Music

• A synth stab from As if it Would Have a Universal and Memorable Ending by Shane Carruth’s score to his film, Upstream Color, a movie I love deeply. 
• Smoke Gets in Your Eyes by the Platters
• The Girl Who was Frightened of Ashtrays by Charlie Megira
• Sambolero by Luiz Bonfa. 
• Water by So Percussion
• Divertimiento Fur Tenorsaxophon Und Kleines Ensemble (Part 4) from Carl Oesterhelt and Johannes Ender.
• Ball by Duval Timothy
• Piece 3 by the great Warren Ellis.
• Chora tua Tristeza from Lalo Schiffrin
• Growing Up from Ben Sollee’s score to Maidentrip
• (Vibraphone, Marimbaphone, Malletted Wood, Two Synthesizers) and (Two Bells) by Josiah Steinbrick
• Main et lee from Michel Portal

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Music

• Un geant dans la mer and Triste soiree III from the score to Marie et les naufrages by the genius, Sebastian Tellier. 
• Love is Blue by Jackie Mittoo and the Soul Vendors.
• Rocky Passage by Jeremiah Chiu and Marta Sofia Honer
• Morris Visits Dr. Pratt from John Barry’s score to The Wrong Box
• Adios Muchachos from Andre Popp
• Moonlight in Vermont from the great Dorothy Ashby. 
• Midnight Moon by The Portland Cello Project
• Dance PM by Hiroshi Yoshimura
• And we hear Blind Andy Jenkins’ “Floyd Collins in Sand Cave” followed by Vernon Dalhart doing the same song under the name, “The Death of Floyd Collins.” We also hear Jimmy Osbourne do Andy’s, “The Death of Little Kathy Fiscus.”

Notes

• I have a note in my years-long running list of possible story ideas that says, “event songs,” but I could never remember why. Then I was reading Charles Hirschberg and Mark Zwonitzer’s, Will You Miss me When I’m Gone?: The Carter Family & Their Legacy in American Musicand was reminded of Andy’s story (that book is great).
• I also recommend the always-useful, Country Music USA, by Bill C. Malone for more on Andy and his era as well as Creating Country Music: Fabricating Authenticity by Richard A. Peterson.
• If you want more about poor Floyd Collins, you could turn to Robert K. Murray and Roger W. Bruckner’s, Trapped!: The Story of Floyd Collins.

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A note on notes: We’d much rather you just went into each episode of The Memory Palace cold. And just let the story take you where it well. So, we don’t suggest looking into the show notes first.

Music

• How to be Invisible, by Thruppence.
• Motion by Peter Sandberg.
• Art Blakey’s magical, Come out and See Me Tonight
• And, of course, So What, from Kind of Blue

Notes

• I relied a lot on this extensive oral history interview from The Smithsonian.

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A note on notes: We’d much rather you just went into each episode of The Memory Palace cold. And just let the story take you where it well. So, we don’t suggest looking into the show notes first.

Music

• Wiegenfield, S. 198 as played Khatia Buniastihivilli
• Van McCoy sings Mr. DJ
• Vier Stucke fur Xylophon
• Love is Blue by Jackie Mittoo
• Calvary by Quicksilver Messenger Service
• Tizita by Tijist Ejigu
• Violin Solo no. 1 by Peter Broderick
• Two Aquerelles 1. Slow
• The Hustle by Van McCoy
• Coffee Beans by Moondog
• Dogs of Straw from Larry Groupe’s score to Straw Dogs
• Flowering Jasmine by George Pelecis
• Visit Croatia by Alabaster DePlume
• Absence by Matti Bye

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A note on notes: We’d much rather you just went into each episode of The Memory Palace cold. And just let the story take you where it well. So, we don’t suggest looking into the show notes first.

Music

• Metaphysical Waltz by Shirley Meyer Blankenship
• …morphs into Jock O’Hazeldean by Cynthia Boener
• There’s Dominique Dumont’s La bataille de neige
• The Squimp from the Chico Hamilton Quintet
• Fruit of Dreams by Les Baxter
• Rags to Riches by Tony Bennett

Notes

• Best place to go if you want to learn a lot about Todd Storz is The Birth of Top 40 Radio: The Storz’ Stations Revolution of the 1950s and 1960s by Richard Fatherly and David MacFarland.
• For a loving history of the whole era, you’d probably enjoy Ben Fong Torres’ The Hits Just Keep on Coming: The History of Top 40 Radio

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Peri Banu vid Sjon (VERSION) by Dungen
In a Landscape by John Cage
Quartet for Four Percussionists IV: Fast by John Cage
Dream by John Cage
Completely Gone by Ludwig Gorannson
The Introduction and Chi C’e Per Farmi i Rici from The Girl of the Golden West
L’approche Du Nuage by Sylvain Chaveu

Notes

The story of John Cage in the anechoic chamber was first told to me maybe twenty years ago by my friend Dave Panosky one night while walking around Providence. It was precisely the type of story that I wanted to one day make a show to tell. You can find it in a lot of places including in Cage’s own writing.

I first came across the second silent room in Alex Ross’ wonderful, The Rest is Noise.

I also tapped into Puccini and the Girl: History and Reception of Girl of the Golden West by Annie Randall and Rosalind Gray Davis.

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• We start with 666 from the score to The Omen.
• Transition to Fremd by Lambert.
• Go to Monster Mash by Bobby “Boris” Pickett.
• Hear some of Leonard Berstein’s score to Rebel Without a Cause.
• Hit Denmark by the Portland Cello Project
• And hear some of Musette’s On the Green Tape.

Notes

• Bobby’s story is covered in a lot of histories of one hit wonders and novelty tunes. But, if you want to really dig in, you should read, Monster Mash: Half Dead in Hollywood, his autobiography.

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• Sunrise Through the Dusty Nebula by Hannah Peel
• Keep by Nils Frahm
• Horizon Variations by Max Richter
• She cycles through: Where or When by Hal Kemp & His Orchestra, Smarty (You Know it All) by Fats Waller, Dear Mr. Gable: You Made Me Love You by Judy Garland, Hellhounds on My Trail by Robert Johnson, and The Big Apple by Tommy Dorsey and his Clambake Seven.
• Future Waves by Uther Moads.
• And Vapour Trail by Ride, forever.

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• I first heard about Hazel Scott while reading Rad American Women from A to Z to my daughter. It’s a wonderful book. You should buy it for any kid in your life.
• I read a lot about Hazel, but Karen Chilton’s biography, Hazel Scott: A Pioneering Jazz Pianist from Cafe Society to HUAC was essential.

Music

• Starts with Christope Beck and DeadMono’s theme to Charlie Countryman.
• Prelude for HS by Hakon Stene.
• Tezeta (Nostalgia) from Malatu Astatke, from Ethiopiques vol. 4, one of my favorite pieces of music in the world.
• Marian Lapansky plays Camille Saint-Saens “Le Sygne.”
• Which fights with Piero Umiliani’s Danza Primitiva.
• Warren Ellis rounds it out with his Lale’s Theme from his terrific score to Mustang (which you should totally see).
• The Hazel Scott pieces can be found here and here.

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Music
* Lots of Washington Phillips.
* Starts with As Old Roads, by Goldmund.
* Don’t Worry, by (Memory Palace favorite) Zoe Keating.
* 1979 by Deru.

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I read a lot about Jane for this but nothing was as useful as Ilene Stone’s lovely book, “Jane Froman: Missouri’s First Lady of Song.”

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The song I talk about is “A Girl’s Tool-Box,” by a band called Tattle-Tale. It was Jen Wood (who’s got a bunch of solo records) and Madigan Shive in a cello punk band thing called Bonfire Madigan that I saw a few times back in the day. There’s a version of the song on their Kill Rock Stars full-length but it’s faster and kind of indie-popped out in a way that is perfectly acceptable but kind of bummed me out when I heard it, having thought I’d found the song I’d been looking for. You can google around and found the cassette version on your own, if that’s the way you want to play it.

Score wise:

It’s “Bible Silver Corner” from Rodan’s album, Rusty, which was about all I listened to for months on end in 1994.

Some version of Debussy’s Sarabande II (or II. Sarabande, I don’t know how those things go) comes next and circles back for a sec at the end.

A piece called “Arm Drawing” from the 500 Days of Summer score (chopped up and looped and whatnot) does a lot of the heavy lifting.

The opening theme of Please Give, the (very good) Nicole Holofcener movie has become the memory palace’s unofficial theme for anytime PT Barnum shows up in a story.

OH: the thing under the intro is “Old New Bicycle” by Helvetia. It’s often the music under show intros.

There’s also a snippet of Beatles in there that I don’t know if anyone else will actually be able to hear.

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A version of this story was originally commissioned for an exhibit at the Scottsdale Museum of Contemporary Art in 2009. (Note, if you have a museum and want some audio that isn’t super boring, drop me a line).

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