#free improv jazz berlin | Explore Tumblr Posts and Blogs

girlactionfigure · 4 years

Photo

Last of the Red Hot Mamas

The Queen of Jazz

Sophie Tucker was a singer and comedienne whose powerful voice and brassy wit delighted audiences for over six decades.

Sophie’s Jewish parents had to escape from Russia in 1886 after her father had deserted the Russian military, and she was born on the boat to America. The family settled in Hartford, Connecticut where they ran a kosher boarding house and restaurant. Sophie and her three siblings worked hard in the family business, waking up at 3 am every day to peel and chop vegetables before school. After Sophie got home she waited tables and washed dishes.

From almost the moment of birth, Sophie had a huge and magnetic personality. She was confident, sassy, and uninhibited. Jewish vaudeville stars often stayed at her family’s boarding house and she was fascinated by them and their lives. She always knew she was destined for a life in show business. Her parents absolutely forbade her to join the paskudnyaks (rascals) who stayed at their rooming house. Sophie still found a way to perform – she started singing for their guests as she served them. “I would stand up in the narrow space by the door and sing with all the drama I could put into it. At the end of the last chorus, between me and the onions there wasn’t a dry eye in the place.”

Desperate to leave home, she eloped in 1903 with local beer truck driver Louis Tuck. When they returned, her parents organized a traditional Orthodox wedding for them. They had a son, Burt, in 1906, and lived with her family, where she was back to her old role of cooking, cleaning, and serving customers. Meanwhile a frequent guest was Willie Howard, a popular vaudeville comedian and the first to use openly Jewish content in his act. He was impressed by Sophie’s natural talent as an entertainer, and he urged her to move to New York and break into show business. Sophie’s husband Louis did not share her enthusiasm for the stage and after she told him she wanted to move to New York, he took off. Soon, Sophie left Burt with her family, telling them she was going to New Haven for a short vacation. Instead, she moved to New York and never returned. She was 19 years old. Burt was raised by Sophie’s family, and Sophie kept in frequent contact with them over the years.

Sophie arrived in New York with a letter of introduction to a famous composer from Willie Howard, but the composer wasn’t impressed by her singing. She was quickly able to find work singing at coffeehouses and saloons. At the German Village, a popular beer garden, she sang 50-100 songs a night for $15 a week. She was such a hit that she was soon making over $150 a week in pay and tips.

Sophie was generous with her money. She sent most of what she made to her family, and lived in a shabby boarding house where the other residents were prostitutes. A nice Jewish girl from Hartford, Sophie had never encountered this type of woman before, but she wasted no time making friends with her neighbors, and started a longtime practice of giving free women-only concerts in bordellos. Sophie shared her money and belongings with the call girls, and hid the money they made from their pimps. She later said, “Every one of them supported a family back home, or a child somewhere.”

At the time, $150/week was an impressive salary for a single woman, but it wasn’t enough for Sophie, who wanted to get out of the restaurant business once and for all and make it big in vaudeville. She got her first break in 1907: a chance to audition for impresario Chris Brown’s Amateur Night. After her audition she overheard Brown say, “This one’s so big and ugly, the crowd out front will razz her. Better get some cork and black her up.” He told Sophie that she passed the audition and would be featured in the show. However, she had to do it in blackface. Sophie was aghast at the suggestion, but Brown and the other producers insisted that her only chance for a career in show business was in blackface. She agreed to do it.

Sophie’s first vaudeville gig was at Tony Pastor’s on the Bowery where she was booked for a pre-show before the matinee. When she took the stage, the theater was empty. She started singing, but as people entered the room they completely ignored her, chatting noisily as they awaited the main event. She suddenly stopped the show, and started berating the audience for being so rude to her. Sophie had what Jews call chutzpah – audacious self-confidence – and she displayed so much humor and spirit that the audience fell in love with her. Nobody made a peep for the rest of the show, and they demanded three encores.

She was booked onto the New England Vaudeville circuit to sing African-American spirituals, and got rave reviews everywhere she went. It wasn’t just her big voice audiences loved, it was also her big personality, her confident swagger combined with self-deprecating humor. Sophie had a sharp wit and a voice that didn’t need a microphone to fill a room.

Audiences adored Sophie’s minstrel act, but she hated performing in blackface. Finally, at a performance in Boston, she’d had enough. She told the producer that her blackface makeup and costume were lost in transit, and before he could argue she marched onstage as herself. She told the shocked audience, “You-all can see I’m a white girl. Well, I’ll tell you something more: I’m not Southern. I’m a Jewish girl and I just learned this Southern accent doing a blackface act. And now, Mr. Leader, please play my song.” She never performed in blackface again.

Some of Sophie’s songs were bawdy, filled with innuendo and double entendre, while others were sentimental. Her most popular songs included “Some of These Days” and the Jewish favorite, “My Yiddishe Mama.” Initially Sophie only performed “Yiddishe Mama” in front of mostly Jewish audiences since much of the song was in Yiddish, but she soon found that all audiences loved the song. Even if they didn’t understand all of the words, they could appreciate her heartful singing about her devoted mother.

Sophie did a European tour in the 1920’s which was a huge success. When she arrived in England in 1922, she was greeted by fans with a huge sign reading “Welcome Sophie Tucker, America’s Foremost Jewish Actress!” Looking back at her career later in life, she described that sign as her proudest moment. Sophie performed for King George V and Queen Mary at the London Palladium in 1926. She greeted the monarch with a hearty “Hiya King!” The Daily Express described Sophie as “a big fat blond genius, with a dynamic personality and amazing vitality.” Yiddishe Mama became an international hit, and she was asked to perform the song in Berlin by the Berlin Broadcasting Company in 1931. Two years later, when Hitler came to power in 1933, all copies of the recording were destroyed.

Comedy writer Bruce Vilanch saw Sophie Tucker perform when he was a child. He remembered, “She’d make you laugh like crazy. She would belt. She still could blow the roof off the joint. Then she would do something incredibly schmaltzy, she would turn on a dime and make the audience weep… As soon as you were done crying, she would turn around and do some bawdy song… Everything she said was with the force of a judge making a sentence. She didn’t speak, she made policy statements.”

Throughout her career, Sophie chose songs mostly written by black and Jewish songwriters from Tin Pan Alley, including young Irving Berlin. She was close friends with her fellow Vaudeville performer Bill Robinson, known as Bojangles. When Sophie invited Bill to her sister’s wedding in the 1920’s, the doorman wouldn’t let him in, telling him to go through the kitchen. Sophie heard this and immediately pushed the doorman out of the way, closed the front door, and told the guests, “OK everybody goes through the kitchen.”

Despite her act’s raciness, she said “I’ve never sung a single song in my whole life on purpose to shock anyone. My ‘hot numbers’ are all, if you will notice, written about something that is real in the lives of millions of people.” Her songs included, “I May Be Getting Older Every Day (But Younger Every Night),” “I’m The Last of the Red-Hot Mamas,” “I Ain’t Takin’ Orders From No One,” and “When They Start to Ration my Passion, It’s Gonna Be Tough on Me.” She often made fun of her size, calling herself a “perfect 48.”

She kept improving her act, and after a decade as a solo performer, she created a back-up band of black jazz musicians called the “Kings of Syncopation.” They recorded several albums together, all of which were hits, and toured the country playing to enthusiastic crowds. In Chicago they played 15 weeks at the Palace and then at every other theater in town. Crooner Tony Bennett called Sophie “the most underrated jazz singer that ever lived.”

After a few years as the self-styled “Queen of Jazz,” Sophie re-imagined herself again, as a cabaret performer, accompanied by piano player Ted Shapiro. He became part of her act as they developed a snappy banter. Over the years she did some film, radio and TV work but what she loved most was interacting with a live audience.

Sophie married two more times, but neither husband liked being “Mr. Sophie Tucker” and both marriages failed. She said, “Once you start carrying your own suitcase, paying your own bills, running your own show, you’ve done something to yourself that makes you one of those women men like to call ‘a pal’ and “a good sport,’ the kind of woman they tell their troubles to. But you’ve cut yourself off from the orchids and the diamond bracelets, except those you buy yourself.” Throughout her life, Sophie was known for her generosity, and she gave away much of what she made to a variety of philanthropic causes. She established the Sophie Tucker Foundation in the early 1950’s, and endowed hospitals, synagogues, actors guilds, and several charitable organizations in Israel.

Sophie continued performing until the end of her life, even after getting lung cancer. While undergoing treatment she was still doing two shows a night. Sophie died at age 80 in 1966, during a months-long theater engagement. As she lay on her death bed, she asked the nurse to “bring me my chiffon hanky, bring me my wig” and she did bits from her act until she took her last breath. Thousands of mourners attended her funeral at Emanuel Synagogue Cemetery in Wethersfield, Connecticut. Known as the “Last of the Red-Hot Mamas,” Sophie’s act inspired later female performers such as Mae West and Bette Midler.

For entertaining audiences around the world for sixty years and giving generously to others, we honor Sophie Tucker as this week’s Thursday Hero.

Accidental Talmudist

29 notes · View notes

thesunlounge · 4 years

Text

Reviews 361: R_R_ (Reinis Ramans)

Very few things in music make me happier than when Growing Bin goes ambient, and the newest exploration of horizontal stylings released on the label–the Train of Thought LP by R_R_–is truly something special. R_R_, short for Reinis Ramans, is an alias of Reinis Semēvics, a multi-faceted artist, composer, and lecturer based in Riga, Latvia and working in music, soundtrack, and radio. As described by Patrick Ryder in the press note for the LP, and as suggested by the soothing liquid visage on the front cover, Train of Thought is “inspired by the rhythmic movement of water and how its rippled reflections bend our perception”–and the album sees a wide range of field recordings, samples, acoustic instruments, and synthesizers combining for a sonic experience that is as meditative as it is beguiling. Water, as a thematic centerpiece, is heard in many forms...sometimes cleansing and pure, other times corrosive and blended with noxious chemicals…and birds and insects sing while the sounds of seaside cities filter into the stereo field. Synthesizers, orchestral samples, and otherworldly electronics morph and mutate between billowing clouds of subsonic smoke, spaceage cascades of radiant tropicalia, progressive electronic and new age sequencer studies, and droning choral incantations while pianos and digitized mallet instruments alight on polychromatic dream explorations. Elsewhere, bouncing basslines, IDM drum fx, and hand percussions coalesce to sweep the body towards alien island paradises and at certain crucial moments, four-four kick drums emerge to lead muted and vaporous expanses of oceanic deep house. As well, the entire album is artfully arranged and segued, with the individual compositions seamlessly flowing into and out of one another, creating the effect of a delirium hallucination.

R_R_ - Train of Thought (Growing Bin Records, 2020) Synthesized dream sonics descend over effected wave crashes at the start of “Entering,” with the sonics evoking mirage-like visions of leaves falling from trees. The melodic temperament of the track soon changes however, as the feathery pad descents are replaced by pooling clouds of black smoke and boat engine drones, with a vibe not unlike the murky ambiance of II by Wilson & Tanner. The immersive and softly caustic waves of sound grow ever denser as smoldering bass currents swirl slowly…their sounds evoking the mutated arias of an extra-terrestrial druid choir while scraped metals and abstracted clacks fill the air. As the track progresses, the mind wanders along desolate beaches adjacent to abandoned industrial factories, as sea-horns blow from unseen sources and air brakes releasing at nearby bustops. The inky hazes of unsettled ambiance hovering above the horizon eventually fade away and at some point, all sense of melody or tonality disappears, leaving behind the sounds of a decaying seaside city and a thick, soul-swallowing buzz. And as the track ends, post-classical angel breaths are carried on fluttering echowaves, crickets sing their chirping serenades, and the field recordings of lapping water return, only this time free of fx, with a sound clean and pure. The heavenly organ-esque tones of “Opposite” are birthed from this liquid soundworld. Chiming pads intertwine with sleepy-eyed keyboard phrases to bring atmospheres of a cosmic lullaby and hypnagogic bass pulsations float the body and spirit while treble frequencies shimmer at the edges of the mix...like myriad insect wings vibrating in anticipation. Dreamscape synth leads mimic the refractions of sunlight on a rippling ocean surface and after a sudden fade to silence, phased and flanged reveries of post-classical romance swim around each other, resulting in a glorious sunrise ritual blurred by layers of alien filtering, wherein shadowy formations reference previously heard progressions.

Field recordings of water and insects are slowly brought into focus at the end of “Opposite,” from which emerge the lulling arps of “Luminosity”…like fantasy sequences of kankyō-ongaku-inspired innocence. Cymbals tap out breezy rhythms and FM-synth star clusters descend from the night sky as gently physical tom tom rhythms give the horizontal groove a soft tribal pulse. Bleary synth arpeggiations continue their sleep-inducing dance and at some point, the rhythms cut away, leaving bass notes to pound like currents of heavy air. Wailing streaks of muted brass synthesis work into the mix alongside vaporous rhythmic accents and as further melodic cascades fall onto the mix, they bring with them drunken dream energies and whooshing celestial winds. The barely-there rhythms are given further hypnotic momentum by soft shaker murmurations and certain drum hits fly out through liquid dub fx chains. Phase-shifting wisps of fragile keyboard magic blow in from the edge of the mix, chill-out tracers and minimalist synth cycles dance joyously overhead, and galactic chimes swim through star oceans as rimshots work against the rhythmic flow, though the effect is brief and the track eventually breaks apart. Segueing into “Opening Up (Improv Take),” echo fx comprised of either birdsong or drum detritus move backwards in time, with manic repetitions obscuring Ramans’ REM-cycle piano explorations. Eventually, the clicking delay tracers recede, leaving glowing piano incantations to work through clouds of sustain pedal resonance, which overlap to create slowly moving vortices of ivory ambiance. And increasingly these tales of piano sustain and decay are caught through delay and reverb machines, which morph the sounds towards aquaeous fogbanks and deep sea cloudforms even as the playing grows ever more intense and accelerated, with runs of joyous abandon struggling to be heard within a droning maelstrom.

A fade to near silence introduces “Deleting Doubts,” wherein the pianos of the preceding track briefly re-emerge, with clustered notes generating clouds of deep sea ambiance. A Berlin school sequence diffuses in while asymmetrical delay fx move in counterpoint, resulting in a dance of psychoacoustic splendor. A four-four kick enters alongside emotional bass slides and the whole thing evokes into a sort of hyperventilating slice of Yume Bitsu-style post rock, with dub fx ricocheting across the mix and further sequential synth patterns entering to harmonize with the percolating kosmische electronics. Gentle hisses and glitches intermingle with birdsong and isolated three note piano melodies beam in from an entirely different song while woodblocks and rimshots bounce around the mix. And as sequences fade through echo chambers while sonars ping across the sky, huge roaring swells wash the mix clean, until all the remains is birdsong. “Melodic Harmony” begins the B-side, with further birdsong samples being quickly disturbed by unsettling liquid gurgles and extra-terrestrial laser whistles. White noise atmospheres flow over emotional basslines while IDM electronics flash cross the mind and as the track progresses, the vibe grows increasingly tropical even as it pushes towards alien landscapes, with a sound not unlike the work of X.Y.R, especially on Big Chill. At some point, equatorial chords drop, bringing with them soothing balearic vibrations and a sense of seaside warmth, which is only enhanced as metalloid taps form into a hypnotizing horizontal groove…the effect like watching a cinematic sunset on some faraway exo-planet, where the horizon explodes in colors never before imagined. During an ambient breakdown, birds sing again over hovering solar wavefronts and braindance cymbal FX, out of which emerges a completely transcendent passage, wherein instruments evoking a marimbas made of human breath executes minimalist fairy dream dances in the style of The Swan and The Lake. And effortlessly, the strangely swaying island life groove resumes around the angelic idiophones and now features muted brass fanfares reaching towards a sunburst sky.

In “New Wind,” a choir sitting at the center of existence blows out waves of blackened radiance, through which swim psychotropic laser clusters. Angelic hazes diffuse through the darkness, bird chirps echo, and cooing brass synths bring rays of warming light as a four-four beat and bassline pulse through the shadows. Further beings from celestial skies breath wordless melodies and echoing toms beat in tribal anticipation while hi-hats shimmer before resolving into focus, with everything coming together like the lunar ocean new age and rainforest club experiments of Sign Libra. Imagine a dance party on the seafloor, only as if heard thousands of feet away on the water’s surface, with throbbing and blurry rhythms causing the heady and body to fully zone out. We move from open water to the seashore in “Step by Step,” as effected waves crash and crystalline keyboards dance in a spirit of tropical effervescence. Blurred piano chords land like gemstones as they anchor a developing groove, which is constructed from the ritualist pitter patter of hand drums and tom toms. Leads awash in vibes of new age and coastal jazz sparkle like diamonds in the sunlight, alternately descending down infinite scales or alighting on understated solo explorations. Melodic bubble cascades glow in hues of ruby, sapphire, and emerald and are given further shape by a smacked snare, which imbues the track with a sort of dubwise riddim flow, one bringing evocations of Gaussian Curve’s balearic bliss outs and the Growing Bin classic Overworld by A.r.t. Wilson. Synthesized FM sequences join the island sway as the melodic and rhythmic begin to blur, with additional ceremonial drum layers joining in and seagulls crying overhead. And the track seems to space out as it proceeds, growing airier and landing increasingly like a dream…like a tropical paradise only remembered, with the mental visage blurring around the edges as the mind flits between scenes both real and imagined. As for “Outro,” whooshing waves and descending dream energies are joined by swells of ethereal string synthesis…as if an eternal orchestra of ocean and sky is bidding the listen farewell.

(images from my personal copy)

1 note · View note

rapturerecords · 6 years

Photo

Let us begin again ringing in the New Year here in Rapture. Here’s a little tribute based off Johnny Dombrowski’s marvelous illustration though with a slightly older Wurlitzer model instead. Those new Bubbler jukeboxes always seem to jam and play only a few seconds of a song.

As always, we’ll take this time to remember Patti Page, singer of “Doggie in the Window” who also passed away on New Year’s Day.

We’re celebrating another 10th anniversary of a sister game this year with Fallout 3 and a new set of sounds wafting in from Appalachia.

See if your favorite record, 8-track, cassette, or wax cylinder was featured this year:

BioShock

"Bei Mir Bist du Schön" - Andrews Sisters - Decca Records 1562

"Bei Mir Bist du Schön" - Andrews Sisters - Decca Records 23605 (reissue)

"It's Bad for Me" - Rosemary Clooney and Benny Goodman - Columbia Records 40616

"Papa Loves Mambo" - Perry Como - RCA Victor Records 20-5857

"20th Century Blues" - Noël Coward - Columbia Records ML 5163

"The Party's Over Now" (1959) - Noël Coward - Columbia Records ML 5163

"Wrap Your Troubles in Dreams" - Bing Crosby - Victor Records 22701

"Beyond the Sea" - Bobby Darin - ATCO Records 45-6158

"Night and Day" - Billie Holiday - Columbia Records 3044 (reissue)

“The Best Things in Life are Free” - Ink Spots - Decca Records 24327

"If I Didn't Care" - Ink Spots - Decca Records 2286

"Danny Boy" - Mario Lanza - The Magic of Mario Lanza - Heartland Music HL 1046/50

“Danny Boy” anniversary revisit 2015 “Danny Boy” anniversary revisit 2016 “Danny Boy” anniversary revisit 2017

“(How Much is That) Doggie in the Window” (1966) - Patti Page - Columbia Records CS 9326 (in-game version)

"The Doggie in the Window" (1953) - Patti Page - Mercury Records 70070 (original version)

"You're the Top" (1934) - Cole Porter - Victor Records 24766 (original version)

"La Mer" - Django Reinhardt and Stéphane Grappelli - Djangology RCA RGP-1186 (reissue)

Cohen’s Quadtych: “Academy Award” vs. “The Ballroom Waltz”

"Academy Award" - Stanley Black - Music De Wolfe DW/LP 2977

“Too Young” - Nat King Cole - Capitol Records 1449

"Just Walking in the Rain" - Johnnie Ray - Columbia Records 40729

"Waltz of the Flowers"

Looking for BioShock’s Django Reinhardt

BioShock 2

"Ten Cents a Dance" - Ruth Etting - Columbia Records 2146D

"Dawn of a New Day" - Horace Heidt and his Musical Knights - Brunswick Records 8313

"It's Only a Paper Moon" - Ella Fitzgerald - Decca Records 23425

BioShock 10th Anniversary Revisit and Eclipse

"Someone's Rocking My Dream Boat" - Ink Spots - Decca Records 4045

"We Three (My Echo, My Shadow and Me)" - Ink Spots - Decca Records 3379

"I'm Making Believe" - Ink Spots with Ella Fitzgerald - Decca Records 23356

"Bei Mir Bist du Schon" - Benny Goodman with Martha Tilton - The Famous 1938 Carnegie Hall Jazz Concert Columbia Records ML 4359

“Hush, Hush, Hush, Here Comes the Bogey Man“ - Henry Hall and his Orchestra with Val Rosing - Columbia Records FB 2816

"Praise the Lord and Pass the Ammunition" - Kay Kyser - Columbia Records 36640

“You Always Hurt the One You Love” - Mills Brothers - Decca Records 18599

"Paper Doll" - Mills Brothers - Decca Records 18318

"Dream" - The Pied Pipers - Capitol Records 185

"Chasing Shadows" - Quintette du Hot Club de France - Royale Records 1798

"Nightmare" (1938) - Artie Shaw - Bluebird Records B-7875 (in-game version)

“Nightmare” (1937) - Art Shaw and his New Music - Vocalion Records 4306 (re-recording)

"Nobody Knows You When You're Down and Out" - Bessie Smith - Parlophone Records R2481

Father’s Day in Rapture

"Daddy Won't You Please Come Home" - Annette Hanshaw - Velvet Tone Records 1940V

"My Heart Belongs to Daddy" - Mary Martin - Brunswick Records 8282

"Daddy's Little Girl" (1976) - Mills Brothers - Ranwood Records R-8152 (in-game version)

"Daddy's Little Girl" (1950) - Mills Brothers - Decca Records 24872 (original version)

BioShock Infinite

"Ain't She Sweet" - Ben Bernie - Brunswick Records 3444

"Button Up Your Overcoat" - Helen Kane - Victor Records 21863

"(What Do We Do on a) Dew-Dew-Dewey Day" - Charles Kaley - Columbia Records 1055D

"Indian Love Call" - Sigmund Krumgold - Okeh Records 40904

"Me and My Shadow" - Sam Lanin - Lincoln Records 2628

"Black Gal" - Ed Lewis with unidentified prisoners (recorded by Alan Lomax)

"I'm Wild About That Thing" - Bessie Smith - Columbia Records 14427D

"Makin' Whoopee!" - Rudy Vallée - Harmony Records 825-H

The Cylinders of BioShock Infinite

"Shine On, Harvest Moon" - Ada Jones and Billy Murray - Edison Standard Record 10134

"The Bonnie Blue Flag" - Polk Miller - Edison Blue Amberol Record 2175

"After You've Gone"

"The Easy Winners"

"Solace - A Mexican Serenade"

“Just a Closer Walk with Thee” - Elizabeth’s version

“Just a Closer Walk with Thee” - Selah Jubilee Singers - Decca Records 7872

“The Grand Old Rag” - Billy Murray - Victor Records 4634

Albert Fink's Magical Melodies Presents: "God Only Knows"

“Ah! La femme il n’y que ça“ - Mon. A. Fertinel - Improved Berliner Gramophone Record 1148

“God Only Knows” - The Beach Boys - Capitol Records 5706

"Fortunate Son" - Creedence Clearwater Revival - Fantasy Records 634

Burial at Sea

Episode 1

The Complete Records Behind the Music

"Midnight, The Stars and You" - Al Bowlly - Victor Records 24700

"She's Got You" - Patsy Cline - Decca Records 31354

"Wonderful! Wonderful!" - Johnny Mathis - Columbia Records 40784

"The Lady is a Tramp" - Mel Tormé - London American Recordings HL N.8305

"Tonight for Sure!" - Ruth Wallis - Wallis Original Record Corp. 2001

"Stranger in Paradise"

Episode 2

The Complete Records Behind the Music

"Back in Baby's Arms" - Patsy Cline - Decca Records 31483

"Easy to Love" - Sammy Davis Jr. - Starring Sammy Davis Jr. Decca Records DL 8118

"Don't Sit Under the Apple Tree" - Glenn Miller - Bluebird Records B-11474

"La Vie en Rose" - Édith Piaf - Columbia Records 4004-F

“La Vie en Rose” (English version) - Édith Piaf - Columbia Records 38948

“La Vie en Rose” in 2007′s BioShock

"The Great Pretender" - The Platters - Mercury Records 70753

"You Belong to Me"

Fallout 2

"A Kiss to Build a Dream On" - Louis Armstrong - Decca Records 27720

Fallout 3 (Galaxy News Radio)

"Civilization" - Andrews Sisters and Danny Kaye - Decca Records 23940

“Butcher Pete (Part 1)” - Roy Brown - De-Luxe Records 3301

“Crazy He Calls Me” - Billie Holiday - Decca Records 24796

"I Don't Want to Set the World on Fire" - Ink Spots - Decca Records 3987

"Into Each Life Some Rain Must Fall" - Ink Spots and Ella Fitzgerald - Decca Records 23356

“Swing Doors” - composed by Allan Gray - Charles Brull - A Harmonic Private Recording CBL 37

“Jazzy Interlude” - composed by Billy Munn - Charles Brull - A Harmonic Private Recording CBL 37

"Anything Goes" (1934) - Cole Porter - Victor Records 24825 (original version)

Fallout: New Vegas (Radio New Vegas, Mojave Music Radio, Black Mountain Radio)

"It's a Sin" - Eddy Arnold - RCA Victor Records 10-2241

"Jingle Jangle Jingle" - Kay Kyser - Columbia Records 36604

“It’s a Sin to Tell a Lie” (1979) - Ink Spots (Bill Kenny) - CBS Special Products P 18042 (in-game version)

“It’s a Sin to Tell a Lie” (1941) - Ink Spots - Decca Records (original version)

“Why Don’t You Do Right” (1950) - Peggy Lee with the Dave Barbour Quartet- Peggy Lee’s Greatest - Camay Records CA 3003 (in-game version)

“Why Don’t You Do Right (Get Me Some Money Too)” (1947) - Peggy Lee - Rendezvous with Peggy Lee - Capitol Records 10118 (re-recording)

“Why Don’t You Do Right” (1942) - Peggy Lee with Benny Goodman and his Orchestra - Columbia Records 36652 (re-recording)

"Big Iron" - Marty Robbins - Columbia Records 4-41589

“Blue Moon” - Frank Sinatra - Sinatra’s Swingin’ Session! - Capitol Records W1491

“Orange Colored Sky” - Nat King Cole - Capitol Records 1184

Fallout 4 (Diamond City Radio)

“Butcher Pete (Part 2)” - Roy Brown - De-Luxe Records 3301

“Orange Colored Sky” - Nat King Cole - Capitol Records 1184

“Pistol-Packin’ Mama - Bing Crosby and the Andrews Sisters - Decca Records 23277

“The Wanderer” - Dion - Laurie Records 3115

“Sixty-Minute Man - The Dominoes - Federal Records 12022

“Atom Bomb Baby” - The Five Stars - Kernel Records A002

“It’s All Over But the Crying” - Ink Spots - Decca Records 24286

“Grandma Plays the Numbers” - Wynonie Harris - King Records 4276

“Personality” - Johnny Mercer - Capitol Records 230

"The End of the World” - Patti Page - Say Wonderful Things - Columbia Records CS 8849

Fallout 76 (Appalachia Radio)

“Wouldn’t It Be Nice” - The Beach Boys - Capitol Records 5706

"Praise the Lord and Pass the Ammunition" - Kay Kyser - Columbia Records 36640

"We Three (My Echo, My Shadow and Me)" - Ink Spots - Decca Records 3379

Guardians of the Galaxy

"I'm Not in Love" - 10cc - Mercury Records (Phonogram) 73678 (abridged)

"Fooled Around and Fell in Love" - Elvin Bishop - Capricorn Records CPS 0252 (abridged)

“Spirit in the Sky” - Norman Greenbaum - Reprise Records 0885

“Escape (The Piña Colada Song) - Rupert Holmes - Infinity Records INF 50.035

"Hooked on a Feeling" - Blue Swede - EMI Records 3627

"I Want You Back" - The Jackson 5 - Motown Records M 1157

"Go All the Way" - Raspberries - Capitol Records 3348

"Come and Get Your Love" - Redbone - Epic Records 5-11035

L.A. Noire (KTI Radio)

“Pistol-Packin’ Mama” - Bing Crosby and the Andrews Sisters - Decca Records 23277

“Stone Cold Dead in the Market” - Ella Fitzgerald and Louis Jordan - Decca Records 23546

"Into Each Life Some Rain Must Fall" - Ink Spots and Ella Fitzgerald - Decca Records 23356

"Manteca" - Dizzy Gillespie - RCA Victor Records 20-3023

"Ain't Nobody Here But Us Chickens" - Louis Jordan - Decca Records 23741

"Red Silk Stockings and Green Perfume" - Sammy Kaye - RCA Victor Records 20-2251

“Black and Blue” - Frankie Laine - Mercury Records A-1026

"'Murder', He Says" - Dinah Shore - RCA Victor Records 20-1525

"Smoke! Smoke! Smoke! (That Cigarette) - Tex Williams - Capitol Records Americana Series 40001

“Hey! Ba-Ba-Re-Bop” - Lionel Hampton - Decca Records 18754

Mafia II (Empire Central Radio, Delta Radio)

“Why Don’t You Do Right” (1950) - Peggy Lee with the Dave Barbour Quartet- Peggy Lee’s Greatest - Camay Records CA 3003 (re-recording)

“Why Don’t You Do Right” (1942) - Peggy Lee with Benny Goodman and his Orchestra - Columbia Records 36652 (re-recording)

"A Guy is a Guy” - Doris Day - Columbia Records 39673

XCOM The Bureau Declassified (KNOV Radio)

“Runaway” - Del Shannon - Big Top Records 45-3067

“Who’s Sorry Now” - Connie Francis - MGM Records 975 (57-S-622)

"Smack Dab in the Middle" - Mills Brothers - Decca Records 29511

“Riders in the Sky” - Vaughn Monroe - RCA Victor 20-3411

"Man of Mystery" - The Shadows - Columbia Records 45-DB 4530

“I’ll Never Get Out of this World Alive” - Hank Williams - MGM Records 11366

See the previous years’ lists here:

2014

2015

2016

2017

#video game music #bioshock music #fallout music #la noire music #mafia music #bioshock #bioshock 2 #bioshock infinite #burial at sea #fallout 2 #fallout new vegas #LA Noire #fallout 3 #fallout 4 #fallout 76 #The Bureau: XCOM Declassified #Mafia II #save the date

225 notes · View notes

maevefiction · 6 years

Text

Your Light in the Mist - Chapter 42

We left the Gold Coast on February 13th, returned home for two days, then were off again…first to Berlin for a screening of ‘The Night Manager’ with a Q & A session, then on to Vietnam, where shooting began the day after we arrived. The entire experience there was life-altering, in a way. The people, who were so kind, generous, and welcoming, and the locations, some of which had never before been filmed, were majestic and evocative of a land time had, to our benefit, forgotten…but most of all, the opportunity to immerse myself in a culture I had little knowledge of was humbling, and miraculous, and I made every effort to be out and about with every spare moment I had. When production wrapped in mid-March, Jordan announced that he was planning on relocating to the area, and I found myself just the tiniest bit jealous. There was such a sense of peace there, despite such a tumultuous upheaval in the not so distant past…a testament to the human spirit, our ability to keep pressing onward, to continue to live, and even thrive. A lesson in perspective, I suppose.

Tom was due in Los Angeles on March 20th for a photoshoot, so we opted to go directly there instead of heading home to London and then back out again. The 21st was booked with interviews, which would be followed by the official ‘I Saw the Light’ premiere on the 22nd. This was the first time I’d be walking a red carpet with him, other than the brief appearance at the Cube. Though Tom normally preferred the Beverly Hills Hotel, we were staying at the Loews Hollywood due to its proximity to the Egyptian, where the screening would be held, and Sadie’s Kitchen, the venue chosen for the after party. Our room was on the 15th floor, modern décor in shades of grey, white and burgundy, with a view of the Hollywood sign…currently packed with a team of stylists, garment bags and rolling racks making me feel like a sardine in a tin. Granted, a very lovely tin, but a tin nonetheless. Tom was almost ready to go, his bright blue suit complementing his eyes perfectly, black necktie offering a bold contrast to his white dress shirt. I was still in my skivvies, one of the gals taping me into my strapless bra ‘just in case’. Despite the opportunity it created for an epic wardrobe malfunction, I was totally in love with my gown. It was strapless with a sweetheart neckline, gradient purple, near black at the top, fading to pale lilac midway down in the front and plum in the back. The skirt was floor length and full, and both a portion of it and nearly the entire bodice were decorated with silver vines and leaves, cascading downward like a waterfall. I’d opted for dark purple heels, on the thick side because I figured there was less of a risk of tripping in front of the press line that way. Around my neck was my tourmaline necklace, and my hair had been pinned up in a loose bun. As I pondered what food choices awaited me at Sadie’s, the gal announced that my tits were secure and I was instructed to step carefully into the gown, zipped up, and released into the wild to fend for myself. Tom’s hands descended upon my shoulders as I inspected the contents of my clutch one final time, making sure I had a room key, my cell phone, tissues and a Snickers bar.

“You look gorgeous, as always.”

I turned my head to meet his gaze. “You don’t look half bad yourself.” He grinned, releasing me, and I spun around to get a better look at him. “Mmm. That is a nifty suit. To the left…to the right…where will…aha, LEFT. What’s that, eight out of ten or something?”

“I didn’t realize we were collecting data. Will the results be in the form of a bar graph or a pie chart?”

“A fifty page thesis, actually. Available for sale on Amazon. I figure we can fund our retirement with it.”

He laughed, interrupted by his phone chirping. “Car’s here. Let’s roll.”

“Walk. I’m going to walk. Probably. Rolling sounds like ‘a YouTube Star is Born’. But I suppose that could fund some shit too…”

We exited arm in arm, piled into the elevator with a bunch of other fancy people I didn’t know, then climbed into the black SUV waiting for us. It was still light out, the day bright and sunny. Our vehicle was sixth in line when we pulled up to the Egyptian Theater, and my jaw dropped at how old-school big-glam Hollywood it looked, the red carpet lining the courtyard, velvet ropes and press wherever I looked. It was far from my first rodeo, but it was the first time I’d be at such an event in the capacity of ‘movie star’s plus one’. A low whistle escaped my lips.

“Wow, so we’re like, really doing this. Surreal, Tom. Sur-REAL.”

He took my hand in his, pulling my attention away from what I could see outside the window. I smiled at the sight of the excitement written all over his face. “It is that, positively. And I’m…I’m…well, I’m like a live wire, Maude. Crackling and vibrating and super charged with energy because I’m not walking this one alone, you’re going to be right by my side and…” He let go of my hand, flinging both his up in the air and waving them around jazz-style as he grinned. “I. AM. UNCONTROLLABLY EXCITED!”

I leaned in to kiss his cheek, quickly wiping the lipstick I left behind away with one of my tissues. “My god you are just too cute. Does this car have a sick bag? Because the cute is going to make me barf, for sure.” I mock-gagged.

He continued to grin like a fool as he pointed to the window behind me. “We’re up! It’s time! Let’s go, my lady. LET’S GO!”

Before I could ask for a moment to get my shit together, he was out of the car, the roar of waiting fans greeting him as he ran around to my side and opened the door for me. I took his proffered hand and stepped out into the daylight, the roars growing louder, our names being shouted above the din by press and onlookers alike. As we made our way down to the entrance, Tom stopped to sign and take selfies as long as time would allow, and then it was time for us to strike a pose. The flashes were the worst part, a ceaseless strobing that made it very difficult to focus, but mid-way through my eyes and brain seemed to adjust and I found myself having a really good fucking time mugging for the cameras with the man of the evening. The interviews were a blast, Tom taking the lead and doing most of the talking, pulling me in here and there when it was someone he’d interacted with on previous occasions or mentioned my name. We were like a comedy improv team that sang on command, and by the time we made it into the actual screening I was totally high on fun. Not exactly the right vibe for such a serious, angsty, sad movie, but in the end I was grateful I went into it with a boost because the ended pregnancy talk scene was difficult to watch even though it was the second time around. There I sat, holding back tears with Tom’s hand in mine, shaking, and me rubbing his wrist with my thumb. As soon as the credits rolled we were ushered quickly to the car, and then it was off to Sadie’s. I was a very intimate setting, the décor an eclectic mix of woods, stones, metals and glass. The food was a bit too micro for my taste, and there were moments when I seriously considered grabbing an entire tray of hor d'oeuvres and making a break for the coatroom. Tom had been indulging in champagne all evening, and Rodney’s band was in the house, so I knew that it wouldn’t be long until an impromptu jam session occurred. I’d avoided going to the bathroom since we left the hotel, and the three sodas I’d guzzled made it impossible to postpone any longer. I kissed Tom on the cheek, leaving him with the drummer whose name I’d been given but could absolutely not recall and headed for the rest room. Fitting into the stall was the first hurdle, turning around was the second, and it actually got more and more complicated every step of the way until my hands were full of fabric and my ass was on the chilly seat. Figuring out how to wipe was the Rubik’s cube of the process, and I stared at the toilet paper dispenser for an untold amount of minutes. I heard the band begin to play Move It On Over, heard them finish, then start up with Long Gone Lonesome Blues. Tom’s yodeling snapped me out of my stupor and I bunched all the fabric in the crook of one arm, tore off the necessary quantity of sheets with my free hand and took care of business like a boss. As I thanked the gods for auto-flush, I unlocked the stall, dropped the fabric back in place and propelled myself outward…right into Lizzie, who was wearing a far more practical dress that wasn’t all floaty and poufy and just waiting for an accident to happen. She grinned.

“So? Enjoying the party? Or did you come in here to hide like, you know, I DID?”

I laughed. “So far, so good. Nice to know it’s not just me who seeks refuge in bathrooms, though. But this time it’s a legit visit. Which was terrifying.”

“Maude, there are more dresses in my closet that I wound up buying because they were unfit to return then I care to count. Wine, toothpaste, hair gel, lipstick, chocolate, things I don’t even know what they are and probably don’t want to…and lemme tell ya, I know all the best bathrooms for hiding in SO many cities all around the world. The private ones with really loud fans are just…” She sighed. “Perfection.”

Washing my hands, I nodded. “Oh yeah. Peace and quiet. If they only came with a Do Not Disturb sign…”

“Oh my GOD, there’s a bathroom in a restaurant in Toronto, I can’t remember the name but I know where it is, I can see it…damn…anyway, they HAVE that.”

“No they do not.”

She nodded, walking to the stall furthest from the door. “Yes they do! Best twenty minutes of my night a few years back.” Turning, she waved. “Okay, I’m goin’ in. If anyone’s looking for me…”

“I have no idea where you are.”

She blew me a kiss. “Bless you.”

As I re-entered the chaos, I was hit with an extra-loud, slightly slurred version of Hey Good Lookin’, and I couldn’t wait to round the corner and see Tom in action. And take a video. Which I’d totally post on Tumblr because surely it was something the entire world needed to see. The band had set up on one side of the dining area, which had been cleared of tables, and they were surrounded by cast and crew, some standing and clapping, others dancing. Tom was easy to spot, and as I worked my way through the crowd, I noticed that there was a woman hanging on him, her arm resting on his shoulder as she shimmied to the beat. She was waiflike, incredibly thin and tall, taller than Tom, even, in her white stilettos, her white mini dress so short I didn’t think it would be possible for her to sit down without putting on one hell of a show. There were triangular cut-outs at the waist, and her platinum blonde hair hung halfway down her back. Her eyes were huge, greenish-grey, and beautiful, the stand out component of her heart-shaped face with its perfect Cupid’s bow mouth. I’d never seen her before and had never asked him to point her out in the film, though I now recognized her from it, and as I registered that it was the woman he was terrified of running into, and that we’d forgotten the possibility of her being there, or at least I had, my heart began to pound in my chest. Claudia. Right there, in front of me, rubbing up against my fiancé.

As the song ended everyone cheered, and she placed her hands on either side of Tom’s head, turned his face towards hers, then kissed him squarely on the lips in far too intimate a fashion and for entirely too long. I heard a few gasps, but they were eclipsed by the roaring of my heartbeat in my ears, and I fought the urge to scream as I watched him gently push her away. He turned back toward the crowd, stone-faced, and when his mask slipped almost imperceptibly I knew he’d spotted me. I wanted to run, flee the scene, disappear into the night but this was a party full of his co-workers, part of the promo, and doing so would certainly hit the gossip rags in a flash and had the potential to damage the success of the film and so I stood, and I faked a smile as he walked toward me with the woman who possessed a cache of sex tapes starring them both at his side. Once they were two feet away, she opened her clutch and pulled out what I knew to be a hotel room key, as it bore the same logo as the one in my own. Her voice was a much higher pitch than mine, volume just loud enough for both Tom and I to hear when she spoke, pressing the plastic rectangle into his hand.

“Here’s my key. Panorama suite two. I’ll see you shortly.” She turned to me, smirking, then back to him, gesturing in my direction with her thumb. “You can bring her too, if you want, even though she’s not exactly my type. That giant cock of yours more than makes up for it.”

She grinned widely at me, then walked across the room, hair swaying back and forth as she rolled her hips, finally vanishing around the corner and into the hall that led to the exit after what seemed like forever. I heard Tom say my name, and I looked up, but I stared at the knot in his tie because I couldn’t look him in the eye. He took my hand in his, which I permitted, and after his first ‘good night’ it dawned on me that one, I should do the same because two, apparently he’d decided it was time to get the fuck out of there. As soon as we rounded the same corner Claudia had minutes earlier, I pulled my hand from his. Neither of us spoke then, and when he began to do so in the car, I silenced him with a terse ‘not now’.

The ban continued as we entered the hotel, and throughout the elevator ride. Once the room door was closed and locked behind us, I held up both hands, palms toward him.

“Tom. I’m going into the bathroom. I’m going to take this dress off. I’m going to take a shower. I’m going to try and calm down and return to some sort of quasi-rational version of myself. You are going to stay out here.” I could feel the rage bubbling up, words I shouldn’t say spilling out of my mouth. “Unless, of course, you’re planning on joining Claudia, which, FYI, I am NOT.” I took a deep breath. “I’m sorry for that. That’s exactly what I’m trying to avoid. I’ll be out when I’m ready.”

Once safely tucked away, I focused on each individual detail of every task. Zipper down. Dress off. Hang up the dress. Tape off. Bra off. Underwear off. Water on. Test water. Step into shower. By the time I’d dried off, I once again understood that the man on the other side of the door loved me, and that I loved him, and trusted him, and that we needed to discuss what had happened because there was a side to this story I’d yet to hear, and doing or saying or thinking anything without having that knowledge would be unreasonable. And wrong.

He was sitting on the floor, jacket and tie off, shirt unbuttoned ,back leaning up against the bottom of the bed with his knees up and his head in his hands. Hearing me pad across the carpet, he looked up at me, his forlorn expression shifting briefly to one of desire, which baffled me until I realized I was naked. Knowing that he wanted me in the midst of all this was strangely comforting, and empowering. I pulled a robe out of the top dresser drawer, wrapping it around myself as I walked to the bed and sat down, his body to the left of my own. His gaze was cast downward again, and I reached out and began rubbing the back of his neck, speaking softly.

“Will you sit with me and tell me what happened?”

He nodded, rising quickly and joining me on the mattress. His eyes met mine, and he inhaled deeply.

“I had no idea she’d be attending. I didn’t even think to ask. If I’m honest, I hadn’t given her a single thought in months, not until we watched the movie here, and even then the possibility of her turning up didn’t even cross my mind for more than a few seconds…and I pushed it away as me being paranoid. As soon as I started in on Hey Good Lookin’ I felt someone to my left, which wasn’t out of the ordinary as people had been all around me since we began playing, but the someone was incredibly close, and at first I thought you’d snuck up on me and were going to join in, but when I turned to look it was…her. And there I was, in the middle of a song, in front of everyone, and I wanted to stop and get away from her but…”

It was my turn to nod. “In front of everyone. I know that feel.”

He shook his head. “I told myself to remain professional, to keep going, and I thought if I pretended that we were filming I’d be fine. Then she…she…she kissed me in front of everyone, and I just couldn’t believe it and she just kept going and I wanted to shove her off me but that would have looked…and so I did it as normally as I could and the whole time I was hoping you were still in the bathroom but then I saw you…” He paused. “And when I started toward you she came WITH me and then the keycard and what she said…then watching you keep yourself together when I knew you were…I’m sorry. So, so sorry. If that kiss makes it online…my god. I’m sorry.”

His head was in his hands again, shoulders shaking as he wept, and I recognized that this experience had been so deeply traumatic for him that he didn’t quite realize it yet, his unconsciously focusing outwardly serving as diversion. I wrapped my arms around him and held him to my chest, stroking his hair until he quieted enough to listen. When he was able to look me in the eye again, I began to speak.

“Thank you for explaining. That’s essentially what I thought had happened, and, I’m very sorry it happened to you.” His left brow rose. “What she did was so completely inappropriate…I mean, that’s not really surprising, but…yeah. Is it okay if I go through my thought process here?”

He half-smiled. “Yes.”

“Obviously, there’s a component of jealousy. That hit me first. This beautiful woman that’s been intimate with you kissed you right in front of me, and you look amazing together, and she’s tall and blonde and skinny…and the way she presented the keycard to you made it seem like you had an arrangement, a plan in place. Most of way back here all what was going through my mind was that you’d been secretly contacting her and set this all up. But, then I reminded myself exactly who, and what, she was to you, and the jealousy turned primarily to anger, directed at her, but there was still enough jealousy left to generate some serious nastiness on my part directed at YOU. And, like I said before, I wanted to avoid that because it was likely baseless and unwarranted, the jealousy. So I showered, and I listened, and DAMN that anger is way worse now and you should probably keep that room key far the fuck away from me…” I took a deep breath. “Sheese. Again, I’m very sorry this happened to you. However you want to handle it, I’m here to help. Whatever you need, okay?”

He reached out to touch my face, letting his fingertips drag across my jaw and down my neck before grasping my hand.

“I wasn’t even thinking of anything happening to me. I was afraid of what you’d think, and…”

I entwined my fingers with his. “I know. And I appreciate that. We’ve been through some shit, my dude, and I’m a runner. Or, I was. Now…you’re more important than my internal bullshit struggles.”

A smile lit up his face, but it faded quickly, replaced with fear, then sorrow, then anger over the next several silent minutes as he stared at me.

“Maude, all I know in this moment is that I’m finished being afraid of her. I remembered what you said back in New Orleans, our options, and…well, it’s time, I think, for her to know that what she views as having the upper hand…isn’t. Not anymore.” He ran one hand through his hair. “So. I’m going up there, and I’m going to deal with this for once, and for all. Unless you think it’s utter madness to do such a thing.”

My mouth dropped open as my brow rose. “Oh, it’s madness, alright. But I like it. Hmm…”

He laughed, then poked my collarbone softly with his finger. “Ah, a plan is afoot, is it?”

“No. A plan is a plan. Not a foot.” He groaned and covered his eyes briefly, gaze returning to meet mine as I continued. “Okay. Several things to consider here. Ideally, you’d do this alone. Are you comfortable with that?”

“Well, yes and no. Going in, absolutely. But when I visualize reaction scenarios, I am concerned that a situation might arise that would result in an unfavorable outcome.”

I snorted. “Yeah, as in her recording the entire exchange and then heavily editing it to paint you in a…a…let’s go with ‘negative light’.” He nodded. “The hotel security feed would take care of pinpointing when you entered and when you left, but everything in between is up for grabs, and that’s not acceptable. Having a witness seems warranted, but who’s the witness? Am I the witness? Does my bias preclude me from being reliable in reporting the truth?”

Tom nodded again. “Likely, yes. But you’re the only witness available who’s privy to all the details of the history involved, and I wouldn’t trust anyone else to maintain any sort of confidentiality.”

This was something I had zero desire to participate in, for a multitude of reasons. It was pre-Maude, and in that aspect, none of my damn business. But since Claudia’s future actions could significantly impact my life, even if said impact was short-lived, that made it potentially my damn business. Then there was what I knew…what she’d done with him, and, far worse, what she’d done TO him. Unsettling at best, rage inducing at worst…in other words, I’d be walking into a situation wherein keeping myself in check was questionable, but of the utmost importance. And there it was, another lightbulb moment in the life and times of Maude Gallagher-soon-to-be-Hiddleston. I chuckled, and he stared at me, confused, head tilted to the side as he attempted to discern what was amusing.

I patted his knee. “I’m just laughing at my own stupidity, because I totally forgot that I’m a member of your PR team and thus have a rather valid reason to accompany you since part of the discussion will include…PR. And it ALSO gives me a reason to behave myself. Total coup, right?”

His arms wrapped around me, kissing first one cheek, then the other. “Oh, yes. Check mate.”

“No, that’s just the check. The checkmate is me recording the whole exchange on my phone, which will be tucked in my bra. Or somewhere.”

He pulled back, eyes wide. “Isn’t this a two party state? I recall you mentioning that…”

“Yeah. It is. But that won’t stop me from leaking it if the need arises. You know, someone could steal my phone at any given moment. It’s totally possible. I’m forgetful. I leave things behind ALL THE TIME…”

“Maude, you are deliciously fiendish. And I love you so.”

“Aw, thank you, baby. And I’m a total hypocrite, because I just admitted to being willing to do what I believe she shouldn’t. Anyway…criminal prosecution for this sort of thing is very rare. She could sue, of course. But I don’t think I care. Do you care?”

“I do not.”

“Cool. Hopefully we’ll never need to use it.” I rose, both hands finger-gunning in his direction. “Let’s do this.”

He stood, tugging at the fabric of my robe. “Should you dress first, do you think?”

I glanced down at myself. “Oh. Right. This is not one of my ‘don’t fuck with me’ ensembles.”

Snorting, he began re-buttoning his shirt. “Quite the opposite, actually.”

“Thomas. I’m struggling to keep a firm grasp on my professionalism. Cease.”

“Firm grasp, you say?”

I pretended to not hear him and searched my travel wardrobe for something that would work, in the end opting for black leggings, a fluffy, grey, oversize turtleneck sweater and my Birkenstock boots. As I caught sight of myself in the mirror on the way out the door, I decided my choices were just the right mix of business and badassery…but a V-neck would have made hiding the phone a whole lot fucking simpler.

****************************************

There we stood, outside Panorama suite number two, me turned away from the door with my shirt lifted and bra on full display as I wedged my phone into it and hit record. Tom and I exchanged a few words, and then it was Titty Time again. I was relieved to hear the playback was nice and clear and began another session, putting a finger to my lips to let Tom know we were on the record, so to speak. He knocked loudly, then even louder when there was no immediate answer. When he paused, a clicking that could only be high heels on tile was audible, its increasing volume indicating the wearer was travelling in our direction. The door swung inward to reveal Claudia, now clad in white lingerie, a lacy bra, bikini panties, garters and filmy white stockings, all paired with the same white stilettos she’d worn to the party. She placed one hand on her hip, smirking widely.

“Well, well, well. Hello, Tom. I expected you to turn up, but not…” A thumb with a fuchsia fingernail jerked in my direction. “…her. Not exactly a pleasant surprise, but, whatever. Come on in. I’ve gotten off with my vibe three times already but I’m still SO fucking horny. Just one kiss from you, that’s all it takes…mmmm…”

Tom held up a hand, palm towards her. “Stop, Claudia. Right now. Control yourself until we’re behind closed doors, for god’s sake.”

She bit her lip. “Oh my, someone’s feeling forceful. Must be my lucky day!”

We walked in past her, and she followed after closing the door and engaging the slide-bolt lock, stopping in front of the not-so-mini mini bar to face us.

“Anyone else want a cocktail before cock?” Neither Tom nor I replied. “Well I do. I need one. Who wears a turtleneck to a threesome? Christ.”

Tom’s jaw clenched, then released as he spoke. “I’m afraid you’ve misinterpreted the reason for this visit, Claudia. Hint, it’s not for a threesome. I’m only here to have a conversation with you, one we should have had quite some time ago. Maude’s presence is due to the fact that she’s a member of my PR team, and will serve as my advisor if necessary.”

She was stunned, silent, and the fingers she’d wrapped around a bottle of rum went white with the strength of her grip. When Tom noted it didn’t appear as if she’d reply, he continued.

“I’m not going to waste my time re-hashing the past, but I will say this…I made it abundantly clear that we were done when I discovered you were secretly filming our encounters. When I also made it clear that I didn’t love you, and pointed out that I’d never given you any reason to believe our relationship was anything more than purely sexual in nature, you threatened me. You threatened to provide a detailed account of our interactions to my family and friends, you threatened to publish all of the videos you’d made online, and you threatened to ruin my career and make my life a living hell.”

She’d done several double takes during his speech, looking at me, then back at him, then back at me, as if she couldn’t wrap her mind around the fact that I might be aware that something had transpired between them. She finally relinquished her hold on the rum bottle, lifting her hands in surrender. “Tom, that was…I was…I just said all that because I was angry. I didn’t mean it.”

He scoffed. “Really? You didn’t mean it? Yet you accepted a million dollar payout from me?”

“I thought we had a future, Tom. Together. The money was like…alimony.”

“I’m not even going to dignify that with a response, Claudia. What I want you to know is that from this day onward, you are to come nowhere near me. If for some reason we find ourselves at the same event or function, don’t approach me. Don’t speak to me. And most of all, don’t fucking TOUCH me. If you refuse to comply, I will not hesitate to file a restraining order against you.” He took two steps closer to her, his face now inches from hers. “Do you understand?”

She didn’t respond, and he repeated the question, his tone far harsher, volume ratcheting up five notches on the dial.

“DO YOU UNDERSTAND?”

Crossing her arms, she sneered at him. “You know, I still have all those videos...it would be such a shame if they went public and Maude found out what kind of person you really are…”

And there was my cue. I pulled Tom backwards and away from her, then stepped in front of him.

“Maude is acutely aware of the contents of ‘those videos’, Claudia.” Air quotes. I felt like an Office Space character for a second, and really, really wanted to tell her that if she would kindly fuck off and die that’d be great. “Opting to publish them is entirely your choice to make.”

Her laugh bordered on hysterical. “So you’re fine with ruining his career and making yourself a laughing stock? That’s cool. I’ll totally publish them then.”

I shrugged. “Be advised that there will be repercussions that will affect you personally and professionally if you choose to take such action.” She opened her mouth to speak, and I held up my hand to cut her off at the pass, my right index finger pointing up toward the ceiling. “First, since you’ll be violating the terms of the NDA you signed, a suit will be filed for breach of contract wherein we’ll be requesting both expectation and disgorgement damages. That means you’ll be on the hook for repayment of the one million dollars you received as a settlement, as well as any lost revenue Tom incurs as a result of the breach. Secondly, criminal charges will be filed under California’s Revenge Porn Law, which defines said revenge porn as the publication of nude photos or videos of a person one used to be intimate with, without their consent, with an intent to cause serious emotional distress. Each video that was filmed in the state of California would incur a penalty of a fine in the amount of $1000 and up to six months in jail…based upon Tom’s estimate as to video quantity, you’d be facing a prison sentence of up to ten years. Thirdly, and lastly, criminal charges and a civil suit will be filed for your violation of the Invasion of Privacy act. California is a ‘two party’ state when it comes to audio recordings of confidential communication in situations and locations wherein there’s a reasonable expectation of privacy. Audio that’s a component of a video is covered under this particular statute, and penalties include a fine of up to $2500 and a year in jail. Long story short, Claudia…do you want to wind up in jail? Because publishing those videos is how you wind up in jail.”

While I spoke, I’d witnessed her face first going pale, then gradually reddening until it reached a final almost-purple hue. She was shaking with rage, and I just stood there, certain she was going to attack me Dynasty lady-feud style. But she didn’t, pausing, instead to digest what I’d said as best she could and find a way around it. Her eyes, now more grey than green, narrowed as she spoke.

“My attorney will drag out your breach suit for years, and if you win, I’ll hide all my assets and file for bankruptcy and you won’t see a dime, ever. As for the rest, there’s no proof Tom never consented to filming. Same with that distress bullshit. My word against his. I’ll take those odds, and when I’m acquitted of all charges I’ll sue YOU guys for damages and take even MORE of Tom’s money.”

Raising my brow, I leaned in a little closer to her. “Tom saved all your texts and voicemails. Every. Single. One. They’re tucked away, safe and sound, on the very phone you sent them to.”

If Tom hadn’t been paying such close attention, the highball glass she picked up and threw would have hit me right in the face. He’d jerked both of us to the side, and the glass shattered when it hit the wall. With me in front of him, he propelled both of us toward the door at top speed, slid the bolt and pushed me out into the hallway, slamming the door behind him in the midst of the sound of more shattering glass and her screams of ‘get out, GET OUT’. We headed for the stairs, not wanting to wait for the elevator, rushed back to our room, entered and locked our own door, both of us unsure as to whether we were pleased, frightened, or a bit of both.

I reached up under my sweater to pull out the phone, hitting the stop button to end the recording. Tom placed his hands on my shoulders, eyes on mine.

“Are you all right?”

Nodding, I felt my mouth twist into a half smile. “That went better than I expected, honestly.” I stood on my toes and planted a kiss on his left cheek. “Thanks for rescuing me from death by assorted beverage containers. How do you feel?”

His eyes shifted down and to the side, then returned to my face. “Relieved. Like I’ve gotten some closure, and that I’m no longer at her mercy. The fear, the anxiety in regard to my past actions becoming public…that’s subsided significantly. But there’s trepidation present, resulting from her expression of violence towards you, which I’m not quite sure how to handle.”

I slipped my phone into his pocket as I wrapped my arms around his torso. “She just realized she’s powerless, and she was NOT happy about it. Probably best to let it go and hope she finds a new hobby. Or a good therapist. Or Jesus. Something.”

“Maude, if that would have hit you…”

“It didn’t, though. I’m fine, you’re fine, and…that was over the top, wasn’t it? Was she aiming for me? Or you? Or the wall? Wow, I’m kinda freaked out now.”

He pulled me to his chest, kissing the top of my head. “I’m sorry. I knew her behavior as I experienced it was abnormal, and I shouldn’t have involved you.”

I leaned back, reaching up to caress his cheek. “You realize I knew too based on your description of your experience, yes? I’m glad I went with you. She would have spun that visit in the worst way possible, Tom, if the opportunity presented itself. Now she can’t, and I’m glad for that. As for the rest…we have a plan in place if she releases the videos, and we’ll follow through with it. She knows now that you’re no longer afraid of that happening, and that you’ll fight back, and I’m thinking maybe that will take all the fun out of it for her.”

A heavy sigh escaped him. “I hope that’s the case, my love. Truly I do. And I’m not going to dwell on it, because allowing her to diminish our joy is akin to giving her precisely what she wants, and she’s stolen enough already. This shop’s doors are closed. Permanently.”

“That’s an excellent way to look at it, Mr. Eternal Optimist. The doors are closed and the shop’s in the rearview as we travel the road ahead of us into our future.”

He simply stared at me, a small smile upon his face, his eyes once again full of all those things that made me both weak in the knees and disgusted with my sappy-ass self all at once. I rolled my eyes.

“Man, you’ve gotta lay off that adorable shit. We’ve got three months to go until the wedding and when you look at me like that…I just want to say fuck it and go find a judge and do it, like, right now.” Next came the tears shining, ready to spill over. “No. Oh my god, not helping, Tom. NOT. HELPING.”

He laughed. “I’m not even sorry.”

“Color me thoroughly unsurprised.”

“I’d rather color your inner thighs with love bites.”

“That can be arranged.”

Less than an hour later, we were spooning, and I felt his breathing change as he slipped into sleep. I lay nestled against him, wide awake until near dawn, trying to force myself to stop thinking about Claudia. Her actions seemed, as I reviewed the evening’s events, to indicate she hadn’t quite…let go. Far from it, actually. I wondered what she actually wanted, after so much time had passed. Was it more money? Was it revenge? Was it still…Tom? Was it all three, perhaps? And then I found myself wondering how far someone who behaved as she had tonight was willing to go in order to get it. Whatever it was she wanted. And it shook me, so I sang our wedding song to myself in my head until I calmed down, finally dozing off reminding myself that things which were terribly frightening in the dead of night were often immediately vanquished as nonsense by the light of day.

#your light in the mist #chapter 42

4 notes · View notes

anthonybialy · 3 years

Text

From A to A

Sanctimony comes right to your door. A year of relying on Amazon has shown how dreadful the ether bookseller has become. Distrust goes beyond natural contempt brought by marriage-style familiarity. A heartless amalgamation is unnerving for how invasive it strives to be. Your sole source of sustaining goods treats Rollerball as a documentary. You shouldn't buy DVDs of dystopian warning for their site only in part because you'd be contributing toward making dull paranoid fantasies true.

Wishing it could be avoided is a sure sign a company pleases customers. Virtue signaling is what they sell best. Take commercials which may as well be funded by the Human Rights Campaign. My personal favorite Amazon sales pitch for something other than products is the one featuring the interracial lesbian couple impressed by the site's low prices, as it convinced me such pairs of bathroom-sharers not only exist but are to be celebrated. It turns out tolerance is good. Focusing on purchasing is hard while trying to figure out how the two ended up with mixed-race children. Amazon apparently refuses to sell titles teaching actual biology.

Social media shows how Amazon hates the power they use as much as they love every kind of wedding. Every smarmy tweet churned out by their smug underlings putting their sociology degrees to fine use pimps social justice lunacy that stands in opposition to their outfit's existence. AOC generates less stridency.

How much value is created? Workers might disagree with their bosses. Calling to pay their people more as they try to pay them as little as possible is Amazon at its best, which is its worst. Just make sure the sum is more than any intended competitor. Salaries smaller outfits can’t absorb are the ideal legal minimum the warehouse aficionado endorses by sheer coincidence.

Amazon's creepy drive toward galaxy domination embodies how being pro-business differs entirely from being, well, pro-business. People can think that one employer features crummy working conditions without wanting the Berlin Wall to be rebuilt by union workers. Amazon should churn out another set of ads with utterly happy workers totally not smiling preposterously only because their family is being held at gunpoint, as that'll convince the public that their detergent delivery monstrosity is kind.

Humanity is controlled by the lamest single entity imaginable. Censoring speech that runs counter to the open principles of a purported bookseller is a nice tough. The government don't need to violate the First Amendment when a quasi-oligarch can decline to sell any title it deems hateful. You're not permitted to acquire literature featuring accurate biology endorsed by think tanks to Hoxha's right.

Insecurity is common among those who control others to compensate. Anyone confident should want their awful hateful foes to keep publishing and thus embarrassing themselves. It's sure sign of open debate when they deem tomes so harmful that they cannot be sold.

Those looking for options wait for Amazon's eternal hold on retail to end in a few weeks. Aspiring monopolies inevitably grow fat and lazy idling while parking free. Those who've struggled to obtain everything that can be sold forget to innovate like they did on their way up. Life becomes static for everyone who tries to corner a market. Woolworth’s thought it’d be selling everything for a couple cents forever, too.

Wanting companies to make as much as possible is frustrating when they call to be taxed for the privilege. Preening isn't convincing when paired with utter hypocrisy. Evading endorsed policies isn't quite honorable. We're trying to advocate for them to sell everything, and they reply by demanding laws intended to ruin foes. When they're this manipulative, the market certainly isn't free.

Amazon displays a principled commitment to any issue that is good for peddling. Take how the retail Godzilla will stop drug testing because they believe deeply in human liberty. Oh, and they'd also happen to be able to deliver your jazz cigarettes. One would also think an online seller would find online taxes objectionable. But anything to discourage shopping at smaller outlets serves their public good.

There's no requirement to buy what's being sold. One can just dislike a company even if it's engaged in robust trade. Subway attempts to call whatever it manufactured in bunker labs meat, and it doesn't mean you must suffer through lunch there. Conservatives who loathe diving to humanity's depths during Walmart outings get the principle.

Warping public policy to advance their own interests doesn't sound very fair. It's fine to advocate with ulterior motives. One should just make sure to be aware of them and don't give into them. Raising taxes because Amazon pretends to be selfless advocates of communal good is the opposite of capitalism in case anyone thought having a seller involved automatically meant we were in a libertarian situation.

Business dominance just happened to coincide with a semi-eternal lockdown if you spent a year in solitary confinement pondering conspiracies. It's uncanny how wrapping homes in plastic helped the smiley arrow logo outfit. Framing themselves as saviors delivering critical goods is part of their messianic narrative. You can buy the old Bible from their site if for nostalgia. Keeping patients sick so they can keep saving with medicinal deliveries is particularly appalling when the cure is jigsaw puzzles.

Just bring my slippers by tomorrow. Contemporary peddlers show how important they are by telling their lunkheaded customers how they're not progressive enough. You thought you could get away with only buying goods?

A lecture from a heartlessly calculating conglomerate is sure to improve morality. Amazon has everything, if you can find it. But sifting through pages of shady affiliates and imprecise results. It's too bad the purported retailer is so focused on presenting self-righteousness, as they might really have something if they could put it on shelves.

Poring through crummy searches might even inspire consumers to pay the dang shipping elsewhere. It's officially a weird world when patronizing the mall is the best way to support small mom and pop shops. The monolith blocking out other options makes the spending decision easier.

0 notes

raspberryjones · 4 years

Text

RIP Keith Tippett

Woke up this morning to the news that British pianist Keith Tippett passed away at the age of 72. Until recently, Tippett’s was just one of few names I seemed to always come across when scouring (or trying to make sense of) the late-60s/early-70s British jazz “scene.” Except that his somehow overlapped with the pro-rock and folk artists I already knew: he played on records by King Crimson (working with Robert Fripp continuously), and Julie Driscoll (whom he later married). But as I've been researching a project closely adjacent to the London scene of the time, I began to hear him as an indispensable connector between the post-psychedelic jazz-rock folks, the free-form players, the South African expats who were completely turning the sound of improvisation upside down, and the chaotic big-bands that were striking many different kinds of fancies. (Tippett continued to have a hand in big ensembles until the 2010s). His career encompasses many many records and musical turns that are beyond dope, and have seemingly little to do with one another, except that the players on them strangely overlap, and Tippett is often near the center.

As was another. One of the absolutely great musical relationships that Tippett developed was with the South African drummer Louis Moholo (now Louis Moholo-Moholo), who arrived in London in 1966 as a member of the mighty Blue Notes, and who’s remained firmly ingrained in global improvisational consciousness ever since. Tippett and Moholo collaborated on dozens of occasions and in many formats. The most famous of which is probably 1978′s incredible Louis Moholo Octet album, Spirits Rejoice, often described as a “free jazz” record but actually one of the great soulful improv pieces of music of our time. Go check it! But this is one that has become my personal favorite over the past few months, a duet record from Berlin in 1980, four pieces, 44minutes of absolutely gorgeous free-formed music. Eight years later, Moholo would recreate the format in the same city with a free pianist most jazz cats are a bit more familiar with, Cecil Taylor. Keith certainly goes in on Cecil-like clusters, but he loves traditional melody and structure far too much to run all-too far away from form, and that’s what makes No Gossip such a great fucking record. (After you listen to it, go buy the whole thing over at the Destination: OUT Bandcamp.)

BONUS: Tippett interviews in The Wire

#Keith Tippett #jazz #free jazz #louis moholo-moholo #south africa #london

0 notes

patmoonchy · 4 years

Text

Bio

Pat Moonchy vocalist/musician/producer and ancient Latin singer songwriting with significant vocal range whose works are well worth exploring for any listener seriously interested in experimental music as well as underground music, sound art, as a part of her sound research also realised by Modular Station. During her artistic career she released forty Albums.

She started as singer/bassist in the early nineties with the "alternative" power trio “Stato d’Animo” publishing an Ep cassette at renowned Studios Jungle Sound in Milan.

In 1994 opened The Moonshine Pub, an alternative-artsy place run until 2015.There she tried to help find visuality for underground creativity: Moonchy interest in art is an integral part of her persona and a necessary corollary of her commitment to unconventional music culture promotion.Operating as DJ resident mixing with a style of her own 60- 70 psych, UK IDM, and kraut-rock becoming a kind of lighthouse for the enthusiastic listener. Moonchy has been performing solo live sets with electronic equipment, some designed or modified at her request. It's unconventional analog synthesis, though oscillators are present the sound generation is not linear and a great deal of it is created by sensitive manipulation of the knobs. Sound art, always articulated with an intuitive, organic approach, has become a major area of her development: learning the Theremin technique from Barbara Buchholz playing the Persephone (a ribbon controlled synthesiser) were the first steps, followed by the inclusion in her array of electroacoustic devices.

In 2000 formed the avant improv quintet Gopala with Angelo Avogadri, Marco Fontana, Fabio F. Gallarati and Andrea Dicò.

A long this year she learnt computer music and sample production producing several IDM compositions through fields recording with a portable dat recorder and and still unpublished.

In 2010 joined in the Doubleganger with the jazzist pioneer Pasquale Liguori on drums publishing six cds and one more as a duo by the Italian label Setola di Maiale with Amaury Cambuzat (Faust) as musician, producer guest and in Doubleganger line up at the Schiphorst Avantgarde Festival in Germany.

She is part of the creative ensemble Tai No-Orchestra who has acted at several prestigious Art Galleries as Fondazione Stelline, Fondazione Mudima and at the Museum of Culture Mudec in MIlan. At the Moonshine she hosted and organised two editions of the Tai No-Orchestra Festivals.

In 2015 founded the current project Sothiac which has been finalist for the Festival Musica Diversa Omaggio a Demetrio Stratos, in Cento, IT. Then moved in Berlin scored the release of two albums (Sothis and Erebia Christi) touring EU, Japan with 16 gigs and across China by train from north to Hong Kong, including a performance in the Manchurian capital Harbin, the first exhibition there of an European act!

Moonchy is exploring new trajectories in her intertwined use of voice as instrument, successfully integrating noisicianism into her language acquired by shamans in the Republic of Tuva in south Siberia and learnt directly by Maestro Trân Quang Hai who was a vocal coach of Demetrio Stratos.

The solo efforts and collaborations of Pat Moonchy are rising in number, eclecticism and importance among them, a consolidated association with U.S. musician/producer Todd Tobias as Moonchy & Tobias duo releasing six Albums.

In 2018 joined the Carlos Ugueto Ensemble, a cultural project turned to make known claves rhythmics from Uruguay "candombe" and "salsa" from Venezuela mixed with improv-free jazz.

In 2019 open the vernissage of the italian painter Claudio Papola showing with her duo project Sothiac on the roof garden of the CAMeC, the Art Modern Contemporary Center in La Spezia.

From 2020 the musician and Jazzist producer Paul Jolly will be enjoying the band publishing Superluna and Tiamat Ep and releasing two new Ep’s during the Lockdown and two albums coming out on vinyl printed at the Abbey Road Studios by the 33 Jazz Records.In August 2021 Biennale Austria will project ‘SUPERLUNA” video during the Biennale of Venice. Most recently she joined with the multi-instrumentalist Terry Day and in the Sothiac Group with Angelo Contini, Lucio Liguori, Angelo Avogadri, Ferdinando Faraó blending each other's different backgrounds making one.

"The music of Pat Moonchy is what is beyond Alice's door, a sonic world where avant-garde and underground are amalgamated and a sense of surprise mushrooms everywhere the ears stretch out".

Further live collaborations:

Archetype, Alfa Neu, Amaury Cambuzat, Adrian Northover, Alessandra Novaga, Andrea Bolzoni, Andrea Cazzani, Andrea Dicò, Andrea Tabacco, Andrea Viti, Angelo Brezza, Antonino Siringo, Antonio Alferi, Artchipel Orchestra, Arottenbit, Bruno Romani, Carlos Ugueto, Caroline Cecilia Tallone, Claudio Lodati, Claudio Lugo, Chaos Physique, Cristiano Calcagnile, Christoph Petermann, Damiano Casanova, Daniele Onori, Davide Garbato, Davide Romagnoli, Diego De Marco, Diego Vinciarelli, Dirk Dhonau, Dodo Nkishi, Eugenio Sanna, Fabio F. Gallarati, Fabio Sacconi, Fanciulli Goom, Faust, Filippo Monico, Flavio Scutti, Frank Gratkowski, Fra 11, Francesco Manfrè, Francesco Zago, Gak Sato, Geoff Leigh, Giancarlo Oggionni, Gianni Mimmo, Giulio Martino, Gory Joe, Graziano Palamara, Grenouille, Guido Mazzon, Guy-Frank Pellerin, Ilario Bianco, Jacopo Serafin, Jean-Hervé Perón, Jean Michel Van Schouwburg, Jacques Berchten, João Pedro Viegas, John Russell, Johnny Larsen, Julian Sparacino, Kenobit, Kei Yoshida, La Morte Viene Dallo Spazio, Lars Nicolaysen, Leo Colalillo, Luca Andriola, Luca D’Angelo, Luca Pissavini, Luca Valisi, Mandali, Mani Neumeier, Marcel Sauco, Marcello Bellina, Marcello Busato, Marcello Magliocchi, Marco Fontana, Marco Mantovani, Marco Malasomma, Maresuke Okamoto, Mario Arcari, Massimo Falascone, Martin Mayes, Matteo Pennese, Masaharu Showji, Matteo Pescetti, Matthias Boss, Mattia Costa, Miky Bengala, Morihide Sawada, Naoto Yamaghishi, Nicola Guazzaloca, Ove Velasquez, Paolo Botti, Paolo Falascone, Pasquale Ricucci, Pepè Le Ginestre, Pierre Bizot, Ralf Peter, Riccardo Luppi, Riccardo Sinigaglia, Roberto Aglieri, Roberto Del Piano, Roberto Masotti, Roberto Caputo, Roberto Sambusida, Robin Neko, Romeo Velluto, Sanatana, Sascha Stadlmeier, Sebiano Failla, Scum from the Sun, Shizuku Aosaki, Silvia Bolognesi, Stefano Bartolini, Stefano Basurto, Stefano Milani, Stefano Giust, Takkiduda, Tato Vastola, Tatsumi Ryusui, Teddy Costa, Tony Light, Tommy Massara, Tristan Honsinger, Utku Tavil, Uwe Sebastien, Valerio Cipollone, Vontrapp, Walter Prati, Willy Van Buggenhout, Xabier Iriondo, Yugen, Yuryi Zhvanetskyy, Yuval Avital and more and more...

Videomaker collaborations: Angelo Magni, Carlo Prevosti, Fabio Bortot, Fabio Volpi, Lino Budano, Alice Murace, Michele Bernardi, Pedda Borowski

Performing/painting/reading collaborations:

Angelo Loconte, Anna Ramunni, Arianna Tinulla, Claudio Papola, Claudio Sinatti, Diamanda Galas, Emanuela Brumana, Elisa Brigida, Fanuccio, Francesco Trabattoni, Gianluca Lo Presti, Ignazio Maria Gallino, Fabi Pan Sofia, J.F Rocking Yaset, Jo Jonny, Lakme, Lucia Caputo, Luigi Cannillo, Martino Pittore, Mariapia Quintavalla, Mariella Liguori, Piermarco Mariani, Rita Vargiu, Sylvia Alfei, Le Teste di Mary, Tiziana Cera Rosco, Vito Ventura.

#pat moonchy #bio #soundart #krautrock #33jazzrecords #33xtreme #pauljolly #lucky liguori #todd tobias #sothiac #moonchy&tobias #hackney

0 notes

yellowdeepbass · 2 years

Text

Schau dir "Trialogues at Kühlspot Berlin II" auf YouTube an

youtube

#improvisation #bass #doublebass #berlin #kontrabass #guitarinstrumental #trumpet #liveconcert #ambient jazz #free improv jazz berlin #jazzmusic #Youtube

1 note · View note

lindsay36ho · 5 years

Text

David Klavins Exploring the Limits of Piano Construction

Many a pianist have heard about David Klavins, the German-Latvian piano maker. Back in 1987, he introduced the world’s largest upright piano; Model 370, which is two floors high. German musician Nils Frahm recorded an album on it, and the proceeds helped finance Klavins’ next project which was building an even bigger piano. The collaboration with Nils Frahm has since then continued and recently a completely different piano, the UNA CORDA model was created in an interaction between Frahm’s musical and sonic ideas and Klavins’ vast experiences as an instrument builder.

World’s largest piano unveiled this week!

The mighty Klavins Vertical Concert Grand brings out new sound possibilities by means of the piano in a magnified context and introduces a new dimension of dynamics and timbre to the world of pianos. It is therefor not impossible to call it an instrument entirely without compromise.

In May 2019 the latest Klavins Vertical Concert Grand, the M470i, was installed at its destination, the brand-new concert hall in the city of Ventspils, Latvia. The 470i Vertical Concert Grand piano, has strings that are 4.7 meters long. On display to the public for the first time on Friday August 2, the instrument has already created a buzz among piano enthusiasts.

On the other hand, he UNA CORDA faithfully captures the special sound signature of a custom-made contemporary piano, but with just one string per key. The instrument allows you to craft melodies for film or simply introducing fresh elements into electronic, pop, or jazz, promising a tone unlike anything audiences have ever heard before, bringing on a celestial all-over sound character.

Moreover, the UNA CORDA has an open body design, double-lowered and rib-less soundboard, a tone modulator and a stainless steel frame. It is also built without any chemicals or materials that endanger the environment.

youtube

Interview with David Klavins

Piano Street’s Patrick Jovell was very happy to have the chance to talk with David Klavins about his latest innovations.

Piano Street: You are an instrument builder and there are many brands on the market. Which philosophy have you nurtured during your years a caftsman?

David Klavins: My philosophy in piano building has been formed by the understanding that today’s pianos are essentially built by principles that were established more than 100 years ago and remain unchanged even today. The general idea of pianos are constrained by the possibilities and best understanding of those times. My approach from the onset was to rethink the piano design, to find out whether totally different solutions may be at hand that were not existing in the 19th century. Quite early in my professional career I came to the understanding that the shape of the grand piano, namely of its soundboard (which is a consequence of the grand pianos’ design) has acoustic disadvantages, as well as I reached the conclusion that the concert grand piano is too small in general, to live up to the typical sizes of concert halls of today. So I decided that I want to build pianos of my own design, strictly driven by the principle of “form follows function”.

PS: You started a collaboration with Nils Frahm already back when you built the world’s largest upright piano and it continued when you planned the creation of a Una Corda piano. Can you tell us from what base you formed your ideas together and how they developed during the process?

DK: Meeting Nils Frahm marked a significant turning point in my work. Because of his deep interest in original, new sounds, especially that of pianos, we found common ground quickly. While discussing the aspects of acoustic pianos that might be improved upon, one of these being its horrendous weight, I recalled an idea of mine that I had developed 20 years ago, to design an Una Corda piano. Nils instantly understood, as his own ideas resonated with this concept, and after we had thoroughly discussed the basic elements of the Una Corda, he commissioned me to build one. During the design- and building process we discussed step by step all kind of factors, including the visual design, and mainly thanks to his input it turned out being a piano that represents a minimalist ideal. Based on the success of the Una Corda piano, our cooperation intensified, and we took on a bigger project – building the M450 Vertical Concert Grand, which is now hosted at his studio at the Funkhaus Berlin.

PS: Can you explain how the interspersed tone modulator works in action?

DK: The tone modulator is designed the way that different type of materials can be attached to an aluminum rail by Velcro, which allows to easily switch from one material to another, or even equip the rail with a multitude of different materials for different tones / registers. In effect, these materials are placed between the piano hammers and the strings, which generates different colors of sound, depending on the characteristics of the modulation materials attached.

PS: In times of eco orientation and sustainability, the UNA CORDA is built with this in mind. Which manufacturing processes do you have to engage in in order to stay eco friendly?

DK: We had in mind to stay free of lacquer, chemical glues, and chemical paints, which was one major factor leading to the use of a stainless steel frame as the sole element to pick up the string tension and serve as the instrument’s body. Abandoning the idea of a piano case (furniture) in part also serves the eco-friendliness of the Una Corda piano, although the main reason for the “naked” design is not to suffocate the sound by putting it inside a wooden box. The soundboard of traditional pianos is typically coated by lacquer, which we substitute by natural beeswax, for protecting the soundboard wood against excessive humidity. In effect all materials used at the Una Corda piano, and during the building process, are purely organic.

PS: Some people have said that the joy and curse of the piano is the fact that we always want it to sound as other instruments. Modern instrument critics also think that the modern instrument is too homogenized and doesn’t reflect the ideas of classical and romantic composers. What will happen to instrument making in the future?

DK: My hope is to inspire other piano builders to follow suit and think of new variations of the acoustic piano, in particular regarding sound design. The fact that the Una Corda piano is received so well and highly appreciated especially by composers, is a strong indicator that users are increasingly asking for new sound characteristics of the piano. While most of the large piano manufacturing companies are, and most likely will remain, stuck to their traditional ways of piano building, I see a good chance that new, smaller companies arise, in light of the vast options that the modern technologies and materials of today are offering.

PS: We know that Mr. Frahm and his work is constantly looking for innovations. Do you have further project ideas coming up in the future?

DK: Yes, we indeed are working on developing further ideas of altering the piano sound, by design, by the materials used, and also by adding digital and electronic components to the analog acoustic concept of the piano, to offer a wider range of sound effects, for creative pianists and composers who appreciate innovation.

Read more: laughingsquid.com/tallest-concert-grand-piano native-instruments.com/en/products/komplete/keys/una-corda klavins-pianos.com

from Piano Street’s Classical Piano News https://www.pianostreet.com/blog/piano-news/david-klavins-exploring-the-limits-of-piano-construction-9961/

0 notes

nnjzz · 5 years

Text

CHIE MUKAI + LENA CIRCUS + JEAN RAY + PHILEMON + ASTROPHORE /

VENDREDI 03 MAI CHIE MUKAI + LENA CIRCUS JEAN RAY PHILEMON ASTROSPHORE au Petit Café 14, bd de Strasbourg 75010 M° Strasbourg St-Denis / Château d'Eau 6€ NB / portes 22:00 ! début concerts : 22:30

CHIE MUKAI/ jp tokyo

"Figure lunaire de l'underground, Chie Mukai hante les scènes de Tokyo avec son kokyu (sorte de violon chinois), invoquant des mélodies orientales comme des figures ectoplasmiques tournant derviches, drones psychédéliques minimalistes. Chie Mukai a étudié la musique avec Takehisa Kosugi, joué dans divers groupes d'improvisation, notamment le East Bionic Symphonia de Kosugi, Marginal Consort avec Kazuo Imai, improvisée ses danses votives avec Keiji Haino, Tori Kudo, Eric Cordier, Masayoshi Urabe ... fondé son groupe psyché-folk Ché-Shizu, enregistrant plusieurs albums pour le label culte PSF. Sa musique évoque autant le monde claustrophobe du "Desert Hore" de Nico, le "Berlin" de Lou Reed que le shamanisme de Keiji Haino. Musique comme autant de landes désolées noircies à la mine de plomb, de chansons maladives (de cette voix grave et belle) entendues dans un cabaret d'après-guerre, d'une aube vue du coté de la nuit. On songe aux images crépusculaires de Murnau. Ritournelles obsédantes, sensuelles, magiques, raclées sur ses cordes, cycles tournants ouvrant sur un temps infini, un trip cosmique, magnifiques mantras brodés par son archet tissant des motifs crépusculaires. Chie Mukai danse sa musique en dehors des métriques, inconsciente d'avoir la tête en bas, les pieds dans les nuages. L'expérience d'un concert de Chie Mukai c'est un peu comme ouvrir une porte et passer du coté de l’innommable, de quelque chose qui touche à soi profondément, d'oublié, un lien avec nos mondes perdus. Pour peu on virerait mystique. Good trip ! (M. Henritzi)

https://chiemukai.bandcamp.com/ http://www.theblackeditions.com/anything-fine-long-different-others-doingwinter-1997-interview-no-1-chie-mukai-g-modern-vol-14/ http://www.theblackeditions.com/mukai-interview-2/ http://www.theblackeditions.com/off-kilter-pocket/

LENA CIRCUS / paris

groupe qui - mine de rien - fête le 20ème anniversaire de son existence.

Initialement un duo devenant vite un trio LENA CIRCUS est composé de Guillaume Arbonville (batterie, percussions), Nicolas Moulin (guitare, archet, effets) et Antoine Letellier (guitares, archet, saxophone, flute, effets).

Ayant développé une approche de l’improvisation située au croisement du son et du mouvement (et de la danse butô en particulier), le groupe continue d’explorer sans cesse de nouvelles contrées musicales au fil de leurs envies, leur musique pouvant raviver les tensions propres à une free music proprement inclassable (entre Sun Ra et Sonic Youth) comme celles que l’on peut trouver au cœur d’une certaine forme de minimalisme (Taj Mahal Travellers, Keiji Haino). Ils collaborent très régulièrement avec Hiroko Komiya (musicienne multi-instrumentiste et membre de la troupe du danseur de butô Atsushi Takenouchi) dont l’approche des percussions demeure extrêmement personnelle et poétique. (texte plus qu'inspiré par celui F-X Hubert)

https://www.youtube.com/watch?v=1CrCLu9y2LI

https://www.youtube.com/watch?v=Ol_yuMKd-2U

https://www.youtube.com/watch?v=7R6u-HyKvLg

https://www.youtube.com/watch?v=f1HbJKeSBYo

JEAN RAY /projet musical de l'artiste pluridisciplinaire Romain Arnette, basé à Paris et initialement formé à Londres en 2009.

À partir d’enregistrements acoustiques et différentes sources sonores numériques,

il crée des compositions minimalistes qui s’apparentent à des collages sonores.

La superposition de ces sons acoustiques et électroniques provoque une sorte de transe hypnotique, angoisse latente où les structures répétitives s’accompagnent de rythmes sombres et chaotiques.

Il a collaboré avec différents artistes sonores et visuels tels que Ojard (duo Rodolph), Wolfgang Natlacen, Ed Anon, Théodore Lüne, City Dragon, Arden Day, Wysozky.

https://www.youtube.com/watch?v=0IrReKAPmVk

https://jeanray.bandcamp.com/releases

PHILEMON / montréal qc paris belleville

Compositeur / improvisateur (noise, free improv, électroacoustique - ?) depuis 1998.

En solo ou en groupe.

[ ( Dans Napalm Jazz + A_Dontigny et Érick d’Orion, Yves Hudon et son Équipe +A_Dontigny et James Schidlowski, ‘Gypt Gore + sam Shalabi, Balai Mécanique + Thierry Amar, Jacques Gravel, Will Glass, Jesse Levine et Sam Shalabi, le Murray Street Band de John Heward, Komsomolsk + Julie Rousse, Ero Babaa + JF Pichard, Millefille + Seijiro Murayama, Lubriphikatttor + JZ et Thibault Gondard, CoupeCoupe + Arnaud Rivière et Fred Nipi, Darfour + Speet Silex, Benjamin Pagier et JF Pichard.) ]

A joué avec Martin Thétreault, Otomo Yoshihide, Joe Giardullo, Jean Derome, Johane Hétu, Molasses, Godspeed You Black emperor !…

S’est produit au Canada, en France, en Europe, au Japon, en Turquie.

A sorti des disques, cds et cassettes sur Notype, Ohm Edition, Galerie Pache, Tanzprocesz, Bimbo Tower Records, Underground Pollution, Logique Flou.

LA DIRECTION ARTISTICO-EMO-POLITIQUE > « Pour mon solo j’hésite entre tout péter, essayer de faire danser sachant que je déteste danser, trop réfléchir avant de tourner un bouton, la catatonie, m’opposer, laisser vivre les machines et regarder les lumières flasher, faire une sculpture équilibrée et donner un coup de pied dedans et essayer de la refaire en miroir, faire des sons qui me feront avoir un flashback d’acid. Je suis antipathique et ma musique le sera sûrement, je vous aime. »

https://philemonphilemon.bandcamp.com/

ASTROSPHORE / paris Projet solo d'Alexandre Du Closel, actif dans plusieurs formations du collectif 2035. . "En 1843, Berlioz écrivait en préface de son Traité d’instrumentation : « Tout corps sonore utilisé par le compositeur est un instrument de musique ». C’est guidé par cette maxime, par les concepts techniques et la sensibilité des compositeurs spectraux aussi que par mes propres considérations esthétiques que j’ai fait la découverte de la phonolite. Roche volcanique aux formidables propriétés acoustiques, elle est aujourd’hui au centre de la préparation de ce solo de piano préparé mi-composé, mi-improvisé, à tendance nettement spectrale." Alexandre du Closel : Piano préparé

https://m.soundcloud.com/alexandre-du-closel

Fly - Jo L’Indien

0 notes

rapturerecords · 7 years

Photo

This has been a rather quiet year. There’s been a couple of revisits with the release of the BioShock Collection, as well as Virtual Reality support for Fallout 4 and L.A. Noire. Not to mention that Cuphead delves into the genre as well.

As always, we’ll take this time to remember Patti Page, singer of “Doggie in the Window” who also passed away on New Year’s Day.

Whether it’s Happy Tenth Anniversary of BioShock or Happy Eclipse, I’ll still be here to kick off a tune.

See if your favorite record (or wax cylinder) was featured this year:

BioShock

"Bei Mir Bist du Schön" - Andrews Sisters - Decca Records 1562

"Bei Mir Bist du Schön" - Andrews Sisters - Decca Records 23605 (reissue)

"It's Bad for Me" - Rosemary Clooney and Benny Goodman - Columbia Records 40616

"Papa Loves Mambo" - Perry Como - RCA Victor Records 20-5857

"20th Century Blues" - Noël Coward - Columbia Records ML 5163

"The Party's Over Now" (1959) - Noël Coward - Columbia Records ML 5163

"Wrap Your Troubles in Dreams" - Bing Crosby - Victor Records 22701

"Beyond the Sea" - Bobby Darin - ATCO Records 45-6158

"Night and Day" - Billie Holiday - Columbia Records 3044 (reissue)

“The Best Things in Life are Free” - Ink Spots - Decca Records 24327

"If I Didn't Care" - Ink Spots - Decca Records 2286

"Danny Boy" - Mario Lanza - The Magic of Mario Lanza - Heartland Music HL 1046/50

“Danny Boy” anniversary revisit

“(How Much is That) Doggie in the Window” (1966) - Patti Page - Columbia Records CS 9326 (in-game version)

"The Doggie in the Window" (1953) - Patti Page - Mercury Records 70070 (original version)

"You're the Top" (1934) - Cole Porter - Victor Records 24766 (original version)

"La Mer" - Django Reinhardt and Stéphane Grappelli - Djangology RCA RGP-1186 (reissue)

Cohen’s Quadtych: “Academy Award” vs. “The Ballroom Waltz”

"Academy Award" - Stanley Black - Music De Wolfe DW/LP 2977

“Too Young” - Nat King Cole - Capitol Records 1449

"Just Walking in the Rain" - Johnnie Ray - Columbia Records 40729

"Waltz of the Flowers"

Looking for BioShock’s Django Reinhardt

BioShock 2

"Ten Cents a Dance" - Ruth Etting - Columbia Records 2146D

"Dawn of a New Day" - Horace Heidt and his Musical Knights - Brunswick Records 8313

"It's Only a Paper Moon" - Ella Fitzgerald - Decca Records 23425

BioShock 10th Anniversary Revisit and Eclipse

"Someone's Rocking My Dream Boat" - Ink Spots - Decca Records 4045

"We Three (My Echo, My Shadow and Me)" - Ink Spots - Decca Records 3379

"I'm Making Believe" - Ink Spots with Ella Fitzgerald - Decca Records 23356

"Bei Mir Bist du Schon" - Benny Goodman with Martha Tilton - The Famous 1938 Carnegie Hall Jazz Concert Columbia Records ML 4359

“Hush, Hush, Hush, Here Comes the Bogey Man“ - Henry Hall and his Orchestra with Val Rosing - Columbia Records FB 2816

"Praise the Lord and Pass the Ammunition" - Kay Kyser - Columbia Records 36640

“You Always Hurt the One You Love” - Mills Brothers - Decca Records 18599

"Paper Doll" - Mills Brothers - Decca Records 18318

"Dream" - The Pied Pipers - Capitol Records 185

"Chasing Shadows" - Quintette du Hot Club de France - Royale Records 1798

"Nightmare" (1938) - Artie Shaw - Bluebird Records B-7875 (in-game version)

“Nightmare” (1937) - Art Shaw and his New Music - Vocalion Records 4306 (re-recording)

"Nobody Knows You When You're Down and Out" - Bessie Smith - Parlophone Records R2481

Father’s Day in Rapture

"Daddy Won't You Please Come Home" - Annette Hanshaw - Velvet Tone Records 1940V

"My Heart Belongs to Daddy" - Mary Martin - Brunswick Records 8282

"Daddy's Little Girl" (1976) - Mills Brothers - Ranwood Records R-8152 (in-game version)

"Daddy's Little Girl" (1950) - Mills Brothers - Decca Records 24872 (original version)

BioShock Infinite

"Ain't She Sweet" - Ben Bernie - Brunswick Records 3444

"Button Up Your Overcoat" - Helen Kane - Victor Records 21863

"(What Do We Do on a) Dew-Dew-Dewey Day" - Charles Kaley - Columbia Records 1055D

"Indian Love Call" - Sigmund Krumgold - Okeh Records 40904

"Me and My Shadow" - Sam Lanin - Lincoln Records 2628

"Black Gal" - Ed Lewis with unidentified prisoners (recorded by Alan Lomax)

"I'm Wild About That Thing" - Bessie Smith - Columbia Records 14427D

"Makin' Whoopee!" - Rudy Vallée - Harmony Records 825-H

The Cylinders of BioShock Infinite

"Shine On, Harvest Moon" - Ada Jones and Billy Murray - Edison Standard Record 10134

"The Bonnie Blue Flag" - Polk Miller - Edison Blue Amberol Record 2175

"After You've Gone"

"The Easy Winners"

"Solace - A Mexican Serenade"

“Just a Closer Walk with Thee” - Elizabeth’s version

“Just a Closer Walk with Thee” - Selah Jubilee Singers - Decca Records 7872

“The Grand Old Rag” - Billy Murray - Victor Records 4634

Albert Fink's Magical Melodies Presents: "God Only Knows"

“Ah! La femme il n’y que ça“ - Mon. A. Fertinel - Improved Berliner Gramophone Record 1148

“God Only Knows” - The Beach Boys - Capitol Records 5706

"Fortunate Son" - Creedence Clearwater Revival - Fantasy Records 634

Burial at Sea

Episode 1

The Complete Records Behind the Music

"Midnight, The Stars and You" - Al Bowlly - Victor Records 24700

"She's Got You" - Patsy Cline - Decca Records 31354

"Wonderful! Wonderful!" - Johnny Mathis - Columbia Records 40784

"The Lady is a Tramp" - Mel Tormé - London American Recordings HL N.8305

"Tonight for Sure!" - Ruth Wallis - Wallis Original Record Corp. 2001

"Stranger in Paradise"

Episode 2

The Complete Records Behind the Music

"Back in Baby's Arms" - Patsy Cline - Decca Records 31483

"Easy to Love" - Sammy Davis Jr. - Starring Sammy Davis Jr. Decca Records DL 8118

"Don't Sit Under the Apple Tree" - Glenn Miller - Bluebird Records B-11474

"La Vie en Rose" - Édith Piaf - Columbia Records 4004-F

“La Vie en Rose” (English version) - Édith Piaf - Columbia Records 38948

“La Vie en Rose” in 2007′s BioShock

"The Great Pretender" - The Platters - Mercury Records 70753

"You Belong to Me"

Fallout 2

"A Kiss to Build a Dream On" - Louis Armstrong - Decca Records 27720

Fallout 3 (Galaxy News Radio)

"Civilization" - Andrews Sisters and Danny Kaye - Decca Records 23940

“Butcher Pete (Part 1)” - Roy Brown - De-Luxe Records 3301

“Crazy He Calls Me” - Billie Holiday - Decca Records 24796

"I Don't Want to Set the World on Fire" - Ink Spots - Decca Records 3987

"Into Each Life Some Rain Must Fall" - Ink Spots and Ella Fitzgerald - Decca Records 23356

Fallout: New Vegas (Radio New Vegas, Mojave Music Radio, Black Mountain Radio)

"It's a Sin" - Eddy Arnold - RCA Victor Records 10-2241

“Why Don’t You Do Right” (1950) - Peggy Lee with the Dave Barbour Quartet- Peggy Lee’s Greatest - Camay Records CA 3003 (in-game version)

“Why Don’t You Do Right (Get Me Some Money Too)” (1947) - Peggy Lee - Rendezvous with Peggy Lee - Capitol Records 10118 (re-recording)

“Why Don’t You Do Right” (1942) - Peggy Lee with Benny Goodman and his Orchestra - Columbia Records 36652 (re-recording)

"Jingle Jangle Jingle" - Kay Kyser - Columbia Records 36604

"Big Iron" - Marty Robbins - Columbia Records 4-41589

“Blue Moon” - Frank Sinatra - Sinatra’s Swingin’ Session! - Capitol Records W1491

“Orange Colored Sky” - Nat King Cole - Capitol Records 1184

Fallout 4 (Diamond City Radio)

“Butcher Pete (Part 2)” - Roy Brown - De-Luxe Records 3301

“Orange Colored Sky” - Nat King Cole - Capitol Records 1184

“Pistol-Packin’ Mama - Bing Crosby and the Andrews Sisters - Decca Records 23277

“The Wanderer” - Dion - Laurie Records 3115

“Sixty-Minute Man - The Dominoes - Federal Records 12022

“Atom Bomb Baby” - The Five Stars - Kernel Records A002

“It’s All Over But the Crying” - Ink Spots - Decca Records 24286

“Grandma Plays the Numbers” - Wynonie Harris - King Records 4276

“Personality” - Johnny Mercer - Capitol Records 230

"The End of the World” - Patti Page - Say Wonderful Things - Columbia Records CS 8849

Guardians of the Galaxy

"I'm Not in Love" - 10cc - Mercury Records (Phonogram) 73678 (abridged)

"Fooled Around and Fell in Love" - Elvin Bishop - Capricorn Records CPS 0252 (abridged)

“Spirit in the Sky” - Norman Greenbaum - Reprise Records 0885

“Escape (The Piña Colada Song) - Rupert Holmes - Infinity Records INF 50.035

"Hooked on a Feeling" - Blue Swede - EMI Records 3627

"I Want You Back" - The Jackson 5 - Motown Records M 1157

"Go All the Way" - Raspberries - Capitol Records 3348

"Come and Get Your Love" - Redbone - Epic Records 5-11035

L.A. Noire (KTI Radio)

“Pistol-Packin’ Mama” - Bing Crosby and the Andrews Sisters - Decca Records 23277

“Stone Cold Dead in the Market” - Ella Fitzgerald and Louis Jordan - Decca Records 23546

"Into Each Life Some Rain Must Fall" - Ink Spots and Ella Fitzgerald - Decca Records 23356

"Manteca" - Dizzy Gillespie - RCA Victor Records 20-3023

"Ain't Nobody Here But Us Chickens" - Louis Jordan - Decca Records 23741

"Red Silk Stockings and Green Perfume" - Sammy Kaye - RCA Victor Records 20-2251

“Black and Blue” - Frankie Laine - Mercury Records A-1026

"'Murder', He Says" - Dinah Shore - RCA Victor Records 20-1525

"Smoke! Smoke! Smoke! (That Cigarette) - Tex Williams - Capitol Records Americana Series 40001

“Hey! Ba-Ba-Re-Bop” - Lionel Hampton - Decca Records 18754

Mafia II (Empire Central Radio, Delta Radio)

“Why Don’t You Do Right” (1950) - Peggy Lee with the Dave Barbour Quartet- Peggy Lee’s Greatest - Camay Records CA 3003 (re-recording)

“Why Don’t You Do Right” (1942) - Peggy Lee with Benny Goodman and his Orchestra - Columbia Records 36652 (re-recording)

"A Guy is a Guy” - Doris Day - Columbia Records 39673

XCOM The Bureau Declassified (KNOV Radio)

“Runaway” - Del Shannon - Big Top Records 45-3067

“Who’s Sorry Now” - Connie Francis - MGM Records 975 (57-S-622)

"Smack Dab in the Middle" - Mills Brothers - Decca Records 29511

“Riders in the Sky” - Vaughn Monroe - RCA Victor 20-3411

"Man of Mystery" - The Shadows - Columbia Records 45-DB 4530

“I’ll Never Get Out of this World Alive” - Hank Williams - MGM Records 11366

See the previous years’ lists here:

2014

2015

2016

#video game music #bioshock music #fallout music #la noire music #mafia music #bioshock #bioshock 2 #bioshock infinite #burial at sea #fallout 2 #fallout new vegas #la noire #fallout 3 #fallout 4 #The Bureau: XCOM Declassified #Mafia II #save the date

475 notes · View notes