. Firehose. You Want to Fly. Fresh Firehose.

Firehose MiniDisc
April 1999
(deleted from CD catalog September 1999)
Short Firehose. Ritalin Wail. Broken Beerlobe. Fresh Firehose.

Cheating at Solitaire
February 1999
(deleted from CD catalog September 1999)
Burning Coals. Days Summer Days. Firehose. Teasze Me.

Of all of those, "Digital Judge" was my favorite, since I broke a rule that had existed for decades before my birth. This album had THREE sides (each of which began with a "Finding..." song).

All of the songs except "Non Sequitur 15" were instrumentals, and while I have CDs with the MP3s stashed away somewhere, I have long since lost the original lossless files (most of the songs were created on a Macintosh, and I haven't owned a Mac in over a decade).

After went bye-bye, I preserved "Non Sequitur 15" on a geocities page...and then I uploaded a few files (including "Non Sequitur 15" and six new 2009 songs) to The Music Manager worked out well for me, allowing me to upload both music and artwork for a collection that I called "Brevity Is."

Then geocities went bye-bye, and was the only site that hosted any of my mp3s.

I've been thinking about creating some new music again, and I began to check out various sites that could host my music. One option, of course, was to just upload the files to via the Music Manager.

But then when I went to my artist page to check my albums, I noticed something odd.

Yup, that's right - my "Brevity Is" album and its artwork are gone.

Things weren't much better when I got to the tracks page.

Yes, all the tracks are there (although they are no longer associated with albums)...but there's no way to play them from I could play them if my songs were also on Spotify...but they're not.

So I went to the Music Manager page to sort this all out.

Of course, if I had checked Wikipedia earlier, I would have known all of this.

In January 2014, the website announced on-demand integration with Spotify and a new YouTube-powered radio player. Upon the introduction of the YouTube player, the standard radio service became a subscriber-only feature.

On 26 March 2014, announced they would be discontinuing their streaming radio service on 28 April 2014. In a statement, the site said the decision was made in order to "focus on improving scrobbling and recommendations"....

In 2016, Music Manager was discontinued and music uploaded to the site by musicians and record labels became totally inaccessible; post-Spotify integration they could still be played and downloaded (where the option was given) but following this change not even the artists themselves are able to access their songs in the catalogue.

From a business standpoint this makes sense, since in 2016-2017 is facing the same issues that faced in 2003. The business model doesn't really allow support of someone with a couple of thousand plays.

Of course, there are other music hosting services...

Postscript: More on my song naming of mp3 and midi files (the midis are at that same ad-infested Tripod site).

Monday, February 6, 2017

Hard to #BoycottThe97 tech companies that united against the Presidential Executive Order


As USA Today reported early this morning, 97 companies filed a "MOTION FOR LEAVE TO FILE BRIEF OF TECHNOLOGY COMPANIES AND OTHER BUSINESSES AS AMICUS CURIAE IN SUPPORT OF APPELLEES." In essence, the companies objected to some of the immigration aspects of the executive order "PROTECTING THE NATION FROM FOREIGN TERRORIST ENTRY INTO THE UNITED STATES."

(DISCLOSURE: My employer has an interest in a separate portion of the executive order that is NOT cited in this particular court case, the "biometric exit" portion in section 7. I've briefly mentioned this section before.)

Those who support President Trump's position may choose to boycott these 97 companies, in the same way that companies such as Starbucks and 84 Lumber are being boycotted.

But 97 companies is a lot of companies.

If you're boycott-happy, here they are (Scribd link):


1. AdRoll, Inc.
2. Aeris Communications, Inc.
3. Airbnb, Inc.
4. AltSchool, PBC
5., LLC
6. Appboy, Inc.
7. Apple Inc.
8. AppNexus Inc.
9. Asana, Inc.
10. Atlassian Corp Plc
11. Autodesk, Inc.
12. Automattic Inc.
13. Box, Inc.
14. Brightcove Inc.
15. Brit + Co
16. CareZone Inc.
17. Castlight Health
18. Checkr, Inc.
19. Chobani, LLC
20. Citrix Systems, Inc.
21. Cloudera, Inc.
22. Cloudflare, Inc.
23. Copia Institute
24. DocuSign, Inc.
25. DoorDash, Inc.
26. Dropbox, Inc.
27. Dynatrace LLC
28. eBay Inc.
29. Engine Advocacy
30. Etsy Inc.
31. Facebook, Inc.
32. Fastly, Inc.
33. Flipboard, Inc.
34. Foursquare Labs, Inc.
35. Fuze, Inc.
36. General Assembly
37. GitHub
38. Glassdoor, Inc.
39. Google Inc.
40. GoPro, Inc.
41. Harmonic Inc.
42. Hipmunk, Inc.
43. Indiegogo, Inc.
44. Intel Corporation
45. JAND, Inc. d/b/a Warby Parker
46. Kargo Global, Inc.
47. Kickstarter, PBC
49. Knotel
50. Levi Strauss & Co.
51. LinkedIn Corporation
52. Lithium Technologies, Inc.
53. Lyft, Inc.
54. Mapbox, Inc.
55. Maplebear Inc. d/b/a Instacart
56. Marin Software Incorporated
57. Medallia, Inc.
58. A Medium Corporation
59. Meetup, Inc.
60. Microsoft Corporation
61. Motivate International Inc.
62. Mozilla Corporation
63. Netflix, Inc.
64. NETGEAR, Inc.
65. NewsCred, Inc.
66. Patreon, Inc.
67. PayPal Holdings, Inc.
68. Pinterest, Inc.
69. Quora, Inc.
70. Reddit, Inc.
71. Rocket Fuel Inc.
72. SaaStr Inc.
73., Inc.
74. Scopely, Inc.
75. Shutterstock, Inc.
76. Snap Inc.
77. Spokeo, Inc.
78. Spotify USA Inc.
79. Square, Inc.
80. Squarespace, Inc.
81. Strava, Inc.
82. Stripe, Inc.
83. SurveyMonkey Inc.
84. TaskRabbit, Inc
85. Tech:NYC
86. Thumbtack, Inc.
87. Turn Inc.
88. Twilio Inc.
89. Twitter Inc.
90. Turn Inc.
91. Uber Technologies, Inc.
92. Via
93. Wikimedia Foundation, Inc.
94. Workday
95. Y Combinator Management, LLC
96. Yelp Inc.
97. Zynga Inc.

How many of these companies have provided products or services that YOU used in the last few days? I can count Apple, Automattic, Facebook, Foursquare, GitHub, Glassdoor, Google, Levi Strauss, LinkedIn, Microsoft, Spotify, SurveyMonkey, Twitter, Wikimedia, and probably a dozen others that I missed.

So why Levi Strauss? Its Bay Area location? Its place in Silicon Valley corporate attire?

Actually, something different.

Inventions and discoveries by immigrants have profoundly changed our Nation. Some, like alternating current (Nikola Tesla), power our world. Others, like nuclear magnetic resonance (Isidore Rabi) and flame-retardant fiber (Giuliana Tesoro), save lives. And yet others, like basketball (James Naismith), blue jeans (Levi Strauss), and the hot dog (Charles Feltman), are integral to our national identity.

And the brief doesn't even mention Albert Einstein or Wernher von Braun.

Semi-ambient hip-hop - Living Legends, "Never Fallin"

A Facebook friend shared a video, along with the comment

There's a special place in my heart for hip hop songs built on eno samples

But not just any Eno sample.

This sample comes from side 2 of "Before and After Science" - or the side that I call "After Science." Those who were around when vinyl records and cassettes were the norm know that albums of the day had two distinct sides - and on "Before and After Science," they are truly distinct. Side one closes with "King's Lead Hat," about a band that Eno liked with a lead singer who (in those days) truly WAS a burning building. But when you flipped the record or the tape over, the next song brings the tempo down a bit. But "Here He Comes" is only transitional, since the following songs bring the tempo down even more.

Until you reach "By This River."

Unlike "King's Lead Hat," "By This River" begins with the sparsest instrumentation imaginable - a single piano. And while the instrumentation builds up toward the end of the song, it remains a very simple song.

Well, how do you rap over a sample based upon THAT?

Speed it up a bit and add a drum beat.

The song "Never Fallin'" appears on the Living Legends album Classic.

Monday, January 23, 2017

When music becomes controversial - the songs Clear Channel tried to ban after 9/11

Things that seem completely innocent one moment can become controversial in the next, due to a change in circumstances.

9/11 was one of those "changes in circumstances" that altered our reactions to particular songs.

As a contemporary article from the New York Times notes, Clear Channel (now iHeartMedia) sent a list of recommendations to its radio stations regarding music playlists.

Back on September 10, no one would have given a second thought to playing the Gap Band song "You Dropped A Bomb On Me." After 9/11, that wasn't such a good idea.

The Neil Diamond song "America" also made the list. Why? Perhaps because the words "They're coming to America" frightened people at the time.

So why was I reading an old New York Times article? Because on January 20, 2017, radio station KFI - an iHeartMedia station - aired a brief story about "El Chapo" being extradited from Mexico to the United States.

A brief snippet of the Neil Diamond song "America" introduced the story.

Monday, December 19, 2016

Mickey Newbury's Impromptu Synthesis ("An American Trilogy")

Before this weekend, I had never heard of Mickey Newbury, although I was familiar with his work.

So let's peek at Mickey Newbury's biography. He was born in Houston in 1940, spent some time in the Air Force, and eventually devoted himself to singing and songwriting. After some years, he achieved success in the latter.

1966 was the year the music industry noticed Mickey Newbury. Don Gibson had a Top Ten Country hit with Newbury’s Funny Familiar Forgotten Feelings, while Tom Jones scored a world hit with the same song. In 1968, Mickey saw huge success; three number one songs and one number five – across four different charts; Just Dropped In (To See What Condition My Condition Was In) on the Pop/Rock chart by the First Edition, SweetMemories on Easy Listening by Andy Williams, Time is a Thief on the R&B chart by Solomon Burke, and Here Comes the Rain Baby on the Country chart by Eddy Arnold. This feat has not been repeated.

But Newbury began to achieve some success as a singer also.

Mickey released three albums that raised the bar on Music Row. Produced at Cinderella Studios outside of Nashville, and utilizing Nashville’s best musicians, Newbury’s trilogy of albums - Looks Like Rain, Frisco Mabel Joy and Heaven Help The Child are often referred to as masterpieces.

But that's not the only trilogy connected with Newbury. The second of these albums, Frisco Mabel Joy, begins with a song that Newbury threw together in a single night (PDF).

Imagine merging Civil War era songs of the North, South and African-American slaves into one unified movement. On a starry evening in May of 1970 while appearing on stage at the Bitter End West, Newbury did just that. The impromptu arrangement just came together on that magical night and in one moment of brilliant inspiration.

We'll talk more about that night a little later.

While the arrangement was impromptu, the three songs that were chosen were (intentionally or unintentionally) deeply meaningful. Take the first song in the trilogy, "Dixie." Often considered the anthem of the Confederacy, many people are not aware that the song was composed by a Yankee, in New York City. And the song, at least originally, didn't have much to do with Jefferson Davis or his government.

It was Saturday night in 1859, when Dan Emmett was a member of Bryant's Minstrels in New York. Bryant came to Emmett and said: "Dan, can't you get us up a walk-around? I want something new and lively for Monday night." At that date all minstrel shows used to wind up with a "walk-around." The demand for them was constant, and Emmett was the composer of all the "walk-arounds" of Bryant's band. Emmett of course went to work, but he had done so much in that line that nothing at first satisfactory to him presented itself. At last he hit upon the first two bars, and any composer can tell how good a start that is in the manufacture of a tune. By Sunday afternoon he had the words, commencing: "I wish I was in Dixie." This colloquial expression was not, as most people suppose, a Southern phrase, but first appeared among the circus people of the North. In early fall, when nipping frosts would overtake the tented wanderers, the boys would think of the genial warmth of that section for which they were heading, and the common expression would be, "Well, I wish I was down in Dixie."

Which brings us to the second song, "Battle Hymn of the Republic," written by another New Yorker, Julia Ward Howe. However, when she wrote the words to the song, she literally was in Dixie.

In 1861 ... she made her first trip to Washington, where her husband became interested in the work of the Sanitary Commission. During the visit the party was invited to a military review in the Virginia camps. On the way back she and the others in the carriage sang "John Brown's Body" to the applause of the soldiers by the roadside.... That night the inspiration came; she wrote the best known of her poems and one of the finest products of the whole Civil War period.

So we've heard from the South (via a Northerner), and the North (via someone in the South). Have we left anyone out? I guess so, because Newbury felt the need to throw a 1960s folk song into the medley. But folk songs, including this one - "All My Trials" - have their origins:

This spiritual-lullaby probably originated in the antebellum South, from where it was transported to the West Indies. It appears to have died out in this country, only to be discovered in the Bahamas.

Oh, yeah - the SLAVES. I guess slave lives matter also.

They certainly mattered to the folk artists and others of the 1960s. The folkies would sing slave spirituals, and they'd sing the occasional Southern-themed song like "The Night They Drove Old Dixie Down." But "Dixie" itself was, in a word, verboten.

Until Mickey Newbury appeared at the Bitter End West.

[W]hen Mickey announced his intention to play ["Dixie"] in the dressing room just before he was to take the stage club owner Paul Colby went white with fear.

“Mickey, you can’t do that,” Colby protested. “They’ll tear this club apart.” Colby’s new venture, Bitter End West, a Los Angeles branch of his venerable New York folk club, had not been open a week and Mickey had been granted the privilege of playing its opening weekend.

“Well, get a shovel,” came Mickey’s reply, “cos I’m fixing to do it.”

Rather than introduce “Dixie” by name, Mickey preceded his performance with a short overture that he knew would play well to the audience of liberal Californians, industry folk and fellow artists.

“Just this last week,” he began, “there was a song banned. I just can not understand why people think a song can be damaging. Anybody that loves truth and loves music would have no argument with ‘Blowin’ In The Wind’ regardless of what Bob Dylan’s politics or personality was like.”

That's when Newbury started playing "Dixie," and then tacked the other two songs on for good measure.

Of course, Mickey Newbury's version isn't the one we remember - we remember Elvis, in the jumpsuit, with the huge band and the horns and everything. But here's how Mickey does it - in this instance, just him and a violinist.

Sunday, December 11, 2016

No, @claytonpurdom - Hang Chu's "Neural Story Singing Christmas" is NOT creepy at all

Way back in 2009, when the Empoprise-MU music blog was in its early period, I spent some time talking about Microsoft SongSmith. The purpose of this project was to create a song based only upon a vocal part. This would allow musical novices to create songs based upon rather rudimentary ideas. Experimenters stripped the instruments off of established tracks and fed the vocals to SongSmith to see what would happen. While my previously shared example of "Wonderwall" has disappeared from YouTube, here's what happened with a-ha's "Take On Me."

You may cringe, but the project had some really impressive results when you think about it.

And of course science advances, and seven years have passed. So now it's not enough to feed vocals to a program. What about feeding it...a picture? And then letting the program create both the music AND the lyrics?

Enter the University of Toronto, a picture of a Christmas tree, and this.

Neural Story Singing Christmas from Hang Chu on Vimeo.

Now I'm a chord guy, so I've been (repeatedly) enjoying the chord progressions that the program came up with. But I guess I ought to pay attention to the lyrics.

Lots to decorate the room.
The Christmas tree is filled with flowers.
I swear its Christmas Eve.
I hope that is what you say.
The best Christmas present in the world is a blessing.
I've always been there for the rest of our lives.
A hundred and a half hour ago.
I am glad to meet you.
I can hear the music coming from the hall.
A fairy tale.
A Christmas tree.
There are lots and lots and lots of flowers.

Clayton Purdom of the A/V Club described the result as bone-chilling:

These are not lyrics, they are the moans of the damned, trapped between this world and something beyond it, just conscious enough to know they are not at rest.

While Purdom (and even has a point about the emotional emptiness of the lyrics (perhaps it will appeal to the narcissists that I will soon discuss in a separate blog post), the song is more impressive than it appears at first glance. The program analyzed an image, and based upon the information it had learned, it was able to come up with something that is recognizable as a Christmas song. But first the program had to learn:

Neural karaoke emerged from a broader research effort to use computer programs to make music, write lyrics and even generate dance routines. Taking music creation as a starting point, Hang Chu, a PhD student at the lab, trained a neural network on 100 hours of online music. Once trained, the program can take a musical scale and melodic profile and produce a simple 120-beats-per-minute melody. It then adds chords and drums....

Another hour of Just Dance tunes and 50 hours of song lyrics from the internet helped teach the program how to put words to music. Drawing on words that appeared at least four times in the dataset, the program built up a vocabulary of 3390 words, which the computer could then string together at a rate of one word per beat.

For the final step of the latest work, the program trained on a collection of pictures and their captions to learn how specific words can be linked to visual patterns and objects. When fed a fresh image, the program can compile some relevant lyrics and sing them using phonemes, or units of sound, linked to the words in its vocabulary.

In this case, the program saw a tree that appeared to be a Christmas tree, some cubes that appeared to be presents, and something (the stars? the lights?) that appeared to be lots and lots and lots of flowers. To top it off, because Christmas songs often evoke emotional reactions, the line "The best Christmas present in the world is a blessing" was thrown in there.

Frankly, I'm impressed. And not just by the chord progressions.

Although the program is still a little lacking in love songs.

Wednesday, November 23, 2016

#empogmgmu Part Five: A Musical Interlude from David Bowie

If you've followed the #empogmgmu series of posts in my Empoprise-BI business blog, you know that the phrase "five years" keeps on popping up.

So much so that my brain hurts a lot.

Time for a musical break. This is from a live performance from 1976, and I suspect that the performance is actually live because it's slower than the original recording.

After this, Bowie went to West Berlin, which kinda sorta ties in with the whole Oleg Atbashian thingie in a disturbing sort of way.

Thursday, October 20, 2016

Less than one month to vote for the #AMAs - unless there's fraud

Many people in my country are thinking about the elections that will take place on November 8 (or November 28, according to some sources). But people in the music industry may be thinking about another voting process which won't conclude until November 20 - the voting for the American Music Awards.

There are all sorts of awards shows for music and for other things, and there are all sorts of ways in which the award winners are selected. For example, if I ever start the Empoprises Music Awards - the celebrated EmpoMAs - the awards selection process will be Whoever I Feel Should Get The Award. (I won't even codify rules for bribing me, because no one would bother to do so.)

The American Music Awards, the late Dick Clark's entry into award-dom, trumpets the ability for fans to select the award winners. They've been around for a long time; the first awards were held in 1974, although not all of the award winners showed up.

(The short adult who accepted the award on Carpenters' behalf is Paul Williams.)

So how does the AMA process work?

While the nominees are selected by various data from Billboard and the like, the final awards themselves are tabulated based upon votes from Facebook and Twitter users.

The rules are online (PDF), and the voting windows are stated in the rules.

As you can see, November 14 is a critical date for many of the awards, but for the New Artist Award, you can vote until 6:00 pm Pacific Time on November 20. I'm sorry - I should have said 5:59:59 pm Pacific Time. Interestingly enough, the show will have been going on for an hour at that time, since the show starts on November 20 at 8:00 pm Eastern Time / 5:00 pm Pacific Time. (Whether those of us in the Pacific Time Zone will actually get to SEE the show at 5:00 pm is doubtful.)

As to the Facebook/Twitter voting itself, there are rules regarding that. Basically, you can vote once per day per voting method except for the New Artist Award voting, in which you can vote one hundred times per day per voting method. And there's another limitation.

Any resident of the fifty (50) United States (and District of Columbia) may vote online. For Twitter voting, votes will be accepted worldwide. You must have a Facebook account to vote online and a Twitter account to vote via Twitter.

Notice that Facebook voting from Puerto Rico is prohibited. Is that the reason why Ricky Martin didn't win an AMA in 2015?

But there is always a chance of election fraud. What if I use my multiple Twitter accounts to vote Jim Stafford in? More importantly, what if the Russians try to influence THIS election? Hey, I like Lena Katina, but I don't know that the rest of the United States does. In this case, the people running the awards have given themselves an out.

For all practical purposes, what does this mean - especially when you consider that some fraudulent activity probably occurred in the first hour of voting? (For example, Amanda Bynes - remember her? - could potentially vote from two separate Twitter accounts.) In essence, this means that the AMA producers have legal free rein to select the winners in any way possible after the expected fraud occurs.

They could even consult with old white men with extensive Jethro Tull record collections.

Tuesday, August 30, 2016

Speaking of "chilling," how about the Twitter account for the dead guy?

I believe that it is possible to separate the consideration of Michael Jackson's music, Michael Jackson's personal life, and Michael Jackson's business affairs.

This post concentrates on the latter.

During Jackson's life, it was essential that Jackson be portrayed as dominant - "the King of Pop." Albums, singles, concerts, humanitarian efforts - all were portrayed as hugely successful with strings of superlatives.

Well, luckily all of that ended with his death, right?

Yes, The Gloved One has a Twitter account.

A verified Twitter account.

And if you look closely at the account, you will see that it was established in July 2009.

Jackson died on June 25, 2009 (I remember; I was flying back from a conference in Atlantic City, and all of the TVs in Hartsfield Atlanta airport were talking about his death.)

So this verified account was not created until JUST AFTER HE DIED.

But if you scan the tweets from the account, you'd think he never left us. One example:

“It makes me so happy to be able to brighten those kids’ days by just showing up and talking with them...” –MJ

That particular tweet received over 1,300 retweets over 3,800 likes, and numerous replies regarding how much people love Michael, and how much people miss Michael.

If Jackson's former father-in-law is truly still alive like the tabloids claim, then he must be really jealous. Sure, Elvis had his devoted fans, but nothing like this. Plus, Michael earned twice as much in 2015 as Elvis did. (Sorry, Bob Marley.)

Wednesday, August 24, 2016

A chilling remix of "Rock Me Amadeus"

I am surprised that I haven't posted this before, but here goes.

In the early and mid 1980s, an Austrian rock singer named Falco achieved trans-Atlantic fame with a song called "Rock Me Amadeus." However, because Falco sang in German and stuff, and Americans are afraid of foreign languages, a special remix was released here that minimized the German verses, retained the English "Rock me Amadeus" chorus, and added a spoken word intro with important dates in Mozart's life.

From my perspective, Falco pretty much disappeared after the mid-1980s, although I remember viewing a weird video for a song named "Jeanny."

A decade later, Falco was involved in a fatal automobile crash after ingesting various substances.

Roughly a decade after that, a new remix of "Rock Me Amadeus" was released. It had a few differences from the original.

First, the song included a series of biographical dates, but the dates corresponded to the life of Falco, not Mozart.

Second, the song included references to other Falco songs - more on that in a minute.

Third, the biographical dates continue long beyond the shouted "Rock Me Amadeus" - until we reach the mid-1990s where "fame is now a distant memory."

Then we arrive at February 6, 1998, and the events of that day are narrated, along with automobile/truck sounds.

The song then includes a "News Flash," but not the news flash from "Jeanny."

Perhaps it's best if you listen. Those familiar with Falco's career will appreciate the way this was put together.

Philip Hubbard's video is good too.

Tuesday, August 16, 2016

The lyrics for the Shadows instrumental "F.B.I."

Yes, there are lyrics to the Shadows (as in Cliff Richard and the Shadows without Cliff Richard) instrumental song "F.B.I." Allow me to explain.

In the early 1980s, my dorm neighbor was a Greek named Alexandros. Because it was the early 1980s, Alexandros brought a vinyl record with him from Greece; the soundtrack for the film "Lemon Popsicle." (Years later, I discovered that "Lemon Popsicle" was not a Greek film, but an Israeli film.) Because the film was set in the 1950s, the soundtrack consisted of a number of pre-Beatlemania hits, including the aforementioned Shadows song "F.B.I."

Obviously the Shadows had legs and knew how to use them.

But more important than their choreography was their sound. Lead guitarist Hank Marvin in particular is noted as an influential figure in British music - he reputedly introduced the Fender Stratocaster to England - and other English musicians recognized their importance, if we Americans didn't. When Paul McCartney released his video for "Coming Up," I had no idea that the guy in the glasses was NOT supposed to be Buddy Holly.

Anyway, let's go back to the college dorm environment, when you're thrown together with a bunch of people and your Greek neighbor was playing his album ALL THE TIME. Eventually I wrote lyrics to the instrumental:

I am in the F.B.I.
Five o'clock, I'm gonna die.
Gonna get shot down by a Greek from out of town
And the flag of Thessaloniki will fly over the flag of F.B.I.
(Gonna die)

So that's how an instrumental got lyrics. But I'm not gonna try to write lyrics for "Hocus Pocus."

POSTSCRIPT: Some versions of the "Lemon Popsicle" soundtrack are mislabeled. I know that Alexandros' version had an inaccuracy, which can also be found in the Japanese version of the soundtrack.

Check track A10. Yes, the Big Bopper (who died with the guy who looked like Hank Marvin) did sing "Chantilly Lace" - after all, he wrote it. But the version on the soundtrack album includes the singer saying "you know what Jerry Lee likes." I don't know if Jerry Lee Lewis is on all versions of the soundtrack and the soundtrack people goofed, or if he is on some versions and the Big Bopper is on others.

Wednesday, August 3, 2016

(from Empoprise-BI) You are not a customer, August 2016 edition (Pandora, Peter Deacon, and Michigan's Video Rental Privacy Act)


I have made a certain point ad nauseum. If you are a user of a service that provides wonderful things to you, then you are probably not a "customer" of the service provider.

Back before Google became Alphabet, its investor website contained the following question:

Who are our customers?

Think of all the services that pre-Alphabet Google provided - search capability, video watching, blogging, et al.

Now forget about all of them.

Our customers are over one million of advertisers, from small businesses targeting local customers to many of the world's largest global enterprises, who use Google AdWords to reach millions of users around the world.

Perhaps things have changed a bit with the creation of Alphabet, but for the most part, Alphabet exists to serve advertisers. The people using Alphabet services are merely providing data and eyeballs.

Which brings us to Michigan's Video Rental Privacy Act. Going back a decade or two to the time when videotapes were popular, people would go to a video store, choose a video tape to rent, pay some money, take it home, watch it, BE KIND REWIND, and return the tape. This worried privacy advocates, who were afraid that someone's recorded rentals of hot sex action and/or Pauly Shore movies would be revealed to the public. Hence, the Video Rental Privacy Act was born.

Peter Deacon, Pandora user, was subsequently disturbed at what Pandora was doing:

Plaintiff Peter Deacon brought a class action in the United States District Court for the Northern District of California against Pandora, claiming that the music-streaming company violated Michigan’s video privacy law by posting his music preferences on Facebook and making his preferences available via an internet search.

As far as Deacon was concerned, Pandora's sharing of this information with Facebook was a privacy violation. I don't know whether Facebook revealed that Deacon loved Morris Albert's "Feelings," the collected works of Britney Spears, or what. But Deacon felt that the Michigan Video Rental Privacy Act would protect him.

It wouldn't.

In a unanimous decision, the seven members of the Michigan court held that Deacon was not a “customer” under the VRPA because he neither rented nor borrowed anything from Pandora. The act is “intended to preserve personal privacy with respect to the purchase, rental, or borrowing of certain materials,” and prohibits the release of any information that indicates the identity of a customer. Accordingly, only customers can sue under the act. A customer is “a person who purchases, rents, or borrows a book or other written material, or a sound recording, or a video recording.”

Now perhaps this is a case in which the law has not caught up with technology. Or perhaps not. But regardless of how we may feel today, current law assumes that the sound recording was purchased, rented, or borrowed.

Would the legalities have changed if Deacon was paying for his Pandora service? That I do not know.

P.S. My music listening habits are revealed for all to see. And yes, you can find Wham! in the list.