back to music, world
|music||world||3039||Anderson, Kevin J. & Rebecca Moesta. Titan A.E.: Akima's Story. New York: Ace (2000); pg. 76.||"When Ishaq and his father had shared mint tea and baklava or other pastries, Mohammed often played soothing music, classical pieces from old Earth composers. His favorite had always been Mozart and they would sit together and play Eine Kleine Nachtmusik, The Marriage of Figaro, The Abduction from the Seraglio, his Requiem mass. The Magic Flute, or one of Mozart's other symphonies. With a lump in his throat, Ishaq remembered his father telling him that he believed Wolfgang Amadeus Mozart was the best the Human race had to offer when it came to music... Ishaq guessed it on the third try, a brief passage from the 'Kyrie' of Mozart's Requiem. Appropriate, a requiem for planet Earth. " [More here about listening to Mozart. Also pg. 110-111, 149.] ['Music' is a category that was not indexed before 24 Nov. 2000, and even now we don't plan to index it regularly.]|
|musicals||Austria||2004||Dick, Philip K. The Zap Gun. New York: Bluejay Books (1985; c. 1965); pg. 14.||"...while in bed at the girl's Vienna condominium at two in the morning, long after The Marriage of Figaro had dropped curtain... "|
|musicals||California||1950||Dick, Philip K. Radio Free Albemuth. New York: Arbor House (1985); pg. 5.||"...it became his whole world: Bing Crosby and Frank Sinatra and Ella Mae Morse, Oklahoma, and later South Pacific, and 'Open the Door, Richard.' and 'If I'd Known You Were Coming I'd Have Baked a Cake.' "|
|musicals||California||1975||Dick, Philip K. The Transmigration of Timothy Archer. New York: Timescape Books (1982); pg. 152.||Pg. 152: "Gian Carlo Menotti's opera The Medium " [more about this]; Pg. 179: Berg's opera... I mean, I said to myself, George Buchner's words; he wrote the damn thing "|
|musicals||California||2160||Dick, Philip K. The Game-Players of Titan. Boston, MA: G. K. Hall (1979; c. 1963); pg. 95.||"' 'Things are seldom what they seem; Skim-milk masquerades as cream.' A wonderful statement by the Terran humorist, W.S. Gilbert...' "|
|musicals||California: San Francisco||1906||Baker, Kage. "Son Observe the Time " in The Year's Best Science Fiction, Vol. 17 (Gardner Dozois, ed.) New York: St. Martin's Press (2000); pg. 578.||Pg. 578: Caruso, Carmen; Pg. 583: "CHILDREN!
Come see the Grand Fairy Extravaganza BABES IN TOYLAND
Music by Victor Herbert
Book by Glen MacDonough
...Biggest Musical Production San Francisco Has Seen In Years! " [Many other refs. to Toyland in story.]
|musicals||California: San Francisco||1955||Dick, Philip K. The Broken Bubble. New York: Arbor House/William Morrow (1988); pg. 6.||Pg. 6: "'But that's yours. For the dinner music stretch. Between the Romeo and Juliet Overture... and Till Eulenspiegel.' "; Pg. 21: "'The Romeo and Juliet Overture played by Edward van Beinum and the London Philharmonic.' "|
|musicals||California: San Francisco||1977||Leiber, Fritz. Our Lady of Darkness. New York: Berkley Publishing Corp. (1977); pg. 10.||Pg. 10: The Magic Flute; Pg. 11: The Enchanted Bassoon; Pg. 58-59: The Marriage of Figaro|
|musicals||Canada||1993||Katz, Welwyn Wilton. Come Like Shadows. Regina, Saskatchewan: Coteau Books (2001; 1993); pg. 45.||"Someone was singing an aria from Don Giovanni. "|
|musicals||Denmark: Copenhagen||1925||Ebershoff, David. The Danish Girl. New York: Viking (2000); pg. 4.||Pg. 4-7: a character rehearsing for Carmen [Also pg. 133, etc.]|
|musicals||Discworld||1997||Pratchett, Terry. Maskerade. New York: HarperCollins (1998; c. 1997); pg. 116.||[opera] Pg. 116: "'let you sing the part of Iodine in tonight's production of La Triviata.' " (also pg. 144); Pg. 118: "'...The Ring of the Nibelunginguing... Now that was an opera.'
'Three days of gods shouting at one another and twenty minutes of memorable tunes?' "; Pg. 182: "Die Flederleiv by J. Q. Bubbla, cond. Vochua Doinov. " [Other refs. to famous operas with altered names. Opera is a central thematic element in novel, and main character is an opera singer.]
|musicals||Florida||1994||Clarke, Arthur C. & Gentry Lee. Cradle. New York: Warner Books (1988); pg. 150.||"...my favorite is the theme song from the musical Cats...' " [More, pg. 151.]|
|musicals||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... "|
|musicals||galaxy||2294||David, Peter. The Captain's Daughter (Star Trek). New York: Pocket Books (1995); pg. 5.|| "'...I remember when I was real little, my father would sing me this song at nighttime. IT was called 'Bushel and a Peck.' '
'What and a what?'
'It's old-style units of measurement. I didn't know that when I was little, mind you. I thought they were just sort of nonsense words. The song went, 'I love you, a bushel and a peck, a bushel and . . .'...In any event, I just--in my childish way--kind of figured that he'd made the song up just for me. And I was shocked to find out that it was actually from an old musical show called Guys and Dolls.'
'It was about men playing with dolls?'
'It was about gamblers, I think.'
'Gamblers?' Demora made a face. 'Singing gamblers?'
'Well, the same era also had shows about singing cats and singing barbers who killed people and turned them into meat pies. What can I tell you; it was an odd and perverse time...' "
|musicals||galaxy||2367||Duane, Diane. Dark Mirror (Star Trek). New York: Pocket Books (1993); pg. 81.||Pg. 81: The Merry Widow; Pique Dame; Der fliegende Hollander; pg. 84: Ring; West Side Story; Pg. 171: Song of the Twelve|
|musicals||galaxy||2374||Cox, Greg. Q-Space (Star Trek: TNG / The Q Continuum: Book 1 of 3). New York: Pocket Books (1998); pg. 45.||Pg. 45: "The music of Carmen, the original French Radio recordings, played softly in the background. He sat pensively at his desk as Escamillo sang his Toreador's Song, the infectious melody decidingly at odds with his own somber musings. "; Pg. 48: "Pouring out his soul in the background, Don Jose, the tragic soldier of Bizet's opera... " [More about this, pg. 48-50.]|
|musicals||galaxy||2375||Smith, Dean Wesley & Kristine Kathryn Rusch. Shadow (Star Trek: Voyager/Section 31 #4). New York: Pocket Books (2001); pg. 201.||"The last thing he [the EMH/Doctor] remembered was updating patient files and asking the computer to choose a version of The Marriage of Figaro that used traditional instruments in the orchestral part. "|
|musicals||Illinois||1960||Simmons, Dan. Summer of Night. New York: G. P. Putnam's Sons (1991); pg. 73.||Pg. 73: The Barber of Seville; Pg. 156: "Broadway shows were still shut down by an Actors Equity strike "|
|musicals||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. "|
|musicals||Louisiana: New Orleans||1990||Rice, Anne. The Witching Hour. New York: Ballantine (1993; c. 1990); pg. 54.||My Fair Lady; Caligula; Maxim Gorky's The Lower Depths; James Joyce; Ulysses in Nighttown; La Boheme|
|musicals||Mars||1994||Dick, Philip K. Martian Time-Slip. New York: Ballantine (1981; c. 1964); pg. 45.||"paused in the middle of the Dance of the Sugar Plum Fairy from Tchaikovsky's Nutcracker Suite " [More]|
|musicals||New Jersey||1986||Hubbard, L. Ron. Mission Earth Vol. 6: Death Quest. Los Angeles, CA: Bridge Publications (1986); pg. 190.||"...he, of course, left to his own choice, put on the Italian opera Rigoletto, where everybody kills everybody and even drowns them in a sack still singing. "|
|musicals||New York: New York City||1955||Knight, Damon. "You're Another " in Far Out. New York: Simon and Schuster (1961; c. 1955); pg. 146.||"The melody was that of the 'Toreador Song' from Carmen... "|
|musicals||New York: New York City||1986||Anderson, Jack. Control. New York: Kensington Publishing Corp. (1988); pg. 26.|| "'I've got lines to speak in the nude,' she had explained, still gushing. 'I'm pleading with this villain to let me put my clothes on again. I mean . . . you see, I'm a young woman being interrogated by thought police in Czechoslovakia, and they've taken away my clothes as a psychological ploy. It's a real play, Bert--not Oh, Calcutta.'
'Sounds great,' he said.
She kissed him again. 'I want you to be proud of me,' she whispered, suddenly tearful.
'I'm already proud of you,' he had said.
The play had run four months. She had received good notices but not the raves that would launch her career into orbit. "
|musicals||New York: New York City||1995||Hand, Elizabeth. Waking the Moon. New York: HarperPrism (1995); pg. 332.||"'Wanna go see Cats?' "|
|musicals||New York: New York City||2002||Friesner, Esther M. Men in Black II. New York: Ballantine (2002); pg. 1.||"Go ahead, ask him, about your chances for getting into this smash-hit Broadway musical... "|
|musicals||New York: New York City||2015||Westerfeld, Scott. Polymorph. New York: Penguin (1997); pg. 210.||Phantom of the Opera|
|musicals||Ontario: Toronto||1991||Huff, Tanya. Blood Price. New York: DAW Books (1991); pg. 118.||"'...I've got tickets to the Phantom for May fourth. You said you wanted to see it and now's your chance. Give me a call...' "|
|musicals||Solar System||3001||Clarke, Arthur C. 3001: The Final Odyssey. New York: Ballantine (1997); pg. 69.||"But Tschaikovsky would have been utterly astonished to see this performance of Swan Lake--with the dancers actually flying . . . " [More, not in DB, pg. 69-70.]|
|musicals||United Kingdom||1979||Adams, Douglas. The Hitchhiker's Guide to the Galaxy. New York: Harmony Books (1979); pg. 30.|| "Still, he knew what he had to do. As the Vogon craft screamed through the air high above him he opened his satchel. He threw away a copy of Joseph and the Amazing Technicolor Dreamcoat, he threw away a copy of Godspell: he wouldn't need them where he was going. Everything was ready, everything was prepared.
He knew where his towel was. "
|musicals||United Kingdom||1994||Holdstock, Robert. The Hollowing. New York: Roc (1994); pg. 290.||"Pirates of Penzance "|
|musicals||United Kingdom: London||2012||Clarke, Arthur C. The Ghost from the Grand Banks. New York: Bantam (1990); pg. 90.||"'Aren't you seeing anything of London? I can get you tickets to the new Andrew Lloyd Webber-Stephen King show...' "|
|musicals||USA||1943||Bishop, Michael. Brittle Innings. New York: Bantam (1994); pg. 322.||Swan Lake|
|musicals||USA||1965||Vonnegut, Kurt. Slaughterhouse-Five. New York: Random House (1999; c. 1969); pg. 118.||Pirates of Penzance|
|musicals||USA||1966||Geary, Patricia. Strange Toys. New York: Bantam (1989; c. 1987); pg. 9.||The Nutcracker Suite|
|musicals||USA||1990||De Haven, Tom. Walker of Worlds. New York: Doubleday (1990); pg. 12.||Pg. 12: Phantom of the Opera; Pg. 14: Cats; Pg. 24: 'The Music Man' (also pg. 174)|
|musicals||USA||1993||Brust, Steven. Agyar. New York: Tor (1993); pg. 60.||Oklahoma!; The Music Man; West Side Story; South Pacific|
|musicals||USA||1993||DeChance, John. MagicNet. New York: William Morrow and Co. (1993); pg. 36.||Nutcracker|
|musicals||USA||1994||Brooks, Terry. The Tangle Box. New York: Ballantine (1994); pg. 142.||"'...you might be an actress or something. Like in Cats...' "; Broadway; Neil Simon|
|musicals||USA||1995||Siddoway, Richard. The Christmas Wish. New York: Harmony Books (1998; c. 1995); pg. 77.||"Renee nodded to him and he punched a button on the cassette player. The notes of Tchaikovsky's 'Nutcracker Suite' filled the studio. "|
|musicals||USA||1997||Bradbury, Ray. "Driving Blind " in Driving Blind. New York: Avon Books (1997); pg. 91.||Phantom of the Opera|
|musicals||USA||1998||Wood, Crystal. Cut Him Out in Little Stars. Denton, TX: Tattersall Publishing (revised and reprinted 1998; c. 1994); pg. 151.||"He selected a Louis L'Amour novel he had not already read... "|
|musicals||USA||1999||Hand, Elizabeth. Glimmering. New York: HarperCollins (1997); pg. 76.||Pg. 76: La Traviata; Rent; Pg. 198: The King and I|
|musicals||USA||2025||Dick, Philip K. The Penultimate Truth. New York: Dell (1964); pg. 62.||The Mikado; Gilbert and Sullivan|
|musicals||USA||2026||Moffett, Judith. Time, Like an Ever-Rolling Stream. New York: St. Martin's Press (1992); pg. 50.||Candide|
|musicals||Utah: Beaver County||2010||Hickman, Tracy. The Immortals. New York: ROC/Penguin Books (1997; c. 1996); pg. 336.||"'...Do I have to wear an armband or sing the last chorus of Les Miserables? "|
|musicals||Virginia||1996||McDevitt, Jack. Ancient Shores. New York: HarperCollins (1996); pg. 86.||"Lisa Yarborough had spent a pleasant evening with a half-dozen friends watching Cats... "|
|musicals||world||1988||Ing, Dean. The Big Lifters. New York: Tor (1988); pg. 0.||[Frontispiece] "Plain truth is what happens
when people run out of ideas.
|musicals||world||1992||Tepper, Sheri S. Sideshow. New York: Bantam (1993; c. 1992); pg. 48.||"Elephant men had been reenacted on Broadway and in the movies. "|
|musicals||world||1997||Ing, Dean. Flying to Pieces. New York: Tom Doherty Associates (1997); pg. 116.||"'You think she'd get kidnapped, like in Seven Brides for Seven Brothers?' "|
|musicals||world||1997||Sawyer, Robert J. Illegal Alien. New York: Ace Books (1997); pg. 12.||"'Want to take 'em [the aliens] to see Cats?' said Clete. "|
|musicals||world||2008||McDonald, Ian. Evolution's Shore. New York: Bantam (1997; c. 1995); pg. 205.||Pg. 205: "First of all Shepard sang the Periodic Table to the tune of Gilbert and Sullivan's 'I Am the Very Model of a Modern Major-General.' "; Pg. 211: "...singing 'Consider Yourself' from Oliver.; Pg. 304: "The Siberian pilots performed 'There Is Nothing Like a Dame' from South Pacific in Gaby's honor...' "|
|musicals||world||2050||Bova, Ben. "Acts of God " in Sam Gunn Forever. New York: Avon (1998; c. 1995); pg. 21.||The Nutcracker|
|Muskogee||world||1722||Keyes, J. Gregory. A Calculus of Angels. New York: Ballantine (1999); pg. 98.||-|
|Muslim Brotherhood||Mars||2048||Robinson, Kim Stanley. Red Mars. New York: Bantam (1993); pg. 352.||"Rashid Niazi, the Syrian representative to the conference, passed by and gave Chalmers a cool nod. Frank returned it and walked on. Because of Selim el-Hayil, the Ahad wing of the Moslem Brotherhood had gotten blamed for Boone's assassination... "|
|Muslim Brotherhood||Mars||2114||Robinson, Kim Stanley. Green Mars. New York: Bantam (1994); pg. 387.||"Scores of entries, hundreds!... The Bern connection, the Moslem Brotherhood, MarsFirst... "|
|Muslim Brotherhood||Mars||2181||Robinson, Kim Stanley. Blue Mars. New York: Bantam Books (1996); pg. 540.|| "'Did the Muslim Brotherhood often have internal conflicts this severe?'
'At that time they did. But why on that night, I don't know. Someone set them on each other...' "
|mutants||Arizona||1998||Golden, Christopher. X-Men: Codename Wolverine. New York: G. P. Putnam's Sons (1998); pg. 3.||"The man called Sabretooth was savage, a primal beast for whom killing was a pleasure. He could rend human flesh with fangs and claws provided him by a genetic x-factor in his DNA that made him a mutant. Could and did, when the mood struck him. " [Mutants, of course, are featured prominently in this novel, especially Sabretooth, Wolverine, Banshee and Maverick. Other refs. not in DB.]|
|mutants||Australia||2050||Egan, Greg. Permutation City. New York: HarperPrism (1995); pg. 25.|| "No mutants had yet persisted for more than a couple of generations; all the changes so far had evidently done more harm than good. Partial sequences of the mutant genes scrolled by in a small window; Maria gazed at the blur of codons, and mentally urged the process on--if not straight toward the target (since she had no idea what that was), then at least . . . outward, blindly, into the space of all possible mistakes.
It was a nice thought. The only trouble was, certain portions of the genes were especially prone to particular copying errors, so most of the mutants were 'exploring' the same dead ends again and again. " [More refs. here about mutation, in a cell culture.]
|mutants||Brazil: Nova Roma||1983||Claremont, Chris. New Mutants, Vol. 1, No. 10: "Betrayal ". New York: Marvel Comics Group (Dec 1983); pg. 3.||Danielle: "Enjoy the parade, Rahne? "; Rahne: "It was verra exciting. but they should na' call me a goddess... 'tis na' proper. "; Senator Gallio: "But to my people, child, that is precisely what you are. And who is to say they are not right? Perhaps the gods were beings like yourselves... mutants--people gifted with extraordinary powers and abilities. " [Other refs. to mutants throughout, not in DB. Mutants featured in this issue: Wolfsbane, Cannonball, Mirage, Sunspot, Magma, Selene.]|
|mutants||Brazil: Nova Roma||1983||Claremont, Chris. New Mutants, Vol. 1, No. 9: "Arena ". New York: Marvel Comics Group (Nov 1983); pg. 21.||"As Rahne resumes her lupine persona... she also activates the special mindlink between her and Dani... an outgrowth of the psionic rapport the young Cheyenne shares with all animals. " [Mutants featured in this issue: Mirage, Wolfsbane, Sunspot, Cannonball, Magma, Selene.]|
|mutants||Brazil: Rio de Janiero||1984||Claremont, Chris. New Mutants, Vol. 1, No. 12: "Sunstroke ". New York: Marvel Comics Group (Feb 1984); pg. 4.||Roberto, to his father: "I am no longer a child to be spanked. In this guise, I am Sunspot--a mutant--possessing the power to level this building if I wished. So some that makes me a monster. But looking at you, I wonder which of us more fully deserves that name. " [Other refs. throughout story, not in DB. Mutants featured in this issue: Sunspot, Magma, Cannonball, Wolfsbane, Mirage.]|
|mutants||California||1985||Claremont, Chris. New Mutants, Vol. 1, No. 32: "To the Ends of the Earth ". New York: Marvel Comics Group (Oct. 1985); pg. 4.||Roberto: "She [Karma] deserved better, Sam--we all do! Madonna, we are children. It is not our place to risk our lives for a world that hates us simply because we are mutants, cursed with these powers! " [Other refs. throughout story. Mutants featured in this issue: Cannonball, Sunspot, Karma, Wolfsbane, Mirage, Magik, Warlock, Cypher, Magma.]|
|mutants||California: Los Angeles||1985||Claremont, Chris. New Mutants, Vol. 1, No. 31: "Saturday Night Fight ". New York: Marvel Comics Group (Sep. 1985); pg. 2.||"...Alison Blaire, the Dazzler. Like Bobby and Amara, she's a mutant--born with fantastic powers that brand her as an outcast from humanity as surely and irrevocably as God's mark did Cain. She takes sound--her song, her music... and transforms it into light... " [Other refs. throughout. Mutants featured in this issue: Dazzler, Sunspot, Magma, Cannonball, Magik, Rachel Summers, Kitty Pryde, Karma.]|
|mutants||California: San Francisco||1955||Dick, Philip K. The Broken Bubble. New York: Arbor House/William Morrow (1988); pg. 176.|| "'The idea is that she was really a human being and not from some other universe.'
'You mean a Martian?'
'A mutant. He thought she was a nonhuman mutant.'
'Is that supposed to be Art, that whatever his name is?'
'It's based on Art.'
'What's he supposed to be, a mutant like her?'
'That's what he found out,' Ferde Heinke said. 'He was a human being, too...' "