from Michael Thorner / Added

    526 Plays / / 0 Comments

    Bryan Adams may have gone international with his Reckless album from 1985, but it was his 1983 album Cuts Like A Knife that felt like a greatest hits album, given the majority of the songs all got airplay on Sarnia, Ontario radio stations. I was driving a 1975 Blue Pinto the year the album came out. You know the ones: 20/20 on ABC had done an exposé on the dangers of rear-ending the car. They apparently blow up real good. Inside this explosion waiting to happen, I was lucky enough to inherit a great, upgraded sound system, with a state-of-the-art cassette player. Ah yes, the hiss and warmth of analogue. I can actually recall seeing an advertisement for Bryan Adams concert in 1981 at The Happy Valley pub, when he was touring The You Want It You Got It album (Fits Ya Good, Coming Home), but being underage and not being able to go. The Best Was Yet To Come is the final track of the album, and was the final single to be released to radio. It's always been my favourite Bryan Adams and Jim Vallance collaboration. I love its spare arrangement. Deep music heads tend to poo-poo artists like Bryan Adams, Phil Collins and Sting because their work comes across as too accessible or manufactured for universal appeal. I see nothing wrong in creating a song that gets as many ears listening as possible. Bryan Adams has had a massive career. Still, the Cuts Like A Knife album is the one I return to, because in many respects it's a blueprint for all he would accomplish throughout his career. That, and nostalgia does have its pull and tug. Bryan Adams and Foreigner's Lou Gramm (who sings back-up on a lot of tracks on Cuts Like A Knife) were born to sing together. For more of my ramblings, follow me on Twitter! www.twitter.com/michaelthorner

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    • "The Contradictions of Afrocubanismo Nationalism," by Robin Moore


      from Cuban Heritage Collection / Added

      209 Plays / / 0 Comments

      Lecture given at the Robert C. Goizueta Pavilion on November 22, 2010. This presentation provides an overview of the afrocubanismo movement, a pan-artistic phenomenon in the 1920s and 1930s, similar to the Harlem Renaissance. Dr. Moore explores the fundamentally ambivalent attitudes about Afro-Cuban culture associated with the period, and the ways in which composers created highly stylized and often stereotyped representations of working-class Afro-Cuban music for circulation in the concert hall and commercial marketplace. Dr. Robin Moore is Professor of Ethnomusicology at the University of Texas at Austin. He is the author of Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana, 1920–1940 (University of Pittsburgh Press, 1997) and Music of the Hispanic Caribbean (Oxford Press, 2010). He is currently editor of the Latin American Music Review. Sponsored by the Department of Musicology of the Frost School of Music, the Cuban Heritage Collection of the University of Miami Libraries, the Institute for Cuban and Cuban-American Studies, and the Center for Latin American Studies.

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        from Michael Thorner / Added

        71 Plays / / 0 Comments

        The ehMTee Show Original Webcast Soundtrack is now available on iTunes: https://itunes.apple.com/us/album/the-ehmtee-show/id695329284 The ehMTee Show is a homegrown, cross-platform variety program of songs and light comedy, featuring Michael Thorner and the Must We Wait Forever Band, singer/songwriter and Tomlab/Blocks Recording Club/Tin Angel recording artist Mantler (AKA Marker Starling), as well as Gemini-award winning writer Paul Bellini (The Hour Has 22 Minutes, Kids In The Hall, FAB Magazine) and comedian Scott Thompson (Kids In The Hall, The Larry Sanders Show, Hannibal), performing together for the first time in 12 years! In this excerpt, I play an original song, I Don't Wanna Go Outside Tonight, with the help of Warren Phillips on guitar. The entire show is in the midst of being edited and remixed for release. Stay tuned! This show was presented as part of the Home Theater Festival: http://philiphuangpresents.blogspot.com - - - - - I DON'T WANNA GO OUTSIDE TONIGHT © 2011 Must We Wait Forever Music I DON'T WANNA GO OUTSIDE TONIGHT, NO I DON'T WANNA GO OUTSIDE TONIGHT LET'S JUST STAY IN OUR BED AND FLOAT AWAY IN THE NIGHT JUST STAY EVERYTHING WILL BE ALRIGHT COME BACK TO BED DARLIN' COME REST YOUR HEAD AND WE'LL PLAN PLAN FOR OUR DAY TOMORROW NO REST FOR THE WEARY WE'LL BORROW THE CAR AND GO DRIVING NEAR AND FAR BUT FOR NOW LET'S STAY WHERE WE ARE THE CLOUDS ARE FORMING OUTSIDE IT DOESN'T LOOK INVITING I DON'T WANNA GO OUTSIDE TONIGHT, NO I DON'T WANNA GO OUTSIDE TONIGHT LET'S JUST STAY IN OUR BED AND RIDE AWAY IN THE NIGHT RIGHT HERE EVERYTHING WILL BE ALRIGHT THIS MOMENT IS OURS LET'S NOT SPOIL THINGS LET THE STARS FILL THE VOID IN OUR RESERVOIRS CLOUDS ARE FORMING OUTSIDE LET'S KEEP OUR LOVE EXCITING I DON'T WANNA GO OUTSIDE TONIGHT, NO I DON'T WANNA GO OUTSIDE TONIGHT LET'S JUST REST FROM OUR DAY AND WE'LL JUST SPOON IN THE NIGHT IN DREAMS EVERYTHING WILL BE ALRIGHT - - - - - For more of my ramblings, follow us on Twitter! http://www.twitter.com/theehmteeshow http://www.twitter.com/michaelthorner

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        • THE FOOL ON THE HILL ( BEATLES COVER ) 09.09.09


          from Michael Thorner / Added

          1,437 Plays / / 0 Comments

          I wanted to record a cover of a Beatles song to commemorate the re-re-release of their entire catalogue, remastered. I've already purchased it all twice. We're in a recession. I can't buy it again just yet. (In stereo and mono no less!) But make no mistake, I am a fan. A huge one. Great chord changes, sensational melody, this song is a masterwork, McCartney in top form. Two of my friends suffered disasters today. My friend, professional photographer Maloney Aguirre lost pretty much all his belongings today in an apartment fire, including all his photography equipment. Thankfully, he is safe and alive. My other friend, editor and musician Kirk Hudson had his house flooded due to a city waterworks accident. I just finished moving thousands of books, cds, graphic novels, magazines, and cds from the space with he and his wife Susana. It's just things. People and spirit are what counts. But I will never forget "number nine, number nine, number nine" as long as I live. I hope you enjoy my version of this classic. It certainly came from the heart, and I dedicate it to Maloney and to Kirk and his wife Susana. And thanks Beatles. I'll buy those gorgeous new box sets when I can. As if I wouldn't. I'm niche market! :-) And I don't really think the world's going down. I just goofed the last line, that's all. Memorize lyrics Mike! Memorize! The camera was acting up, so the video's a bit fuzzy. So am I. For more of my ramblings, follow me on Twitter! www.twitter.com/michaelthorner

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          • The Other Semiotic Legacy of Charles Sanders Peirce: Ethology and Music-related Emotion


            from David Huron / Added

            182 Plays / / 0 Comments

            Keynote presentation by David Huron for the 12th International Congress on Musical Semiotics. Brussels, Belgium, April 2, 2013. Ethological concepts inspire a novel approach to understanding music-related emotion.

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            • The postgraduate experience


              from Cardiff School of Music / Added

              145 Plays / / 0 Comments

              Dr Sarah Hill, a native of California, discusses her experiences at Cardiff University as an international postgraduate student.

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              • The Rhetoric of Science


                from David Huron / Added

                83 Plays / / 0 Comments

                Science is a form of story-telling, but it draws on the most powerful of all rhetorical devices -- prophecy. Science is a narrative activity conducted by a community of scholars who hold each other to a methodological commitment to making and testing predictions. The rhetoric of science is the rhetoric of prophecy.

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                • The Roots of Rock 'n' Roll


                  from Unified Field / Added

                  202 Plays / / 0 Comments

                  We connect the blues to rock 'n' roll by drawing lines between legendary blues musicians and the rock and roll artists they influenced. One can trace how the birth of the blues infused the music and the style of countless rock musicians. Visitors see the strong beat of the blues style appear in the music of early rockers such as Elvis, and is further acknowledged by stars like Eric Clapton and the Rolling Stones. In addition to the musical story, we present an interesting historical and social commentary of racial boundaries and class differences in America throughout this musical passage. Visitors listen to music selections, tracing influences, comparing originals and remakes, and following the messages and the spirit that continue to live in both the Blues and in Rock and Roll.

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                  • the Vanishing Tribes of Borneo PT 1


                    from David Perdew Taku media / Added

                    353 Plays / / 0 Comments

                    ethnographic documentary shot in 1985 in the highlands of Borneo along the Baram River. Traditional look at the Kenyahs rice harvesting and pass cultural assimilation, Animistic beliefs in relation to Headhunting The soundtrack is traditional music played by the Kenyah and Penan Tribes,These recordings are from a year long Ethnomusicology study along the Baram River Sarawak Malaysia With over 8 hours of recordings 200 pages of documentation and hundreds of photographs documenting traditional life, This expedition was successfully able to preserve this material with the museum in Sarawak and the Anthropology museum of Berlin This Film was shot in super 8 and the recordings were done on a Nagra real to real

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                    • (THEY LONG TO BE) CLOSE TO YOU ( CARPENTERS , BACHARACH / DAVID COVER ) 10.10.09


                      from Michael Thorner / Added

                      333 Plays / / 0 Comments

                      Of course I grew up with the Carpenters on AM radio. This song was played every day throughout the 1970s, practically. It's funny, when I was growing up, whenever this song came on the radio, inevitably the people around me would join in to sing the "ahhhs" at the end. What a hook. I learned much later, when I bought the Burt Bacharach box set about a decade back, that it was written by Burt and Hal David much earlier, in 1963, for Richard Chamberlain. It had been recorded several times throughout the 60s, but it was the Carpenters/Herb Alpert production in 1970 that was the hit, and it was their version that won the Grammy in 1971. Even stripped down without all the vocal harmonies, it's a great song. It has great chords, a great melody, and a deliciously cheesy lyric. I'm complimenting Mr. David by saying that. I mean it in the best way. Hal David was one of the greatest lyricists in pop history. His contribution to the Bacharach/David partnership can not be over-stated. He was every bit the craftsperson that Burt Bacharach was, and deserves as many of the accolades and recognition as Bacharach has received over the years. As for Karen Carpenter, one could argue that her voice was even butterier than Barbra Streisand's. I just made that word up. "Butterier." In March 1998, through legendary bassist Carol Kaye, I was lucky enough to meet Hal Blaine, the world's most-recorded session drummer in pop history. (Something like 35,000 recording dates over a four or five decade career!) He played on most of the Carpenters' hits, and was an important part of their sound. Just this past week (10.10.09) I heard Harry Connick Jr.'s version of this song, from his 24th album, a collection of covers, called Your Songs. He has the orchestra at Capitol Records working for him, so of course it's a good version. ;-P And when are they going to re-release on dvd that Bacharach/Streisand special from the early 70s? I also did a cover a few months ago of another Bacharach/David composition: This Guy's In Love With You, which you can watch here: http://www.youtube.com/watch?v=yNCZFb0RnPM For more of my ramblings, follow me on Twitter! http://www.twitter.com/michaelthorner

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