Fire Island is the large center island of the outer barrier islands parallel to the south shore of the mainland of Long Island. The island is 31 miles long and varies between 520 and 1,310 feet wide, its land area is 9.6 square miles. Fire Island is part of New York, it lies within the towns of Babylon and Brookhaven, containing two villages and a number of hamlets. All parts of the island not within village limits are part of the Fire Island census-designated place, which had a permanent population of 292 at the 2010 United States Census, though that expands to thousands of residents and tourists during the summer months. Since the late 1930's the LGBTQ community has been visiting the island to summer; every year on the fourth of July hundreds of drag queens board the ferry from Cherry Grove to The Pines in a reenactment of the 1976 act of solidarity now known as the "Invasion of the Pines". In 2012, Hurricane Sandy breached Fire Island in three places. Two of the breaches were filled in, but the third has remained open, under a plan by the U.
S. National Park Service, will be left to evolve naturally; as of 2018, Fire Island is still split in two by the breach. Fire Island lies an average of 3.9 miles off the south shore of Long Island, but nearly touches it along the east end. It is separated from Long Island by Great South Bay, which spans interconnected bays along Long Island: Patchogue Bay, Bellport Bay, Narrow Bay, Moriches Bay; the island is accessible by automobile near each end: via Robert Moses Causeway on its western end, by William Floyd Parkway near its eastern end. Cross-bay ferries connect to over 10 points in between. Motor vehicles are not permitted on the rest of the island, except for utility and emergency access and with limited beach-driving permits in winter; the island and its resort towns are accessible by boat, seaplane and a number of ferries, which depart from Bay Shore and Patchogue. Fire Island is located at 40°39'35" north, 73°5'23" west. According to the United States Census Bureau, Fire Island has a land area of 9.6 square miles.
The dimensions of the island have changed over time and they continue to change. At one point it stretched more than 60 miles from Jones Beach Island to Southampton. Around 1683, Fire Island Inlet broke through; the Fire Island Inlet grew to 9 miles in width before receding. The Fire Island Lighthouse was built in 1858, right on the inlet, but Fire Island's western terminus at Democrat Point has moved west so that the lighthouse today is 6 miles from the inlet. Fire Island separated from Southampton in a 1931 Nor'easter. However, this was expected; the inlet widened on September 21, 1938. Moriches Inlet and efforts by local communities east of Fire Island to protect their beach front with jetties have led to an interruption in the longshore drift of sand going from east to west and is blamed for erosion of the Fire Island beachfront. Between these major breaks there have been reports over the years of at least six inlets that broke through the island but have since disappeared; the origin of Fire Island's name is not certain.
It is believed its Algonquian name was Sictem Hackey, which translates as "Land of the Secatogues". The Secatogues were a tribe in the area of the current town of Islip, it was part of what was called the "Seal Islands". The name of Fire Island first appeared on a deed in 1789. Historian Richard Bayles suggested that the name derives from a misinterpretation or corruption of the Dutch word vijf, or in another version vier, referring to the number of islands near the Fire Island inlet. At times histories have referred to it in the plural, as "Fire Islands", because of the inlet breaks. Other versions say the island derived its name from fires built on the sea's edge by Native Americans or by pirates to lure unsuspecting ships into the sandbars; some say. Yet another version says. While the western portion of the island was referred to as Fire Island for many years, the eastern portion was referred to as Great South Beach until 1920, when widespread development caused the whole land mass to be called Fire Island.
William "Tangier" Smith held title to the entire island in the 17th century, under a royal patent from Thomas Dongan. The remnants of Smith's Manor of St. George are open to the public in New York; the first large house was built in 1795 in Cherry Grove by Jeremiah Smith. Smith was said to have killed the crews. In the early 19th century when slavery was still legal in New York, slave runners built stockades on the island by the Fire Island Inlet; the first Fire Island Lighthouse was built in 1825 and was replaced by the current lighthouse in 1858. In 1855, David S. S. Sammis bought 120 acres near the Fire Island Lighthouse and built the Surf Hotel at what today is Kismet. Sammis operated the hotel until 1892. In 1908, it became the first state park on Long Island. In 1868, Archer and Elizabeth Perkinson bought the land around Cherry Fire Island Pines, they built a hotel in 1880. In 1887, the Coast Guard established 11 manned lifesaving stations on the island. In 1892, troops were called out to suppress a potential riot at Democrat Point over a cholera panic.
In 1908, Ocean Beach was established, followed by Saltaire in 1910. In 1921, the Perkinsons sold the land around Cherry Grove in small lots. Bungalows fr
The twelve-inch single is a type of gramophone record that has wider groove spacing and shorter playing time compared to LPs. This allows for louder levels to be cut on the disc by the mastering engineer, which in turn gives a wider dynamic range, thus better sound quality; this record type is used in disco and dance music genres, where DJs use them to play in clubs. They are played at either 45 rpm. Twelve-inch singles have much shorter playing time than full-length LPs, thus require fewer grooves per inch; this extra space permits a broader dynamic range or louder recording level as the grooves' excursions can be much greater in amplitude in the bass frequencies important for dance music. Many record companies began producing 12-inch singles at 33 1⁄3 rpm, although 45 rpm gives better treble response and was used on many twelve-inch singles in the UK; the gramophone records cut for dance-floor DJs came into existence with the advent of recorded Jamaican mento music in the 1950s. By at least 1956 it was standard practice by Jamaican sound systems owners to give their "selecter" DJs acetate or flexi disc dubs of exclusive mento and Jamaican rhythm and blues recordings before they were issued commercially.
Songs such as Theophilus Beckford's "Easy Snappin'" were played as exclusives by Sir Coxson's Downbeat sound system for years before they were released in 1959 – only to become major local hits pressed in the UK by Island Records and Blue Beat Records as early as 1960. As the 1960s creativity bloomed along, with the development of multitrack recording facilities, special mixes of rocksteady and early reggae tunes were given as exclusives to dancehall DJs and selecters. With the 1967 Jamaican invention of remix, called dub on the island, those "specials" became valuable items sold to allied sound system DJs, who could draw crowds with their exclusive hits; the popularity of remix sound engineer King Tubby, who singlehandedly invented and perfected dub remixes from as early as 1967, led to more exclusive dub plates being cut. By 10-inch records were used to cut those dubs. By 1971, most reggae singles issued in Jamaica included on their B-side a dub remix of the A-side, many of them first tested as exclusive "dub plates" on dances.
Those dubs included drum and bass-oriented remixes used by sound system selecters. The 10-inch acetate "specials" would remain popular until at least the 2000s in Jamaica. Several Jamaican DJs such as DJ Kool Herc exported much of the hip hop dance culture from Jamaica to the Bronx in the early 1970s, including the common Jamaican practice of DJs rapping over instrumental dub remixes of hit songs leading to the advent of rap culture in the United States. Most the widespread use of exclusive dub acetates in Jamaica led American DJs to do the same. In the United States, the twelve-inch single gramophone record came into popularity with the advent of disco music in the 1970s after earlier market experiments. In early 1970, Cycle/Ampex Records test-marketed a twelve-inch single by Buddy Fite, featuring "Glad Rag Doll" backed with "For Once in My Life"; the experiment aimed to energize the struggling singles market, offering a new option for consumers who had stopped buying traditional singles. The record was pressed at 33 rpm, with identical run times to the seven-inch 45 rpm pressing of the single.
Several hundred copies were made available for sale for 98 cents each at two Tower Records stores. Another early twelve-inch single was released in 1973 by soul/R&B musician/songwriter/producer Jerry Williams, Jr. a.k.a. Swamp Dogg. Twelve-inch promotional copies of "Straight From My Heart" were released on his own Swamp Dogg Presents label, with distribution by Jamie/Guyden Distribution Corporation, it was manufactured by Jamie Record Co. of Pennsylvania. The B-side of the record is blank; the first large-format single made for DJs was a ten-inch acetate used by a mix engineer in need of a Friday-night test copy for famed disco mixer Tom Moulton. The song was; as no 7-inch acetates could be found, a 10–inch blank was used. Upon completion, found that such a large disc with only a couple of inches worth of grooves on it made him feel silly wasting all that space, he asked Rodríguez to re-cut it so that the grooves looked more spread out and ran to the normal center of the disc. Rodriguez told him.
Because of the wider spacing of the grooves, not only was a louder sound possible but a wider overall dynamic range as well. This was noticed to give a more favorable sound for discothèque play. Moulton's position as the premiere mixer and "fix it man" for pop singles ensured that this fortunate accident would become industry practice; this would have been a natural evolution: as dance tracks became much longer than had been the average for a pop song, the DJ in the club wanted sufficient dynamic range, the format would have enlarged from the seven-inch single eventually. The broad visual spacing of the grooves on the twelve-inch made it easy for the DJ in locating the approximate area of the "breaks" on the disc's surface in dim club light. A quick study of any DJs favorite discs will reveal mild wear in
More, More, More
"More, More" is a song written by Gregg Diamond and recorded by American disco artist Andrea True, who performed as part of her "Andrea True Connection" project. It was released in February 1976 and became her signature track and one of the most popular songs of the disco era. In the U. S. it reached number four on the Billboard Hot 100 and spent three weeks at number three on the Cashbox chart in July of that year. In Canada, it was a number-one hit; the song was recorded in Jamaica where True, a porn star, had been appearing in a television commercial. An attempted coup prevented her from leaving the country with her wages from the commercial. Resourcefully, True called on Gregg Diamond to come down to Jamaica to write and record the song with her, along with other studio musicians which formed the backbone of the "Connection" project. Buddah Records released the song only to discos in the winter of 1975/1976; the popularity of "More, More" was immense. Widespread listener interest convinced Buddah to release the single commercially in the spring.
The song rose to number four on the Billboard Hot 100 and number twenty three on the soul singles chart. The single was a successful disco hit peaking at number two. Overseas, the song peaked at number five on the UK Singles Chart; the song has been covered a number of times since by artists including Samantha Fox, Rachel Stevens, Dannii Minogue, Dagny. In 1999, Canadian band Len sampled the instrumental break in "More, More" and used it as the backdrop for their top-ten single "Steal My Sunshine". "More, More" was covered by English group Bananarama for their album Please Yourself. It was produced by Pete Waterman of Stock Aitken Waterman fame, their version retained the disco feel of the original and incorporated elements of ABBA-like production, as was the case with the entire Please Yourself album. Sara Dallin, Keren Woodward and Waterman added a second verse to their version of the song; the music video, directed by Saffie Ashtiany, featured them performing the song and dancing in a cabaret-style club with several male dancers backing them up.
Bananarama's single version climbed to number twenty-four in the UK singles chart. It was their last single to be released by London Records, their label since 1983; the duo would not see another single-release in the UK until "Move in My Direction" in 2005. UK CD 1 single"More, More" – Remixed by Dave Ford "Love in the First Degree" - "I Want You Back" - "I Heard a Rumour" - UK CD 2 single"More, More" – Remixed by Dave Ford "More, More" – "Give It All Up for Love" - "More, More" – "More More More" was a 2004 hit for former S Club member Rachel Stevens; the song was her final release from that album. The song was featured in an advertising campaign for Sky Sports' football coverage for the 2004-05 season, in adverts for sofa retailer ScS, it sold a total of 68,000 copies. Stevens' version hit number three in the UK, outpeaking all of the previous versions of the track, reached number five in Ireland. CD 1 "More, More" – 2:47 "Shoulda Thought Of That" - 3:14CD 2 "More, More" – 2:47 "Fools" – 3:13 "More, More" – 7:43 "More, More" The Andrea True Connection's version of "More, More" has appeared in two episodes of The Simpsons.
In the 2003 episode "Dude, Where's My Ranch?", after Moe Szyslak kidnaps David Byrne, a parody version of the song plays on the radio featuring Moe singing, "Moe, Moe! How do you like me? How do like me? Moe, Moe! Why don't you like me? Nobody likes me." The song is credited to "The Moe Szyslak Connection". The song appears in the episode "Sweets and Sour Marge", where Disco Stu plays the song after "snorting" lines of sugar. "More, More" appears in the documentary Inside Deep Throat. In 2006, the song was used during one of the flashback scenes. On the show The King of Queens, the episode "High Def Jam" opened with Doug Heffernan singing a parody version, "Doug, Doug"; the song was featured in American Dad!, Season 3, Episode 2, "Meter Made". The late professional wrestler Larry Sweeney used the song as his entrance theme. Stevens' version of the song is used in adverts for the UK sofa company ScS. A version of the song by Dagny was used by Target in a commercial campaign introducing its line of new products in the fall of 2017.
Lyrics of this song at MetroLyrics
N'Dea Davenport is an American singer, songwriter and producer. She was the lead vocalist in the UK acid jazz band the Brand New Heavies and made pioneering contributions to the genre of acid jazz, her diverse projects include collaborations with music producers and artists, such as Mark Ronson, Louie Vega, Roger Sanchez, Guru’s Jazzmatazz, Natalie Merchant, Mos Def and Robbie, J Dilla, Malcolm McLaren. Dance scholarships and music were the core of her developments as an artist and entertainer. After finishing college, she left her home of Atlanta, Georgia, en route to Los Angeles. There she engaged in theatrical productions and commercial music video and was embraced by artists in both art and popular culture, her legacy as an artist began with her involvement in the burgeoning Los Angeles underground club and rave scene in the late 1980s and early 1990s. Working as a dance artist and recording and commercial studio session singer, Davenport was soon connected with Fab Five Freddy, who recommended her to a DJ friend at new upstart label Delicious Vinyl.
Eurythmics member and producer Dave Stewart offered Davenport a recording contract a year prior when introduced through a collaboration with Bootsy Collins and Malcolm McLaren, where she was featured on McLaren's Waltz Darling LP. She declined Stewart’s offer at the time due to his requirement for her to relocate to London, England. To ink a solo development deal with Delicious Vinyl, who made introductions to her future bandmates, The Brand New Heavies who at the time had no singer. With the core band members based in London, she decided to relocate there; the band’s initial UK indie label Acid Jazz Records, struck a deal with London Records for distribution in Europe and the rest of the world. During this period, the band produced a string of international albums and singles, invigorating a global movement and popularized the musical term known as acid jazz. Parallel to this, Davenport completed work on Guru's Jazzmatazz, Vol. 1, with Guru. In 1995, Davenport left the group citing irreconcilable differences, returning to the US and choosing New Orleans as a home base while she pursued other collaborations, completed work on her solo recording with Delicious Vinyl.
Encouragement received from her associate and record producer Daniel Lanois, resulted in the completion of her debut solo effort as producer, all except for four songs, produced by Dallas Austin. While her association with Delicious Vinyl was dissolving, Davenport's project was picked up by the newly formed label owned by Sir Richard Branson. In 1997, her self-titled debut solo recording on V2 Records was released, she toured extensively in support of the album, around Europe, North America and Australia and with the concert series Lilith Fair. When the relationship at V2 came to an end she continued musically focusing on European dance music projects. Davenport held residency in New Orleans but lived in New York City, her diverse musical tastes led to an eventual stance as a New York club DJ and she continues to DJ on special events around Asia. In 2006, she re-emerged once more with the Brand New heavies for one last album release of Get Used To It, her latest project is with collaborator Katsuya Everywhere, focused in the multi-media based electronic and acoustic duo, conceived in Japan.
The acid jazz label applied to The Brand New Heavies music was popularized by Eddie Piller and British record executive Gilles Peterson in hopes that he could keep interest in the music on a par with the then-ubiquitous acid house music. The musical style was patterned after an admiration for 1970s funk ranging from James Brown to Rufus and the Average White Band. Peterson named his fledgling label Acid Jazz Records as well, the Heavies recorded for this label in the United Kingdom. Davenport recut the vocal track on "Never Stop", "Stay This Way" and "Dream Come True", after Jay Ella Ruth had ceased to be a member of the group, but preceding the major release of these recordings. Davenport participated in sessions for both Malcolm McLaren's Waltz Darling and Madonna's I'm Breathless; the similarities between the videos is a source for debate. Davenport recorded Buddy Johnson's Save Your Love For Me, a song, covered many times and was a big hit for Nancy Wilson. Davenport appeared in the music video for Breakfast Club's "Right On Track", singing back-up dressed as a singing hen in 1987.
Davenport appeared in the 1988 music video for Steve Winwood's "Roll with it", choreographed by Paula Abdul. Davenport was the female backing vocalist on Gregg Alexander's 1989 debut album Michigan Rain. Future releases by Alexander would feature Danielle Brisebois as both female backing vocalist and co-writer, but at this point the two had not met. Davenport appeared on 2 Hip 4 TV. Davenport is a drummer. Davenport is a spinto soprano. Davenport provides vocals on Michael Paulo's "One Passion." Track: "If You Ever Change Your Mind." Davenport provides vocals on Dead Prez's Turn off the Radio: The Mixtape Vol. 3: Pulse Of The People. Davenport provides vocals on Dilouya's album Faithful Circus. Track "The Right Time". Davenport provides vocals on DJ Krush's album 漸-Zen. Track: "With Grace". Davenport provides vocals on the Everlast album Eat at Whitey's. Tracks: "Love for Real" and "One and the Same". Davenport provides vocals on Fred Everything's album Lost Together. Track: "Don't Nobody". Davenport provides vocals on José Padilla's album Navigator.
Track: "The Look of Love". Davenport provides vocals on Natalie Merchant's album Ophelia. Track: "Break Your Heart". Davenport provides vocals on Robbie Williams's "Lovelight"
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
La Vie en rose
"La Vie en rose" is the signature song of popular French singer Édith Piaf, written in 1945, popularized in 1946, released as a single in 1947. The song became popular in the US in 1950 with no fewer than seven different versions reaching the Billboard charts; these were by Tony Martin, Paul Weston, Bing Crosby, Ralph Flanagan, Victor Young, Louis Armstrong. A version in 1977 by Jamaican singer Grace Jones was a successful international hit. "La Vie en rose" has been covered by many other artists over the years, including a 1993 version by American singer Donna Summer. Harry James recorded a version in 1950 on Columbia 38768. Bing Crosby recorded the song again for his 1953 album Le Bing: Song Hits of Paris; the song's title can be translated as "Life in happy hues," "Life seen through happy lenses," "Life in rosy hues". It was Robert Chauvigny who finalised the music, when Édith suggested to Marguerite Monnot that she sign, the latter rejected "that foolishness." It was Louiguy who accepted the authorship of the music.
It was broadcast before being recorded. Piaf offered the song to Marianne Michel, who modified the lyrics changing "les choses" for "la vie". In 1943, Piaf had performed at a nightclub/bordello called "La Vie en Rose." Piaf's peers and songwriting team didn't think the song would be successful, finding it weaker than the rest of her repertoire. Heeding their advice, the singer put the song aside, it was performed live in concert for the first time in 1946. It became a favorite with audiences. "La Vie en rose" was the song that made Piaf internationally famous, with its lyrics expressing the joy of finding true love and appealing to those who had survived the difficult period of World War II."La Vie en rose" was released on a 10" single in 1947 by Columbia Records, a division of EMI, with "Un refrain courait dans la rue" making the B-side. It met with a warm reception and sold a million copies in the US, it was the biggest-selling single of 1948 in Italy, the ninth biggest-selling single in Brazil in 1949.
Piaf performed the song in un cœur. The first of her albums to include "La Vie en rose" was the 10" Chansons parisiennes, released in 1950, it appeared on most of Piaf's subsequent albums, on numerous greatest hits compilations. It went on to become her signature song and her trademark hit, sitting with "Milord" and "Non, je ne regrette rien" among her best-known and most recognizable tunes. Encouraged by its success, Piaf wrote 80 more songs in her career. English lyrics were written by Mack David and numerous versions were recorded in the US in 1950; those that charted were by Tony Martin, Paul Weston, Bing Crosby, Edith Piaf, Ralph Flanagan and Victor Young. Louis Armstrong recorded C'est si bon and La Vie en rose in New York City with Sy Oliver and his Orchestra on June 26, 1950 and this reached the No. 28 position in the Billboard charts. Bing Crosby recorded the song in French in 1953 for his album Le Bing: Song Hits of Paris; the song received a Grammy Hall of Fame Award in 1998. 10" Single"La Vie en rose" "Un refrain courait dans la rue" Two films about Piaf named after the song's title have been produced.
The first one, a 1998 documentary, used archive footage and interviews with Raquel Bitton, was narrated by Bebe Neuwirth. The 2007 biographical feature film La Vie en Rose won Marion Cotillard an Academy Award for Best Actress for portraying Piaf in the film from childhood until her death at 47. In the 2006 Egyptian film The Yacoubian Building, chanteuse Christine includes "La Vie en rose" in her repertoire, singing it on at least one occasion for Zaki el Dessouki. In the 1954 movie Sabrina this song is mentioned and played many times throughout the movie, including a partial rendition by Audrey Hepburn. In the season 4 I Love Lucy episode "Hollywood Anniversary", the song is played by a band in the final scene. Steampunk chanteuse Veronique Chevalier does a parody version – which turns out to be about a battle with slugs. In the 2003 romantic comedy Something's Gotta Give, the song is played several times during scenes of Paris, actor Jack Nicholson sings it during the closing credit roll. Cristin Milioti performed the song in ``," an episode of How I Met Your Mother.
It is used prominently multiple times in BioShock Infinite's DLC BioShock Infinite: Burial at Sea. Korean drama A Rosy Life's main title song is a Korean version aptly titled "장밋빛 인생", the original Korean title of the drama. Philippine political suspense-drama Wildflower Zsa Zsa Padilla portrays the villanious Red Dragon sings this song at a charity ball she organized. Ian Fleming references the song in his first James Bond novel Casino Royale, when Bond is eating with Vesper Lynd, again in his fourth novel Diamonds Are Forever, when Bond chooses to skip it on the record player as it has "painful memories." Lyrics from the song are quoted in Albert Cohen's 1968 novel Belle du Seigneur. La Vie en Rose was the name of a spaceship in Mobile Suit Zeta Gundam and Mobile Suit Gundam ZZ, as well as an episode title of Mobile Suit Gundam 0083: Stardust Memory. La Vie en rose is mentioned in John Boyne's 2006 novel The Boy in the Striped Pyj