back to music, California: San Francisco
|music||California: San Francisco||2372||Haber, Karen. Bless the Beasts (Star Trek: Voyager). New York: Pocket Books (1996); pg. 114.|| "Harry Kim had just performed Mozart's Clarinet concerto in A before a packed house at San Francisco's old Davies Symphony Hall. He had played well and the crowd was applauding wildly.
'Thank you,' he said, keeping his tone humble. 'And now I'd like to play something for you that I first heard on a planet called Sardalia in the faraway Delta Quadrant.' " [Harry Kim is dreaming.]
|music||California: Santa Barbara||2000||Bear, Greg. Eon. New York: Bluejay (1985); pg. 9.|| "
'Wait,' Paul Lopez said. He put a hand on her arm, then stared at the dashboard. Vivaldi's Four Seasons played on the car stereo. "
|music||Cambodia||1997||Bear, Greg. The Forge of God. New York: Tor (1987); pg. 310.||"...the Sistine Chapel and disks of Bach and the entirety of the Parthenon... "|
|music||Colorado||1999||Cerasini, Marc. Godzilla 2000. New York: Random House (1997); pg. 241.||"...broadcast rock music to her sister ship. Martin had slipped Toby the tape before they lifted off. The music of Blue Oyster Cult blared into their ears. The tape began with 'Don't Fear the Reaper,' and now moved on to the Cult classic 'Godzilla.' "|
|music||Dathomir||-99927 B.C.E.||Wolverton, Dave. The Courtship of Princess Leia. New York: Bantam (1994); pg. 180.|| "'Princess Leia, would you like some relaxing music to help you sleep?'
'Music?' Leia asked.
'Yes, I've written a song,' Threepio said, 'and I thought you might appreciate it if I sang it to you.' His tone said that he'd be offended if she didn't listen.
Leia frowned, and Han rather pitied her. He'd never heard Threepio sing, but she couldn't imagine that it would be much good. 'Sure,' Leia said hesitantly, 'but, maybe just the first verse.'
'Oh, thank you!' Threepio said. 'I've titled my song, 'The Virtues of King Han Solo'!'
A musical intro with horns and strings began playing, and Han found himself a bit surprised. He knew that Threepio could mimic other voices, and he'd heard the droid give some nice sound effects when telling stories to the Ewoks, but he'd never heard music coming from the droid. Threepio did a rather convincing impression of a full symphony orchestra. "
|music||Dathomir||-99927 B.C.E.||Wolverton, Dave. The Courtship of Princess Leia. New York: Bantam (1994); pg. 181.|| "Then he [Threepio] swirling in dance, doing a soft-shoe that scraped and echoed over the stone floors, and the droid sang in a deep voice that sounded an awful lot like Jukas Alim, one of the galaxy's most popular singers:
He's got his own planet,
(Chorus sung in accompaniment with three women who all sound like Leia)
Threepio ended with a flourish of horns and drums and a tap routine, then took a bow to Leia. Leia just stared at him with an expression somewhere between bewilderment and horror.
'Hey, that's pretty good,' Han said. 'How many more verses do you have?'
'Only fifteen so far,' Threepio said... "
|music||Deep Space 9||2369||Jeter, K. W. Warped (Star Trek: DS9). New York: Pocket Books (1995); pg. 234.|| "'...How does the old song go? 'What's so horrible about a hurricane, compared to somebody who wants his fun?'
...'I have no idea what you're talking about.'
'Never mind. Just showing off my erudition, quoting a little Bertold Brecht at you. Early twentieth century...' "
|music||Deep Space 9||2376||Martin, Michael A. & Andy Mangels. Cathedral (Star Trek: DS9; "Mission: Gamma " #3 of 4). New York: Pocket Books (2002); pg. 227.||"After a parting wink... Vic returned to the stage and began to sing 'Fly Me to the Moon.' "|
|music||France||1918||Newman, Kim. The Bloody Red Baron. New York: Carroll & Graf (1995); pg. 12.||Pg. 12: "At the Queen's Hall, Thomas Beecham conducted a No German Concert: the selection of pieces from English, French and Belgian composers excluded any note of the diabolical kultur of Beethoven, Bach and Wagner. "; Pg. 63: "A Strauss waltz. "|
|music||France||1994||Delacorte, Peter. Time On My Hands. New York: Scribner (1997); pg. 23.||Pg. 23: "Arturo Toscanini... one of the great virtuoso conductors... " [Much more about Toscanini]; Pg. 24: Rolling Stones|
|music||galaxy||1966||Adams, Douglas. "Young Zaphod Plays it Safe " in The More Than Complete Hitchhiker's Guide. Avenel, New Jersey: Wings Books (1989; 1st ed. 1986); pg. 619.||"Several more high security Titan-O-Hold doors had to be passed through, each of which the officials opened with a selection of quark keys. Soon they were so deep within the heavy security fields that the Ultra-Cricket broadcasts were beginning to fade, and Zaphod had to switch to one of the rock video stations, since there was nowhere that they were not able to reach. "|
|music||galaxy||1982||Adams, Douglas. Life, the Universe and Everything. New York: Harmony Books (1982); pg. 26.||"If anybody had asked him he would have said he was humming the first line of a Noel Coward song called 'Mad About the Boy' over and over again. It would then have been pointed out to him that he was only singing one note, to which he would have replied that for reasons that he hoped would be apparent, he was omitting the 'about the boy' bit. He was annoyed that nobody asked. "|
|music||galaxy||2105||Dick, Philip K. A Maze of Death. Garden City, NY: Doubleday (1970); pg. 16.||"In 2105 he had operated the background music system aboard a huge colonizing ship on its way to one of the Deneb worlds. In the tape vault he had found all of the Beethoven symphonies mixed haphazardly in with string versions of Carmen and of Delibes and he had played the Fifth, his favorite, a thousand times throughout the speaker complex that crept everywhere within the ship, reaching each cubicle and work area. Oddly enough no one had complained and he had kept on, finally shifting his loyalty to the Seventh and at last, in a fit of excitement during the final months of the ship's voyage, to the Ninth--from which is loyalty never waned. "|
|music||galaxy||2200||Silverberg, Robert. Starborne. New York: Bantam (1997; co. 1996); pg. 46.||"Music over the ship's speakers. Beethoven, was it? "|
|music||galaxy||2269||Cox, Greg. Assignment: Eternity (Star Trek). New York: Pocket Books (1998); pg. 30.||Pg. 30: "His name was Chekov, Roberta recalled, thinking that he reminded her of one of the Beatles. Paul maybe, or George. "; Pg. 32: "On second thought... maybe he reminds me more of one of the Monkees. "; Pg. 36: "tickets to an upcoming Bob Dylan concert "; Pg. 184: "Sharing a joint with Jimi Hendrix at Woodstock. "; Pg. 199: "A yellow submarine. "|
|music||galaxy||2300||Dick, Philip K. "Chains of Air, Web of Aether " in I Hope I Shall Arrive Soon. Garden City, NY: Doubleday (1985; c. 1980); pg. 132.||Pg. 132: "lute books of John Dowland, written at the end of the sixteenth century... " (also pg. 149); Pg. 140: "...Mahler Second Symphony, The Resurrection. The only symphony scored for many pieces of rattan, he mused. A Ruthe, which looks like a small broom; they use it to play the bass drum. Too bad Mahler never saw a Morley wah-wah pedal, he thought, or he would have scored it into one of his longer symphonies. " [More about Mahler, pg. 142.]; Pg. 145: Vivaldi [Other refs. to music, not in DB.]|
|music||galaxy||2365||David, Peter. Strike Zone (Star Trek: TNG). New York: Pocket Books (1989); pg. 92.||"'Who knows, Will? He may be right. If five-year-old Mozart had come to you and asked him to buy him a piano because he felt like composing a symphony, what would you have said?' "|
|music||galaxy||2366||David, Peter. Q-in-Law (Star Trek: TNG). New York: Pocket Books (1991); pg. 59.||"The music was provided by a group of junior officers who, several months ago, had discovered a mutual proficiency for horns and had formed a group calling themselves the Federation Horns. At the moment, they were playing some sort of fast-paced tune that Picard vaguely recognized as swing. Picard's personal taste leaned more toward classical, although there were those--Commander Riker among them--who would argue that swing was every bit as classical as Mozart. "|
|music||galaxy||2366||Gilden, Mel. Boogeymen (Star Trek: TNG). New York: Pocket Books (1991); pg. 153.||"Ravel's Bolero began to play... "|
|music||galaxy||2368||Neason, Rebecca. Guises of the Mind (Star Trek: TNG). New York: Pocket Books (1993); pg. 38.||"...lots of steamy water, scented candles, Mozart playing softly in the background. "|
|music||galaxy||2368||Taylor, Jeri. Unification (Star Trek: TNG). New York: Pocket Books (1990); pg. 10.|| "Music had the power to quiet his mind, to restore his serenity, and to rejuvenate his enthusiasm. It made the difference in his life.
What program would he choose tonight? He'd often lost himself for hours playing trombone with a simulated New Orleans jazz group. But ever since the appearance of the remarkable female holofigure Minuet in that program--and her reemergence in the elaborate scheme of the alien child Barash--the purity of that music had been compromised.
'Earth,' Riker found himself saying after he had keyed instructions to the holodeck computer. 'Memphis, Tennessee. Year, 1925. A honky-tonk called Stumpy's.' "
|music||galaxy||2370||Vornholt, John. Antimatter (Star Trek: DS9). New York: Pocket Books (1994); pg. 185.||"Dax formed two fists and brought them together on Elaka's head like a cymbal player doing the 1812 Overture. "|
|music||galaxy||2371||Graf, L. A. Caretaker (Star Trek: Voyager). New York: Pocket Books (1995); pg. 142.||"'Did you know he [Harry Kim] played clarinet in the Juilliard Youth Symphony?' " [Also pg. 193.]|
|music||galaxy||2372||Cox, Greg. The Black Shore (Star Trek: Voyager). New York: Pocket Books (1997); pg. 87.||"Pretty soon it was coming shockingly close to playing something like an actual tune. Kim shook his head in amazed appreciation. 'You're a little monkey Mozart,' he said out loud. 'Who would've guessed it?' "|
|music||galaxy||2373||Dillard, J. M. Star Trek: First Contact. New York: Pocket Books (1996). Based on the movie; story by Rick Berman, Brannon Braga & Ronald D. Moore. Screenplay by Braga & Moore.; pg. 13.|| "Without a word or a change in his taut expression, the captain tapped a control on his console; blessedly, the opera dropped in volume. As it did, Riker felt his face relax and realized he had been wincing.
'Wagner?' he asked, with the faintest of smiles. The music played softly on, speaking to Riker of utter loss, destruction, despair--the ironically appropriate Gotterdammerung, the twilight of the gods.
Picard did not return the smile but replied curtly and without humor. 'Berlioz. What do you have?' "
|music||galaxy||2374||de Lancie, John & Peter David. I, Q (Star Trek: TNG). New York: Pocket Books (1999); pg. 113.|| "'Occam's Razor,' said Data.
The Vulcan raised an eyebrow. 'Sutak's Fifth Principle.'
'Beethoven's Ninth,' I chimed in, but no one found it amusing. "
|music||galaxy||2374||Golden, Christie. Seven of Nine (Star Trek: Voyager). New York: Pocket Books (1998); pg. 60.||"Seven was shocked and rather dismayed to find out how many Earth-based songs concerned birds. A bird in a Guilded Cage. Birds Do It, Bees Do It. Listen to the Mockingbird. Freebird. When the red Robin Comes Bob-Bob-Bobbin' Along. One song, called a Christmas carol, mentioned a variety of fowl including swans, partridges, geese, turtledoves, and some unidentifiable species known as 'calling birds' and 'French hens.' " [More.]|
|music||galaxy||2375||Dillard, J. M. Star Trek: Insurrection. New York: Pocket Books (1998). Based on the movie; story by Rick Berman & Michael Piller; screenplay by Michael Piller.; pg. 45.||"At that very instant in the Enterprise captain's quarters, surrounded by the strains of Beethoven's Sonata Pathetique as well as padds and star charts, Picard sat thinking about Admiral Dougherty. "|
|music||galaxy||2375||Golden, Christie. Shadow of Heaven (Star Trek: Voyager/Dark Matters #3). New York: Pocket Books (2000); pg. 101.|| "'Then I began listening to samples of music in my quarters after my shifts. At first they were so strange, but then I detected the mathematical precision to music, and I began to like that too. My favorite was something called 'Jingle Bells.' Do you know it?'
'Yes,' Kim managed. His chest felt oddly full.
'It made me want to laugh and move my body in a strange way. I went to the Doctor and he said this desire to move to music was called 'dancing.' I liked it...' " [More.]
|music||galaxy||2375||Lang, Jeffrey. Immortal Coil (Star Trek: TNG). New York: Pocket Books (2002); pg. 100.||Pg. 100: Tchaikovsky; Chopin's Waltz No. 1 in E-Flat; Pg. 101: Brahms|
|music||galaxy||2375||Shatner, William; Judith Reeves-Stevens & Garfield Reeves-Stevens. Dark Victory (Star Trek). New York: Pocket Books (2000; c. 1999); pg. 130.||"...music of James's native Earth. Something by Brahms... "|
|music||galaxy||2375||Smith, Dean Wesley & Kristine Kathryn Rusch. Shadow (Star Trek: Voyager/Section 31 #4). New York: Pocket Books (2001); pg. 121.|| "Purple People Eaters, Tom had said after he had seen the Rhawn emperor on the viewscreen. The entire bridge crew had looked at him in shock, but he had shrugged in that attractive devil-may-care way of his.
It's an old song from the mid-twentieth century, he said. I'll play it for you sometime.
B'Elanna had been amused, but for a slightly different reason. Tom's knowledge of the trivia of his people--centuries-old material--always startled her, and made her feel a little inadequate. She knew about the major things that every Klingon should know from Sto-Vo-Kor to the entire... life of Kahless. But she didn't know the details--the popular music of Kahless's day, for example--and if truth be told, she didn't really care to know. It seemed like a waste of brain space to her, however attractive she found it in Tom. "
|music||galaxy||2375||Vornholt, John. The Genesis Wave: Book One (Star Trek: TNG). New York: Pocket Books (2001; c. 2000); pg. 37.||"'Bach's Sonata in G Major, on baroque violin.' "|
|music||galaxy||2981||Anthony, Piers. Blue Adept. New York: Ballantine (1981); pg. 238.||Ode to Joy|
|music||galaxy||3000||Laumer, Keith. Retief of the CDT. New York: Baen (1985; c. 1971); pg. 133.||"Shinth turned stiffly and tottered away amid shouts, flashbulbs, bursting skyrockets, and a stirring rendition of the 'Dead March' from Saul. "|
|music||galaxy||3500||Dietz, William C. Where the Ships Die. New York: Berkley (1996); pg. 182.||"It was a large space with white walls, wood floors, and a minimal amount of furniture. Mozart's Allegro in B flat was playing in the background. The man who lived there paused in the middle of his nocturnal workout, raised an eyebrow, and ordered the domocomp to kill the music. "|
|music||galaxy||3900||Bradley, Marion Zimmer & Mercedes Lackey. Rediscovery. New York: DAW Books (1993); pg. 256.||Pg. 256: "Wagner... She called up the music program, and keyed in 'The Ride of the Valkyries,' directing the computer to play a random selection after that.
What are 'Valkyries,' Ysaye?
Warrior maidens... They come from the German legends that formed the basis for this opera. "; Pg. 257: "...Berlioz... Bach chorales... the last movement of the Beethoven Ninth, with its 'Hymn to Joy.' "; Pg. 266: Ralph Vaughan Williams
|music||galaxy||4000||Benford, Gregory. Furious Gulf. New York: Bantam (1994); pg. 16.||[Actual year unknown.] Wolfgang Amadeus Mozart|
|music||galaxy||4010||Bradley, Marion Zimmer. Exile's Song. New York: DAW Books (1996); pg. 76.||"Ivor had not been an adherent of any one of Terra's many faiths--if he had a religion, it was music--so the words were impersonal, almost without impact. "|
|music||galaxy||4600||Weber, David & Steve White. In Death Ground. New York: Baen (1997); pg. 467.||"He leaned forward, and his voice dropped to a basso fit for a Mussorgsky chorus. "|
|music||Georgia: Atlanta||1988||Martin, George R. R. & John J. Miller. Wild Cards VII: Dead Man's Hand. New York: Bantam Books (1990); pg. 255.||"...the band had struck up a rousing chorus of 'Happy Days Are Here Again.' "|
|music||Germany||2001||Stroyar, J.N. The Children's War. New York: Pocket Books (2001); pg. 186.||Pg. 165: Mozart; Pg. 186: "he managed to reconstruct Beethoven's 'Fur Elise,' which was one of the first songs he had ever learned, and a polonaise by Chopin... "|
|music||Grenada||2022||Sterling, Bruce. Islands in the Net. New York: Arbor House/William Morrow (1988); pg. 162.|| "'...They make those little Grenadian Rastas look like Bill Cosby.'
'Who?' David broke in. 'You mean 'Bing' Cosby?' "
|music||Guernsey||1944||Allred, Lee. "The Greatest Danger " in Drakas! (S. M. Sterling, ed.) New York: Baen (2000); pg. 206.||"Then, spontaneously, before services were even finished, someone in the crowd started singing 'God Save the King.' The audience picked it up. Then, once the anthem was finished, they began singing Rule Britannia. With each verse, their voices grew louder. " [Pg. 207: More about the singing of that song, including verses.]|
|music||Idaho||1985||Dick, Philip K. In Milton Lumky Territory. Pleasantville, NY: Dragon Press (1985); pg. 14.||Pg. 14: Johnny Ray; Pg. 52: Haydn Symphony Number 99|
|music||India||1974||Cox, Greg. The Eugenics Wars: The Rise and Fall of Khan Noonien Singh: Volume One (Star Trek). New York: Pocket Books (2001); pg. 148.||"...sang an area from La Boheme (flawlessly) while jumping rope at the same time. "|
|music||Io||2050||Anthony, Patricia. "What Brothers are For " in Eating Memories. Woburn, MA: First Books; Baltimore, MD: Old Earth Books (1997; c. 1988); pg. 29.||"Sometimes when they talked, he'd hum little tunes Jean had taught him: 'Farmer in the Dell' and 'Jingle Bells.' That's why Larry called him 'Hummer.' "|
|music||Italy||1943||Ondaatje, Michael. The English Patient. London, UK: Bloomsbury (1996; c. 1992); pg. 76.||Pg. 76: "One afternoon he announces that the bandleader Glenn Miller has died, his plane having crashed somewhere between England and France. "; Pg. 107: "How Long Has This Been Going On "|
|music||Italy||1974||Cox, Greg. The Eugenics Wars: The Rise and Fall of Khan Noonien Singh: Volume One (Star Trek). New York: Pocket Books (2001); pg. 63.||"Paul McCartney's 'Live and Let Die' was playing loudly over the bar's sound system... "|
|music||Italy||1996||Knight, Damon. Humpty Dumpty: An Oval. New York: Tor (1996); pg. 62.||"Frank Sinatra, singing 'My Way' "|
|music||Kentucky||1986||Claremont, Chris. New Mutants, Vol. 1, No. 42: "New Song for Old ". New York: Marvel Comics Group (Aug. 1986); pg. 2.||"And within a huge, hulking alien temple... a band plays... and Lila Cheney sings--of fear and courage and love. " [Sam is dreaming.]|
|music||Louisiana: New Orleans||2014||Goonan, Kathleen Ann. Crescent City Rhapsody. New York: Tor (2001; c. 2000); pg. 57.||Pg. 57: Duke Ellington; Pg. 58: Ray Nance; Ellington;
Pg. 525: "Kathleen Ann Goonan
Science fiction and music go together for me like . . . well, like Strayhorn and Ellington, like Rogers and Hart, or like Monk and his piano. Most of us have had a sound track since birth. I was fortunate in that mine was jazz. I spent my formative years learning that the variation was usually much more interesting than the theme--but that the theme had to be there, however invisibly, to create the tension required... I've written four jazz-and-blues-based science fiction novels, which take as their theme... " [Extensive refs. to music, particularly to jazz, throughout much of the novel. It is a major theme. Other refs. to music, including to specific musicians and pieces, not in DB.]
|music||Louisiana: New Orleans||2027||Goonan, Kathleen Ann. Crescent City Rhapsody. New York: Tor (2001; c. 2000); pg. 183.||Pg. 183: Ella Fitzgerald; pg. 186: Ellington's Ko Ko [Much more about Duke Ellington, including biographical information, e.g. pg. 202, 208, 488.]|
|music||Louisiana: New Orleans||2039||Goonan, Kathleen Ann. Crescent City Rhapsody. New York: Tor (2001; c. 2000); pg. 488.||"It created a sound as shattering as that of Charlie Parker and Dizzie Gillespie when they blew the first fast riffs of bop, as strange and new as Coltrain's sheets of sound. "|
|music||Louisiana: New Orleans||2366||Friedman, Michael Jan. Fortune's Light (Star Trek: TNG). New York: Pocket Books (1991); pg. 2.||"First there was the music--all kinds, but mostly her beloved jazz, for her father had been a trombone player in a place called New Orleans. Will liked the happy music best, particularly during the endless rainy afternoons when it seemed there had never been and never would be any color in the world but gray. "|
|music||Luna||2001||Clarke, Arthur C. "The Sentinel " in The Sentinel. New York: Berkley Books (1983; c. 1951); pg. 90.||"...for the radio had just played one of my favorite melodies, the old Welsh air, 'David of the White Rock.' "|
|music||Mars||1994||Dick, Philip K. Martian Time-Slip. New York: Ballantine (1981; c. 1964); pg. 165.||Pg. 165: "W.A. Mozart, Symphony 40 in G mol., K 550 "; Pg. 175: "Bach B minor Mass, the Kyrie part "|
|music||Mars||2011||Zubrin, Robert. First Landing. New York: Ace Books (2002; c. 2001); pg. 35.||Pg. 35: "The Star-Spangled Banner "; Pg. 77: 'The Streams of Mars' was a turn-of-the-century Mars Society reworking of the ancient Irish ballad 'The Minstrel Boy.' " [More, including 8 lines of new lyrics for the tune.]; Pg. 108: Hank Williams; Bach toccata; Johann Sebastian Bach; Pg. 158: Verdi's opera Nabucco; Pg. 167: Copland's Rodeo; Pg. 169: "1960's rock and roll. As one system after another checked out, the Beach Boys, the Eagles, the Beatles, the Grateful Dead, and Three Dog Night all blared their best... Simon and Garfunkel were up at bad with, fittingly, 'Homeward Bound.' " [also pg. 120]|
|music||Massachusetts||1970||White, E. B. The Trumpet of the Swan. New York: Harper & Row (1970); pg. 121.||Pg. 121: Louis Armstrong; 'Ol' Man River'; Pg. 138: 'Beautiful Dreamer, Wake Unto Me'; Pg. 139: 'Cradle Song' by Brahms; 'Now the Day Is Over'; Pg. 141: 'Lazy River'; 'Beautiful Dreamer'; 'Oh, Ever in the Greening Spring'; 'Now the Day Is Over'|
|music||Massachusetts: Nantucket||-1250 B.C.E.||Sterling, S. M. Island in the Sea of Time. New York: Penguin (1998); pg. 271.||"And here I thought Whitney Houston was the very definition of hot stuff, she thought. "|
|music||Metropolis||1993||Stern, Roger. The Death and Life of Superman. New York: Bantam (1993); pg. 10.||Pg. 10: "She'll Be Comin' Round the Mountain "; Pg. 69: theme from Star Wars; Pg. 87: Axl Rose; Pg. 271: "'...When I left Metropolis, the supermarket tabloids already had Superman living on the same South Sea island with Elvis and Marilyn Monroe.' "|
|music||Mexico||1991||Ing, Dean. The Nemesis Mission. New York: Tor (1991); pg. 271.||"He began to sing 'El Rancho Grande'... "|
|music||Mississippi||1980||Waldrop, Howard. "Ugly Chickens " in Modern Classics of Science Fiction. (Gardner Dozois, ed.) New York: St. Martin's Press (1991; story c. 1980); pg. 483.||Pg.483: "...listening to classical music, especially Pachelbel's 'Cannon in D.' " [More about this piece.]; Pg. 497: "...listen to Jonathan Richman on the stereo. "|
|music||Missouri||1986||Kessel, John. "The Pure Product " in Modern Classics of Science Fiction. (Gardner Dozois, ed.) New York: St. Martin's Press (1991; story c. 1986); pg. 569.||"Someone was singing the 'Ode to Joy,' abominably. "|
|music||Missouri: St. Louis||1998||Wood, Crystal. Cut Him Out in Little Stars. Denton, TX: Tattersall Publishing (revised and reprinted 1998; c. 1994); pg. 63.||Pg. 60: Neil Diamond; Pg. 63: "The sound tech was more than a little surprised at the familiar melody of J. S. Bach's 'Jesu, Joy of Man's Desiring' which flowed gently... "; Pg. 67: "...as she sang self-consciously but adequately 'I Will Always Love You.' It was a song he knew, for Dolly Parton had recorded it a long time before Whitney Houston had made it a hit. "; Pg. 67: "Yankee Doodle " (also pg. 69); Pg. 69: "...remembered fondly from his own youth in the mid-sixties: the Beatles, the Rolling Stones, Herman's Hermits, Petula Clark, Chad and Jeremy, and several others... 'A World Without Love' and thrashed 'Honky Tonk Woman'... "; Pg. 76: "The soundtrack went suddenly silent, and the rumbling music of Strauss' Also Sprach Zarathustra began. On the first forte phrase, the jumper went over the edge... "|