songs in AtD

[robinlandseadel at comcast.net]

          robinlandseadel:
          Note, however, all the references [more than anywhere 
          else in Pynchon's ouvre] to such classical works as 
          "Fantasia on a Theme by Thomas Tallis," Chopin's 
          Nocturnes and Offenbach, with a little Richard Strauss 
          on the side.

          Michael Bailey:
          tho not absent in earlier works, but yes, more here

I know that I'll have to plunge into Mason & Dixon again, just to scrye
the songs, as they left no mark on my memory. There were classical
music references, as I recall, but other than Weird ol' Ben Franklin 
at the Glass Harmonium nothing's left a permanent impression.

          R: And yes, compared to "Loonies on Leave," or 
          "Floozy with an Uzi,"—most anything in GR or 
          Vineland or CoL49—the songs suck, at least in 
          comparison.

          MB: 
          de gustibus...
          I'd hold up "eyes of a new york woman" before loonies 
          or floozy and I like the AtD songs (just have been 
          humming the "Proper Crop o' Propaganda" song)

De gustibus indeed, I'm the proud owner of Benny Andersson's 
"Klinga Mina Klocker"—who am I to argue or to judge?

Almost all of Pynchon's song lyrics serve satirical purposes—GR has
a few interesting exceptions in Geli's little song and the masterful 
Aqyn's Song. The two songs I cited are choreographed in very 
inventive ways. "Loonies" is is fully staged number from a musical
that only Pynchon could conceive, fitting in with the many themes
from movie musicals found all through Gravity's Rainbow:

          (The-Chorus line is divided not into the conventional Boys 
          and Girls but into Keepers and Nuts, without regard to sex, 
          though all four possibilities are represented on stage. Many 
          are wearing sunglasses with black lenses and white rims, 
          not so much to be fashionable as to suggest snow-blindness, 
          the antiseptic white of the Clinic, perhaps even the darkness 
          of the mind. But all seems happy, relaxed, informal ... no sign 
          of repression, not even a distinction in costume so that at first 
          there is some problem telling Nuts from Keepers as they all 
          burst in from the wings dancing and singing): 

          Here we come foax-ready or not! 
          Put your mask on, and plot your plot, 
          We're just laughin' and droolin', all--over 
                    the sleigh, 
          Like a buncha happy midgets on a holiday! 

          Oh we're the LOONIES ON LEAVE, and 
          We haven't a care—
          Our brains at the cleaners, our souls at the Fair, 
          Just freaks on a fur-lough, away from the blues, 
          As daffy and sharp as-the taps on our shoes! 
          Hey, we're passin' the hat for-your frowns and 
                    your tears, 
          And the fears you thought'd never go 'way— 
          Oh take it from a loony, life's so dear and swoony, 
          So just hug it and kiss it to-day! 
          La-da-da, ya-ta ya-ta ta-ta &c ... (They go on 
          humming the tune behind what follows): 

          First Nut (or maybe Keeper): Got an amazing deal for you 
          here,  American? I thought so, always tell a face from 
          home, saaay. . . .

http://tinyurl.com/4s3uuq

Vineland continues the theme of echos from Movie Musicals
and choreographed moves with DL's "Floozie":

          . . . . DL came sauntering up to the mike in front of the 
          reassembled Vomitones, having with kunoichi deftness 
          removed an Uzi from its owner's sheath - "Hi, handsome, 
          mind if I borrow this?" - to use as a prop, and, twirling it 
          like a six-gun in a movie, taking time steps and shaking 
          her hair around, sang, to the band's accompaniment, 

          Just a floo-zy with-an U-U-zi ... 
          Just a girlie, with-a-gun ... 
          When I could have been a mo-del, 
          And I should have been a nu-un .... 

          Oh, just what was it about that 
          Little Israeli machine? ... 
          Play all day in the sand, 
          Nothin' gets, jammed, under
          Stand ... what I mean —
          
          So Mis-ter, you can keep yer len-ses, 
          And Sis-ter, you can keep yer beads ... 
          I'm ridin' in Mercedes Ben-zes, 
          I'm takin' care of all my needs .... 

          I'll lose my blues, in some Jacuz-zi, 
          Life's just a lotta good clean fun, 
          For a floo-zy with-an U-U-zi, 
          For a girlie, with-a-gun .... 

          Ralph loved it, screaming, "One more time!" DL tossed the 
          weapon back to the bewildered gunsel, Isaiah slowed the 
          rhythm down and on the final eight bars hit every other 
          beat with a heavy rimshot, an old show-tune tactic American 
          audiences are conditioned to meet with wild applause, which 
          is what happened, along with cries of "Who's your agent?" 
          and "Are you married?"

Weirdly enough, I stumbled across this pop/punk rendition of 
the song by a band named Lodger, musically residing somewhere 
between the Buzzcocks and Cake:

http://www.youtube.com/watch?v=8lRQYaV2S6k

Now, what I want to know: "Eyes of a New York Woman"—
is this a song in AtD or are you refering to to BJ Thomas' great:

http://www.youtube.com/watch?v=0VDki0CBALs

???