This week Boneapart and Yulia discuss Yule, it's origins, and it's place in society. Oh, and they play songs to celebrate it, too.

This week on Three Tune Tuesday, we explore Hanukkah, the Jewish Festival of Lights, through early 20th-century recordings preserved by the Library of Congress. Rather than modern holiday songs, this episode listens to the prayers and sacred music that would have surrounded Hanukkah a hundred years ago — voices of continuity, resilience, and quiet faith. Along the way, we talk history, pronunciation, and even count out the Hanukkah candles, letting the music and conversation illuminate what the holiday has meant across generations. It’s a reflective episode about persistence, memory, and light that endures longer than expected.

This week on Three Tune Tuesday, Boneapart has a birthday with a lighthearted nod to the passage of time before shifting into a thoughtful, Kwanzaa-season exploration of two remarkable early spiritual recordings. After the celebratory 1911 Birthday Serenade, the episode moves into Marian Anderson’s 1923 performance of Deep River, a piece whose themes of faith, unity, and shared purpose resonate with several principles of Kwanzaa. The journey continues with the 1902 Dinwiddie Colored Quartet rendition of Steal Away, an intimate and historically rich glimpse into the spiritual tradition’s roots. Together, the selections form a quietly powerful reflection on resilience, community, and the ways music carries meaning across generations.

It's Thanksgiving in December! Come join Yulia and Boneapart as they spend this episode talking turkey!

In this week’s episode of Three Tune Tuesday, we dive into the realm of myth—where gods, spirits, and mortals blur together in music that’s anything but ordinary. Offenbach’s Orpheus in the Underworld turns divine tragedy into biting satire, poking fun at power and pretension through a Parisian can-can. Schubert’s Erlkönig pulls us into the dark woods of folklore, where whispers in the wind may be more than they seem. And Wagner’s Magic Fire Scene ignites the heavens themselves, capturing the moment a god’s compassion reshapes destiny. Three visions of myth—comic, tragic, and cosmic—each revealing a different truth about what it means to be human.

This week we're honouring our Veterans from many countries, with songs celebrating the United States, Canada, and the United Kingdom.

This week on Three Tune Tuesday we go a little cosmic with “The Universe,” tracing a quiet arc from wonder to reach to trust. We open with “Underneath the Stars” (1915), a secular nocturne that lingers on night air and distant light—humankind gazing up and asking big questions. Then we lift off with “Come, Josephine, in My Flying Machine” (1910/11), the giddy early-aviation fantasy where romance and technology climb skyward together. We land with “Whispering Hope,” the enduring parlor hymn that softens the room and lets us place a little faith in the order of things. Three sides, one journey—from looking at the stars, to reaching for them, to listening for their answer.

This week we celebrate Halloween with a guest! Cousin Gustav Femur joins Boneapart for a celebration of all things spooky.

Dedicated to the #nokings movement. Bravery.

In this week’s Three Tune Tuesday, we explore the thin line between patriotism and protest — those moments when loyalty to one’s country means daring to question it. Long before protest songs filled coffeehouses and picket lines, defiance lived in the guise of anthems and ballads. From The Battle Cry of Freedom’s rally for liberty, to The Minstrel Boy’s quiet defiance through art, to My Country ’Tis of Thee, a hymn reclaimed again and again by voices demanding America live up to its promise, these recordings remind us that resistance doesn’t always shout. Sometimes, it sings in harmony.

This week, Blind Skeleton lifts a glass to the full moon—and to love that’s weathered a few of them. On this Supermoon evening, we trace how the moonlight wove itself into the music of the early 1900s: from the dreamy hush of Neil Moret’s “Moonlight Serenade” to the warm harmonies of “By the Light of the Silvery Moon”, and finally to the joyous barn-dance energy of Arthur Pryor’s “Shine On, Harvest Moon”.

National Day of Truth and Reconciliation

This week’s Three Tune Tuesday takes its cue from a day that began at the Pennsylvania Renaissance Faire, detoured through a kilted stroll, and ended with an Oktoberfest stein. Our theme follows that same arc: we open with a Renaissance court dance, the Gagliarda, brought to life by Toscanini and La Scala; we leap to Scotland with Jules Levy’s sparkling cornet solo on The Blue Bells of Scotland, a nod to the tartan I wore; and we close with Geraldine Farrar’s 1912 recording of Wonnevoller Mai, o komm herbei, a German song that toasts both springtime joy and beer-hall cheer. From Renaissance leaps to Scottish brass to German song, it’s a journey across time, place, and pint glasses.

This week on Three Tune Tuesday, we step into the witness box for “Justice in the Court of Song.” From Vernon Dalhart’s mournful The Prisoner’s Song to Billy Murray’s cheeky Prohibition jab How Are You Goin’ to Wet Your Whistle?, and Fred Hillebrand’s sly social satire Ain’t We Got Fun, these records remind us that music has always doubled as testimony, protest, and cross-examination. Join Boneapart and Yulia as they explore how early 1920s hits laughed at the law, mourned its judgments, and poked holes in society’s supposed order.

This week on Three Tune Tuesday, Boneapart shares three of his all-time favorite records: the exotic fox trot “Egyptland” by the Six Brown Brothers, the barnyard mayhem of “Livery Stable Blues” by the Original Dixieland Jass Band, and the thunderous “Anvil Chorus” from Verdi’s Il Trovatore, performed by the New York Light Opera Company. Somehow, Suzanne and Boneapart spin a full hour of stories, history, and banter out of just these three tracks—proof that even the smallest playlist can open the door to big conversations about the birth of jazz, the rise of the saxophone, and opera’s unlikely place on early 78s.

To mark Labour Day, we trace a line from quiet graft to collective thunder: Stanley Kirkby’s “The Farmer’s Boy” (1912, Beka-Grand-Record) opens with rural work ethic and upward hope; Alan Turner’s “The Village Blacksmith” (Victor) hammers out craft pride and debtless independence; and Chaliapin’s “Dubinushka” (HMV DA 621, 1924) lifts a hauling chant into a rallying cry. In our unscripted meander we dip into the holiday’s origins, swap label lore (Beka’s Berlin–London pipeline, Victor quirks, HMV’s red-label sheen), and let three sides carry the week from sweat and skill to solidarity.

This week on Three Tune Tuesday, we’re taking a trip across borders with an “International Relations” theme — but not the kind fought with guns and flags. Instead, we follow how early 20th-century popular music imagined, borrowed, and sometimes outright distorted the sounds of “foreign” places. From the faux-exotic fox-trot of Hindustan (1918), to the heartfelt Latin American cry of Ay, Ay, Ay (1920), to the global journey of La Paloma (1902) — one of the first true international pop songs — we explore how music both connected cultures and flattened them into stereotypes. It’s a story of whitewashing, longing, and cross-cultural love, told through three spins of the shellac.

This week’s Three Tune Tuesday isn’t about concert halls or high culture. It’s about the tunes we first met through Bugs Bunny in drag, Elmer Fudd in a horned helmet, and Daffy Duck pounding a piano. Music we learned from cartoons.

This week on Three Tune Tuesday, we’re marching to a different beat — and it’s definitely not Sousa’s. We’ve lined up three bold, cheeky, and slightly irreverent marches that trade rigid patriotism for a wink and a grin. From the circus-crazed chaos of Entry of the Gladiators, to the clapping, stomping revelry of Radetzky March, and finally the sly, end-of-the-parade strut of The Gladiator’s Farewell, these tunes prove that a march doesn’t have to salute the regime — sometimes it can just laugh in time to the music.

This week on Three Tune Tuesday, we dive into the world of Sousa marches — not just as music, but as cultural artifacts. From the bold nationalism of The Stars and Stripes Forever to the disciplined dignity of Semper Fidelis, and finally to the unexpectedly comedic afterlife of The Liberty Bell, we explore what marches were meant to do, who they were meant to move, and how their meanings have shifted over time. It's a journey through patriotism, power, and the strange ways symbols evolve — all in three tunes.