diff --git "a/public-apps/80s_detailed.csv" "b/public-apps/80s_detailed.csv" deleted file mode 100644--- "a/public-apps/80s_detailed.csv" +++ /dev/null @@ -1,232 +0,0 @@ -,artist,date,featured_artists,lyrics,song,song_album,song_url,year -0,KC & the Sunshine Band,"January 5, 1980",[],"I love you Yeah Babe, I love you so I want you to know That I'm gonna miss your love The minute you walk out that door So please don't go Don't go Don't go away Please don't go Don't go I'm begging you to stay If you leave, at least in my lifetime I've had one dream come true I was blessed to be loved By someone as wonderful as you So please don't go Don't go Don't go away Please don't go Don't go I'm begging you to stay Hey, hey, hey Yeah Babe, I love you so I, I want you to know That I'm gonna miss your love The minute you walk out that door So please don't go Don't go Don't go away Hey, hey, hey I need your love I'm down on my knees Beggin' please, please, please Don't go Don't you hear me, baby? Don't leave me now Oh, no, no, no, no Please don't go I want you to know That I, I, I love you so Please don't leave me, baby Please don't go",Please Don't Go,Do You Wanna Go Party,https://genius.com/Kc-and-the-sunshine-band-please-dont-go-lyrics,"5," -1,Michael Jackson,"January 19, 1980",[],"Girl, close your eyes Let that rhythm get into you Don't try to fight it There ain't nothin' that you can do Relax your mind Lay back and groove with mine You gotta feel that heat And we can ride the boogie Share that beat of love I wanna rock with you (All night) Dance you into day (Sunlight) I wanna rock with you (All night) We're gonna rock the night away (Rock, right) Out on the floor There ain't nobody there but us Girl, when you dance There's a magic that must be love Just take it slow 'Cause we got so far to go When you feel that heat And we're gonna ride the boogie Share that beat of love I wanna rock with you (All night) Dance you into day (Sunlight) I wanna rock with you (All night) We're gonna rock the night away And when the groove is dead and gone (Yeah) You know that love survives So we can rock forever, on I wanna rock with you I wanna groove with you I wanna rock with you I wanna groove with you I wanna rock (All night) With you girl (Sunlight) Rock with you, rock with you girl (Yeah) (All night) Dance the night away I wanna rock with you (Yeah) (All night) Rock you into day (Sunlight) I wanna rock with you (All night) Rock the night away Feel the heat, feel the beat (All night) Rock you into day (Sunlight) I wanna rock (All night) Rock the night away",Rock with You,Off the Wall,https://genius.com/Michael-jackson-rock-with-you-lyrics,"19," -2,Captain & Tennille,"February 16, 1980",[],"Do that to me one more time Once is never enough with a man like you Do that to me one more time I can never get enough of a man like you Oh, kiss me like you just did Oh baby Do that to me once again Pass that by me one more time Once just isn't enough for my heart to hear Oh, tell it to me one more time I can never hear enough while I've got you near, oh Say those words again like you just did Oh baby Tell it to me once again Do that to me one more time Once is never enough with a man like you Woah, do that to me one more time I can never get enough of a man like you Oh kiss me like you just did Oh baby Do that to me once again Oh baby Do that to me once again Oh baby Do that to me one more time (Do it again) one more time (Do it again) one more time (Do it again) one more time (Do it again) one more time (Do it again) one more time (Do it again) one more time",Do That to Me One More Time,Make Your Move,https://genius.com/Captain-and-tennille-do-that-to-me-one-more-time-lyrics,"16," -3,Queen,"February 23, 1980",[],"This thing called love I just can't handle it This thing called love I must get 'round to it, I ain't ready Crazy little thing called love A-this thing (This thing) called love (Called love) It cries (Like a baby) in a cradle all night It swings (Woo, woo), it jives (Woo, woo) It shakes all over like a jelly fish, woo, I kinda like it Crazy little thing called love There goes my baby She knows how to rock 'n' roll She drives me crazy She gives me hot and cold fever Then she leaves me in a cool, cool sweat I gotta be cool, relax, get hip And get on my tracks Take a back seat, hitch-hike And take a long ride on my motorbike until I'm ready Crazy little thing called love Yeah I gotta be cool, relax, get hip And get on my tracks Take a back seat, hitch-hike (Ah hum, ah hum) And take a long ride on my motorbike Until I'm ready (Ready Freddie) Crazy little thing called love This thing called love I just can't handle it This thing called love I must get 'round to it I ain't ready (Ooh ooh ooh ooh) Crazy little thing called love Crazy little thing called love, yeah, yeah Crazy little thing called love, yeah, yeah Crazy little thing called love, yeah, yeah Crazy little thing called love, yeah, yeah Crazy little thing called love, yeah, yeah Crazy little thing called love, yeah, yeah Crazy little thing called love, yeah, yeah Crazy little thing called love, yeah, yeah",Crazy Little Thing Called Love,The Game,https://genius.com/Queen-crazy-little-thing-called-love-lyrics,"23," -4,Pink Floyd,"March 22, 1980",[],"We don't need no education We don't need no thought control No dark sarcasm in the classroom Teacher, leave them kids alone Hey! Teacher! Leave them kids alone! All in all, it's just another brick in the wall All in all, you're just another brick in the wall We don't need no education We don't need no thought control No dark sarcasm in the classroom Teachers leave them kids alone Hey! Teacher! Leave us kids alone! All in all, you're just another brick in the wall All in all, you're just another brick in the wall Wrong, do it again! *Children playing* Wrong, do it again! If you don't eat your meat, you can't have any pudding! (Wrong, do it again!) How can you have any pudding if you don't eat your meat? (Wrong, do it again!) You! Yes! You behind the bike sheds! Stand still, laddie! (If you don't eat your meat, you can't have any pudding! How can you have any pudding if you don't eat your meat?) (You! Yes! You behind the bike sheds! Stand still, laddie!) *Children playing* *Phone beeping sound*",Another Brick in the Wall (Part 2),The Wall,https://genius.com/Pink-floyd-another-brick-in-the-wall-pt-2-lyrics,"22," -5,Blondie,"April 19, 1980",[],"1898 A Trip to the Moon 1903 The Great Train Robbery 1914 Gertie the Dinosaur 1915 Birth of a Nation 1916 One AM 1920 The Cabinet of Dr. Caligari 1921 The Goat 1922 Nanook of the North Nosferatu 1925 Battleship Potemkin * The Gold Rush 1927 The Jazz Singer Metropolis 1928 The Passion of Joan of Arc Steamboat Willie 1929 Man with a Movie Camera Un Chien Andalou 1931 Enthusiasm M 1932 Scarface 1933 King Kong 1934 Triumph des Willens 1935 The Bride of Frankenstein * 1936 Modern Times 1937 La grande illusion Snow White and the Seven Dwarfs 1939 Gone with the Wind Mr. Smith Goes to Washington The Wizard of Oz 1940 The Grapes of Wrath Pinocchio 1941 Citizen Kane Dumbo 1942 Casablanca 1943 Lassie come Home 1946 The Big Sleep Heures de la vie d'un clown * Notorious 1947 Miracle on 34th St. 1948 Bicycle Thieves 1949 Late Spring Le Silence de la mer * 1950 Rashomon Sunset Blvd. 1951 Alice in Wonderland 1952 High Noon Monkey Business Singing in the Rain 1953 Peter Pan 1954 La Strada On the Waterfront Rear Window The Road 1955 Lady and the Tramp 1956 Bob le Flambeur * La Strada The Man Who Knew Too Much 1957 12 Angry Men Cranes are Flying 1958 Mon Oncle 1959 The 400 Blows North by Northwest Sleeping Beauty Some Like it Hot 1960 Breathless Letter Never Sent Psycho Shoot the Piano Player 1961 Breakfast at Tiffany's The Hustler Un femme est un femme 1962 To Kill a Mockingbird Vivre Sa Vie 1963 Charade From Russia With Love The Great Escape Mahanagar Le Mepris Le Petit Soldat 1964 Bande à part Dr. Strangelove A Hard Day's Night 1965 For a Few Dollars More Help! Pierrot Le Fou The Sound of Music 1966 Death of a Bureaucrat * Django The Good, the Bad, and the Ugly How to Steal a Million Le deuxième souffle * Persona 1967 2 or 3 Things I Know About Her Barefoot in the Park Bonnie and Clyde La Chinoise * Cool Hand Luke The Dirty Dozen The Graduate Le Samourai Playtime 1968 Bullitt Once Upon a Time in the West Stolen Kisses Yellow Submarine 1969 Butch Cassidy and the Sundance Kid 1970 Le Cercle Rouge * The Conformist Patton They Call Me Trinity 1971 The Big Boss A Clockwork Orange The French Connection Shaft Willy Wonka and the Chocolate Factory 1972 The Chinese Connection The Godfather 1973 Badlands Live and Let Die Mean Streets Young Tiger 1974 Chinatown The Conversation The Godfather Part II The Taking of Pelham One, Two, Three 1975 Dog Day Afternoon Monty Python and the Holy Grail One Flew Over the Cuckoo's Nest One of our Dinosaurs is Missing Salo, or the 120 days of Sodom 1976 All the Presidents Men Network Rocky Taxi Driver 1977 Annie Hall Close Encounters of the Third Kind Star Wars 1978 Animal House Grease Jubilee Straight Time * 1979 Manhattan The Muppet Movie The Warriors 1980 Airplane The Elephant Man The Gods Must Be Crazy Raging Bull The Shining Shogun Assassin Star Wars: The Empire Strikes Back 1981 Escape From New York Raiders of the Lost Ark 1982 Blade Runner E.T. Gandhi 1983 The Outsiders Scarface Star Wars: Return of the Jedi 1984 Blood Simple Ghostbusters Indiana Jones and the Temple of Doom The Karate Kid The Natural Paris, Texas The Terminator This is Spinal Tap 1985 Back to the Future The Breakfast Club God's Country * 1986 Ferris Bueller's Day Off Hoosiers 1987 Full Metal Jacket Raising Arizona RoboCop The Princess Bride 1988 Beetlejuice Cinema Paradiso 1989 Batman Christmas Vacation Dead Poets Society Do the Right Thing Field of Dreams Glory Honey, I Shrunk the Kids Indiana Jones and the Last Crusade 1990 Goodfellas Edward Scissorhands Home Alone Miller's Crossing 1991 Barton Fink Beauty and the Beast Hook The Silence of the Lambs Slacker 1992 Aladdin A Few Good Men Glengarry Glen Ross Home Alone 2 Malcolm X Resevoir Dogs Super Cop 1993 Blue A Bronx Tale Cool Runnings Falling Down The Fugitive Groundhog Day Mrs. Doubtfire Jurassic Park Rudy The Sandlot Schindler's List 1994 Ace Ventura: Pet Detective Angels in the Outfield Clerks Dumb and Dumber Forrest Gump The Legend of the Drunken Master Leon: the Professional The Lion King Pulp Fiction Richie Rich The Santa Clause The Shawshank Redemption 1995 Apollo 13 Bad Boys Casino Friday Goldeneye Heat The Indian in the Cupboard Jumanji Rumble in the Bronx Se7en Toy Story The Usual Suspects 1996 Fargo Happy Gilmore James and the Giant Peach Jerry Maguire Mission: Impossible Primal Fear Shiloh Space Jam Trainspotting 1997 Beverly Hills Ninja Donnie Brasco Flubber The Game Gattaca Good Will Hunting Hercules Jackie Brown L.A. Confidential Liar Liar Men in Black The Rainmaker Titanic 1998 American History X Antz The Big Lebowski A Bug's Life Enemy of the State Following Halloweentown He Got Game Lock, Stock, and Two Smoking Barrels Lola Rennt Pi Rounders Rush Hour Rushmore The Truman Show 1999 American Beauty American Pie Big Daddy The Blair Witch Project Entrapment Eyes Wide Shut Fight Club Inspector Gadget The King and I Magnolia The Matrix Office Space Star Wars Episode I: The Phantom Menace The Sixth Sense Stuart Little Tarzan Three Kings Toy Story 2 2000 American Psycho Battle Royale The Boondock Saints Cast Away Chicken Run The Emperor's New Groove Gladiator High Fidelity How the Grinch Stole Christmas Meet the Parents Memento Mission: Impossible II O Brother, Where Art Thou? Pay It Forward Remember the Titans Road Trip Snatch Unbreakable What Women Want Wonder Boys 2001 Amelie American Pie 2 Atanarjuat: The Fast Runner Atlantis: Lost Empire A Beautiful Mind Black Hawk Down Das Experiment The Fast and the Furious Hardball Harry Potter and the Sorcerer's Stone In the Mood for Love Legally Blonde The Luck of the Irish Monsters Inc Ocean's Eleven The Royal Tenenbaums Rush Hour 2 Shrek Training Day Y Tu Mamá También 2002 25th Hour 8 Mile Adaptation The Bourne Identity Bowling for Columbine City of God Dirty Pretty Things Equlibrium Harry Potter and the Chamber of Secrets Ice Age Infernal Affairs Insomnia Lilo and Stitch Like Mike My Big Fat Greek Wedding John Q Punch-Drunk Love Red Dragon Spiderman Star Wars Episode II: Attack of the Clones Van Wilder Whale Rider * 2003 Bad Boys 2 Brother Bear Bruce Almighty The Core Daddy Day Care Elf Finding Nemo Holes The Incredible Hulk Kill Bill: Vol. 1 Matrix Reloaded Oldboy Pirates of the Caribbean: The Curse of the Black Pearl Radio The Room School of Rock Tupac: Resurrection 2004 Anchorman The Bourne Supremacy Crash Dodgeball Eternal Sunshine of the Spotless Mind Fahrenheit 9/11 Harry Potter and the Prisoner of Azkaban Hellboy Hotel Rwanda The Incredibles Kill Bill: Vol 2 Layer Cake Lemony Snicket's A Series of Unfortunate Events The Life Aquatic The Lion King 1 ½ The Machinist The Manchurian Candidate Mean Girls Meet the Fockers Miracle Mr. 3000 Napolean Dynamite National Treasure Ocean's Twelve The Polar Express Shaun of the Dead Shrek 2 Sideways Sky Captain and the World of Tomorrow Spiderman 2 Supersize Me Troy 2005 The 40-Year Old Virgin Batman Begins Cache Capote The Chronicles of Narnia: The Lion, The Witch, and the Wardrobe Cinderella Man Coach Carter Diary of a Mad Black Woman Fever Pitch Glory Road The Greatest Game Ever Played Harry Potter and the Goblet of Fire The Hitchhiker's Guide to the Galaxy Just Friends Kicking and Screaming Kiss Kiss Bang Bang The Longest Yard Me and You and Everyone We Know Mr. and Ms. Smith No Direction Home: Bob Dylan Pride and Prejudice The Puffy Chair The Squid and the Whale Star Wars Episode III: Revenge of the Sith Thank You For Smoking V for Vendetta Why We Fight 2006 Apocalypto Babel Borat Cars Casino Royale Children of Men Click The Da Vinci Code The Departed Eight Below Flags of our Fathers The Fountain An Inconvenient Truth Inside Man Invincible Das Leben der Anderen Night at the Museum Over the Hedge Pirates of the Caribbean: Dead Man's Chest The Prestige The Pursuit of Happyness Snakes on a Plane Talladega Nights: The Ballad of Ricky Bobby This Film Is Not Yet Rated We Are Marshall 2007 3:10 to Yuma American Gangster The Bourne Ultimatum The Bucket List Cashback Death Proof The Diving Bell and the Butterfly Fracture Freedom Writers Harry Potter and the Order of the Phoenix Hot Fuzz I Am Legend Into the Wild Juno Michael Clayton National Treasure: Book of Secrets No Country For Old Men Ocean's Thirteen Persepolis Pirates of the Caribbean: At World's End Priceless Shooter Shrek the Third Spiderman 3 Superbad There Will Be Blood Tom Petty and the Heartbreakers: Running Down a Dream Transformers Zodiac 2008 21 Burn After Reading The Dark Knight Food Inc. Get Smart Gran Torino Hunger I Need That Record! The Death (or Possible Survival) of the Independent Record Store In Bruges The Incredible Hulk Inkheart Leatherheads The Other Boleyn Girl Pineapple Express Quantum of Solace Religulous Righteous Kill Role Models Seven Pounds Slumdog Millionaire Synecdoche, New York Taken * Traitor Valkyrie Vantage Point WALL-E Die Welle 2009 3 Idiots 500 Days of Summer Adventureland Avatar The Blind Side Fantastic Mr. Fox The Girl With the Dragon Tattoo Harry Potter and the Halfblood Prince The House of the Devil The Informant! Inglorious Basterds The Invention of Lying Law Abiding Citizen Mother * A Serious Man Sherlock Holmes State of Play Transformers: Revenge of the Fallen The Unbelievers Up 2010 The A-Team Alice in Wonderland Beats, Rhymes & Life: The Travels of a Tribe Called Quest Black Swan The Book of Eli Chasing Legends DMT: The Spirit Molecule Exit Through the Gift Shop Four Lions Freakonomics The Ghost Writer Green Zone Harry Potter and the Deathly Hollows Pt. 1 I Am Inception Inside Job Jordan Rides the Bus The King's Speech No Crossover: The Trial of Allen Iverson Once Brothers The Parking Lot Movie Pony Excess Run Ricky, Run Scott Pilgrim vs. the World Shutter Island The Social Network Submarine Tabloid The Town The U Unstoppable Toy Story 3 Wall Street: Money Never Sleeps Waste Land Winning Time: Reggie Miller vs. The New York Knicks The Wish List 2011 50/50 The Adjustment Bureau Catching Hell Cowboys and Aliens Detachment Drive The Eagle The Fab Five George Harrison: Living in the Material World The Girl With the Dragon Tattoo The Greatest Movie Ever Sold Hall Pass The Help Horrible Bosses The Ides of March Jiro Dreams of Sushi Johnny English Reborn Limitless Midnight in Paris Moneyball Precious Knowledge * Rise of the Planet of the Apes Shame Source Code Super 8 Surviving Progress Unguarded X-Men: First Class Your Highness Your Sister's Sister 2012 The Amazing Spiderman The Announcement Argo The Avengers The Bourne Legacy Broke The Dark Knight Rises The Dictator Django Unchained End of Watch Four Horsemen Frances Ha The Hunger Games The Hunt The Intouchables Jack Reacher Knuckleball! Life of Pi Looper Man on a Ledge The Man With the Iron Fists Mud Moonrise Kingdom The Perks of Being a Wallflower The Place Beyond the Pines Rising from Ashes Ruby Sparks Safety Not Guaranteed Samsara Searching for Sugar Man Seven Psychopaths The Silver Linings Playbook Skyfall Snow White and the Huntsman Spring Breakers Something from Nothing: The Art of Rap Wreck-It Ralph You Don't Know Bo Zero Dark Thirty 2013 42 American Hustle Assault on El Capitan Begin Again Blue is the Warmest Color Broken Captain Phillips Dallas Buyers Club Department Q: The Keeper of Lost Causes * Don Jon The Double Drinking Buddies Frozen Fruitvale Station Gangster Squad The Great Gatsby Good Ol' Freda Inside Llewyn Davis The Kings of Summer Man of Steel Monsters University Nebraska Now You See Me Oldboy Olympus Has Fallen Pacific Rim Snowpiercer Twelve Years A Slave The Wolf of Wall Street World War Z 2014 American Sniper Birdman Brothers in Exile Boyhood Edge of Tomorrow Ex Machina Frank Gone Girl Goodbye to Language The Grand Budapest Hotel Guardians of the Galaxy Happy Christmas Horrible Bosses 2 The Imitation Game Interstellar The Interview John Wick Life Itself Little White Lie Nightcrawler The November Man The One I Love Our Vinyl Weighs A Ton Playing for the Mob Selma Slaying the Badger (30 for 30) Stop at Nothing: The Lance Armstrong Story The Theory of Everything Valley Uprising When the Garden was Eden Whiplash 2015 The Big Short Bikes vs. Cars Experimenter The Gift The Hammer The Hateful Eight I Hate Christian Laettner Inherent Vice Ixcanul * Kingsman: The Secret Service Mad Max: Fury Road The Man from U.N.C.L.E. Meru Mississippi Grind The Revenant Room Sicario Sole Man Spectre Spotlight The Stanford Prison Experiment Star Wars Episode VII: The Force Awakens Trainwreck The U Part 2 2016 Abacus: Small Enough to Jail * Arrival Believeland Betting on Zero * Captain America: Civil War Captain Fantastic Catholics vs. Convicts Chi-Raq Dirty Grandpa Doc & Darryl Equity Fantastic Beasts and Where to Find Them Fantastic Lies Fences Finding Dory First Contact: Lost Tribes of the Amazon * The Founder Genius of the World: Marx The Good Neighbor * Hail Caesar I Am Not Your Negro Imperium Jack Reacher: Never Go Back Miss Sloane Money Monster Moonlight Oasis: Supersonic One and Done Rogue One: A Star Wars Story Sand Storm * Snowden Sour Grapes * This Magic Moment Zootopia 2017 Baby Driver * The Big Sick Blade Runner: 2049 * The Breadwinner * The Crash The Dawn Wall The Disaster Artist Dismissed * Dolores * Dunkirk The Florida Project * Gerald's Game Get Me Roger Stone Get Out Good Time Guardians of the Galaxy Vol. 2 I Don't Feel At Home In This World Anymore Icarus It Comes at Night John Wick 2 Joshua: Teenager vs. Superpower * Lady Bird * Logan Lucky Long Shot * The Meyerowitz Stories Mudbound Mustang Island Mr. Roosevelt The Nile Hilton Incident * Nobody Speak: Trials of the Free Press Okja * The Only Living Boy in New York Perfect Bid: The Contestant Who Knew Too Much Phantom Thread * Roman J. Israel Esq. * Ruby Ridge Rumble * The Shape of Water * Spiderman: Homecoming * Split Star Wars: The Last Jedi * Three Billboards Outside Ebbing, Missouri * Toc Toc * Voyeur Wasted! The Story of Food Waste * What Will People Say? * Wheelman White Right: Meeting the Enemy Wilson Wind River Win it All 2018 Annihilation * Avengers: Infinity War The Ballad of Buster Scruggs Behind the Curve * Bird Box * BlacKKKlansman * Black Panther * El Club de los Insomnes Delerium * The Devil We Know * Eighth Grade First Reformed Free Solo Hereditary * If Beale Street Could Talk * Isle of Dogs * The Land of Steady Habits Leave No Trace Love Per Square Foot * Minding the Gap Mission Impossible: Fallout * Nappily Ever After * Of Fathers and Sons * The Old Man and the Gun The Rachel Divide * Ralph Breaks the Internet * Roma * Shoplifters * Solo: A Star Wars Story Sorry to Bother You * They'll Love Me When I'm Dead The Trader Widows * A Wrinkle in Time * You Were Never Really Here 2019 The Boy Who Harnessed the Wind * A Futile and Stupid Gesture Fyre: The Greatest Party That Never Happened Greta * High Flying Bird The Two Killings of Sam Cooke Unbanned: The Legend of AJ1 Velvet Buzzsaw",Call Me♪ (1980),List of Movies Watched,https://genius.com/Bennyswoons-every-single-movie-watched-annotated,"19," -6,"Lipps, Inc.","May 31, 1980",[],"{Intro} Gotta make a move to a town that's right for me Town to keep me movin', keep me groovin' with some energy Well, I talk about it, talk about it Talk about it, talk about it Talk about, talk about Talk about movin' Gotta move on Gotta move on Gotta move on {Bridge} A-won't you take me to Funkytown? Won't you take me to Funkytown? Won't you take me to Funkytown? Won't you take me to Funkytown? {Bridge} Won't you take me to Funkytown? Won't you take me to Funkytown? Won't you take me to Funkytown? Won't you take me to Funkytown? {Bridge} Gotta make a move to a town that's right for me Town to keep me movin', keep me groovin' with some energy Well, I talk about it, talk about it Talk about it, talk about it Talk about, talk about Talk about movin' Gotta move on Gotta move on Gotta move on {Bridge} A-won't you take me to Funkytown? Won't you take me to Funkytown? Won't you take me to Funkytown? Won't you take me to Funkytown? {Bridge} Won't you take me to Funkytown? Won't you take me to Funkytown? Won't you take me to Funkytown? Won't you take me to Funkytown? Won't you take me down to Funkytown? Won't you take me down to Funkytown? Won't you take me down to Funkytown? Won't you take me down to Funkytown? Won't you take me to Funkytown? Won't you take me to Funkytown? Won't you take me to Funkytown? Won't you take me to Funkytown? Take me, won't you take me? Take me, won't you take me? Take me, won't you take me? Take me, won't you take me? I wanna go to Funkytown I wanna go to Funkytown I wanna go to Funkytown I wanna go to Funkytown",Funkytown,Mouth to Mouth,https://genius.com/Lipps-inc-funkytown-lyrics,"31," -7,Paul McCartney,"June 28, 1980",[],"You want a love to last forever One that will never fade away I want to help you with your problem Stick around, I say Coming up Coming up, yeah Coming up like a flower Coming up, I say You want a friend you can rely on One who will never fade away And if you're searching for an answer Stick around, I say Coming up Coming up Coming up like a flower Coming up, yeah You want some peace and understanding So everybody can be free I know that we can get together We can make it, stick with me It's coming up Coming up Coming up like a flower Coming up for you and me Coming up Coming up Coming up Coming up, I say Coming up like a flower Coming up, I feel it in my bones Yeah, yeah yeah yeah You want a better kind of future One that everyone can share You're not alone, we all could use it Stick around, we're nearly there Coming up Coming up everywhere Coming up like a flower Coming up for all to share Coming up, yeah Coming up, anyway Coming up like a flower Coming up",Coming Up (Live at Glasgow),McCartney II ,https://genius.com/Paul-mccartney-coming-up-live-at-glasgow-lyrics,"28," -8,Billy Joel,"July 19, 1980",[],"What's the matter with the clothes I'm wearing? Can't you tell that your tie's too wide? Maybe I should buy some old tab collars? Welcome back to the age of jive Where have you been hidin' out lately, honey? You can't dress trashy till you spend a lot of money Everybody's talkin' 'bout the new sound Funny, but it's still rock and roll to me What's the matter with the car I'm driving? Can't you tell that it's out of style? Should I get a set of white wall tires? Are you gonna cruise the miracle mile? Nowadays you can't be too sentimental Your best bet's a true baby blue Continental Hot funk, cool punk, even if it's old junk It's still rock and roll to me Oh, it doesn't matter what they say in the papers Cause it's always been the same old scene There's a new band in town But you can't get the sound from a story in a magazine... Aimed at your average teen How about a pair of pink sidewinders And a bright orange pair of pants? You could really be a Beau Brummel baby If you just give it half a chance Don't waste your money on a new set of speakers You get more mileage from a cheap pair of sneakers Next phase, new wave, dance craze, anyways It's still rock and roll to me What's the matter with the crowd I'm seeing? Don't you know that they're out of touch? Should I try to be a straight 'A' student? If you are then you think too much Don't you know about the new fashion honey? All you need are looks and a whole lotta money Next phase, new wave, dance craze, anyways It's still rock and roll to me Everybody's talkin' 'bout the new sound Funny, but it's still rock and roll to me",It's Still Rock and Roll to Me,Glass Houses,https://genius.com/Billy-joel-its-still-rock-and-roll-to-me-lyrics,"19," -9,Olivia Newton-John,"August 2, 1980",[],Come take my hand You should know me I've always been in your mind You know I will be kind I'll be guiding you Building your dream Has to start now There's no other road to take You won't make a mistake I'll be guiding you You have to believe we are magic Nothin' can stand in our way You have to believe we are magic Don't let your aim ever stray And if all your hopes survive Destiny will arrive I'll bring all your dreams alive For you I'll bring all your dreams alive For you From where I stand You are home free The planets align so rare There's promise in the air And I'm guiding you Through every turn I'll be near you I'll come anytime you call I'll catch you when you fall I'll be guiding you You have to believe we are magic Nothin' can stand in our way You have to believe we are magic Don't let your aim ever stray And if all your hopes survive Destiny will arrive I'll bring all your dreams alive For you I'll bring all your dreams alive For you Heyyyyyyyy! You have to believe we are magic Nothin' can stand in our way You have to believe we are magic Don't let your aim ever stray And if all your hopes survive Destiny will arrive I'll bring all your dreams alive For you I'll bring all your dreams alive For you,Magic,Xanadu (From the Original Motion Picture Soundtrack),https://genius.com/Olivia-newton-john-magic-lyrics,"2," -10,Christopher Cross,"August 30, 1980",[],"Well, it's not far down to paradise At least it's not for me And if the wind is right you can sail away And find tranquility Oh, the canvas can do miracles Just you wait and see Believe me It's not far to never never land No reason to pretend And if the wind is right you can find the joy Of innocence again Oh, the canvas can do miracles Just you wait and see Believe me Sailing Takes me away to where I've always heard it could be Just a dream and the wind to carry me Soon I will be free Fantasy It gets the best of me When I'm sailing All caught up in the reverie Every word is a symphony Won't you believe me? Sailing Takes me away to where I've always heard it could be Just a dream and the wind to carry me And soon I will be free Well, it's not far back to sanity At least it's not for me And if the wind is right you can sail away And find serenity Oh, the canvas can do miracles Just you wait and see Really, believe me Sailing Takes me away to where I've always heard it could be Just a dream and the wind to carry me And soon I will be free",Sailing,Christopher Cross,https://genius.com/Christopher-cross-sailing-lyrics,"30," -11,Diana Ross,"September 6, 1980",[],"I said, ""Upside down, you're turning me."" You're giving love instinctively 'Round and 'round, you're turning me Upside down Boy, you turn me inside out And 'round and 'round Upside down Boy, you turn me inside out And 'round and 'round Instinctively, you give to me the love that I need I cherish the moments with you Respectfully, I say to thee I'm aware that you're cheating When no one makes me feel like you do Upside down Boy, you turn me inside out And 'round and 'round Upside down Boy, you turn me inside out And 'round and 'round I know you got charm and appeal You always play the field I'm crazy to think you're all mine As long as the sun continues to shine There's a place in my heart for you, that's the bottom line Upside down Boy, you turn me inside out And 'round and 'round Upside down Boy, you turn me inside out And 'round and 'round Instinctively, you give to me the love that I need I cherish the moments with you Respectfully, I say to thee I'm aware that you're cheating When no one makes me feel like you do Upside down Boy, you turn me inside out And 'round, 'round Upside down Boy, you turn me inside out And 'round and 'round Upside down Boy, you turn me inside out And 'round and 'round Upside down Boy, you turn me inside out And 'round, 'round Upside down, you're turning me You're giving love instinctively ""'Round and 'round, you're turning me."" I say to thee, respectfully Upside down, you're turning me You're giving love instinctively ""Around and around, you're turning me."" I say to thee, respectfully I said, ""Upside down, you're turning me."" You're giving love instinctively Around and around, you're turning me I say to thee, respectfully Upside down, you're turning me You're giving love instinctively ""'Round and 'round, you're turning me."" I say to thee, respectfully Upside down, you're turning me",Upside Down,Diana,https://genius.com/Diana-ross-upside-down-lyrics,"6," -12,Queen,"October 4, 1980",[],"Ooh, let's go! Steve walks warily down the street With the brim pulled way down low Ain't no sound but the sound of his feet Machine guns ready to go Are you ready? Hey, are you ready for this? Are you hanging on the edge of your seat? Out of the doorway the bullets rip To the sound of the beat, yeah Another one bites the dust Another one bites the dust And another one gone, and another one gone Another one bites the dust, yeah Hey, I'm gonna get you too Another one bites the dust How do you think I'm going to get along Without you, when you're gone You took me for everything that I had And kicked me out on my own Are you happy, are you satisfied? How long can you stand the heat? Out of the doorway the bullets rip To the sound of the beat Look out Another one bites the dust Another one bites the dust And another one gone, and another one gone Another one bites the dust Hey, I'm gonna get you, too Another one bites the dust Hey Oh, take it Bite the dust, hey Another one bites the dust Another one bites the dust, ow Another one bites the dust, hey hey Another one bites the dust, hey-eh-eh Ooh There are plenty of ways you can hurt a man And bring him to the ground You can beat him, you can cheat him, you can treat him bad And leave him when he's down, yeah But I'm ready, yes I'm ready for you I'm standing on my own two feet Out of the doorway the bullets rip Repeating the sound of the beat Oh yeah Another one bites the dust Another one bites the dust And another one gone, and another one gone Another one bites the dust, yeah Hey, I'm gonna get you, too Another one bites the dust Shoot out Ay-yeah Alright",Another One Bites the Dust,The Game,https://genius.com/Queen-another-one-bites-the-dust-lyrics,"4," -13,Barbra Streisand,"October 25, 1980",[],"Life is a moment in space When the dream is gone, it's a lonelier place I kissed the morning goodbye But down inside you know we never know why The road is narrow and long When eyes meet eyes and the feeling is strong I turn away from the wall I stumble and fall but I give you it all I am a woman in love and I do anything To get you into my world and hold you within It's a right, I defend Over and over again What do I do With you eternally mine In love there is no measure of time We planned it all at the start That you and I live in each other's heart We may be oceans away You feel my love, I hear what you say No truth is ever a lie I stumble and fall but I give you it all I am a woman in love and I do anything To get you into my world and hold you within It's a right, I defend Over and over again What do I do Oh, oh, oh, oh, oh I am a woman in love and I'm talking to you You know I know how you feel, what a woman can do It's a right, I defend Over and over again I am a woman in love and I do anything To get you into my world and hold you within It's a right, I defend Over and over again",Woman in Love,Guilty,https://genius.com/Barbra-streisand-woman-in-love-lyrics,"25," -14,Kenny Rogers,"November 15, 1980",[],"Lady, I'm your knight in shining armor And I love you You have made me what I am and I am yours My love, there's so many ways I want to say I love you Let me hold you in my arms forever more You have gone and made me such a fool I'm so lost in your love And oh, we belong together Won't you believe in my song Lady, for so many years I thought I'd never find you You have come into my life And made me whole Forever let me wake to see you each and every morning Let me hear you whisper softly in my ear In my eyes I see no one else but you There's no other love like our love And yes, oh yes I'll always want you near me I've waited for you for so long Lady, your love's the only love I need And beside me is where I want you to be 'Cause my love There's something I want you to know You're the love of my life You're my lady",Lady,Greatest Hits,https://genius.com/Kenny-rogers-lady-lyrics,"15," -15,John Lennon,"December 27, 1980","[{'api_path': '/artists/27984', 'header_image_url': 'https://images.genius.com/50ff5ae3f792bdf94a58c3f383e69e0f.630x420x1.jpg', 'id': 27984, 'image_url': 'https://images.genius.com/50ff5ae3f792bdf94a58c3f383e69e0f.630x420x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Yoko Ono', 'url': 'https://genius.com/artists/Yoko-ono'}]","Our life together is so precious together We have grown - we have grown Although our love is still special Let's take our chance and fly away somewhere alone It's been so long since we took the time No-one is to blame I know time flies so quickly But when I see you darling It's like we both are falling in love again It'll be just like starting over - starting over Everyday we used to make it love Why can't we be making love nice and easy It's time to spread our wings and fly Don't let another day go by my love It'll be just like starting over - starting over Why don't we take off alone Take a trip somewhere far, far away We'll be together, all alone again Like we used to in the early days Well, well, well darling It's been so long since we took the time No-one is to blame I know time flies so quickly But when I see you darling It's like we both are falling in love again It'll be just like starting over - starting over Everyday we used to make it love Why can't we be making love nice and easy It's time to spread our wings and fly Don't let another day go by my love It'll be just like starting over - starting over Our life together is so precious together We have grown - we have grown Although our love is still special Let's take our chance and fly away somewhere... Starting over",(Just Like) Starting Over,Double Fantasy,https://genius.com/John-lennon-just-like-starting-over-lyrics,"27," -16,Blondie,"January 31, 1981",[],"The tide is high but I'm holdin' on I'm gonna be your number one I'm not the kind-a girl who gives up just like that, oh no It's not the things you do that tease and hurt me bad But it's the way you do the things you do to me I'm not the kind-a girl who gives up just like that, oh no The tide is high but I'm holdin' on I'm gonna be your number one, number one Every girl wants you to be her man But I'll wait my dear till it's my turn I'm not the kind-a girl who gives up just like that, oh no The tide is high but I'm holdin' on I'm gonna be your number one, number one, number one Every girl wants you to be her man But I'll wait my dear till it's my turn I'm not the kind-a girl who gives up just like that, oh no The tide is high but I'm holding on I'm gonna be your number one, number one, number one The tide is high but I'm holding on I'm gonna be your number one The tide is high but I'm holding on I'm gonna be your number one The tide is high but I'm holding on I'm gonna be your number one",The Tide Is High,Autoamerican,https://genius.com/Blondie-the-tide-is-high-lyrics,"31," -17,Kool & the Gang,"February 7, 1981",[],"(This is your celebration) (This is your celebration) Celebrate good times, come on (Let's celebrate) Celebrate good times, come on (Let's celebrate) There's a party goin' on right here A celebration to last throughout the years So bring your good times and your laughter too We gonna celebrate your party with you Come on now (Celebration) Let's all celebrate and have a good time (Celebration) We gon' celebrate and have a good time It's time to come together It's up to you, what's your pleasure? (Everyone around the world come on) (Yahoo) It's a celebration (Yahoo) Celebrate good times, come on (It's a celebration) Celebrate good times, come on (Let's celebrate) There's a party goin' on right here A dedication to last throughout the years So bring your good times and your laughter too We gonna celebrate and party with you Come on now (Celebration) Let's all celebrate and have a good time (Celebration) We gon' celebrate and have a good time It's time to come together It's up to you, what's your pleasure? (Everyone around the world come on) (Yahoo) It's a celebration (Yahoo) It's a celebration Celebrate good times, come on (Let's celebrate, come on now) Celebrate good times, come on (Let's celebrate) We're gonna have a good time tonight Let's celebrate, it's all right We're gonna have a good time tonight Let's celebrate, it's all right, baby We're gonna have a good time tonight (Celebration) Let's celebrate, it's all right We're gonna have a good time tonight (Celebration) Let's celebrate, it's all right (Yahoo) (Yahoo) Celebrate good times, come on (Let's celebrate) Celebrate good times, come on (It's a celebration) Celebrate good times, come on (Let's celebrate) Celebrate good times, come on (Come on and celebrate tonight) (Baby everything's gonna be alright, let's celebrate) Celebrate good times, come on Celebrate good times, come on (Let's have a great time, celebrate) Celebrate good times, come on",Celebration,Celebrate! ,https://genius.com/Kool-and-the-gang-celebration-lyrics,"7," -18,Dolly Parton,"February 21, 1981",[],"Tumble outta bed And stumble to the kitchen Pour myself a cup of ambition Yawnin' and stretchin' and try to come to life Jump in the shower And the blood starts pumpin' Out on the streets The traffic starts jumpin' With folks like me on the job from 9 to 5 Working 9 to 5 What a way to make a living Barely gettin' by It's all taking And no giving They just use your mind And they never give you credit It's enough to drive you Crazy if you let it 9 to 5, for service and devotion You would think that I Would deserve a fair promotion Want to move ahead But the boss won't seem to let me I swear sometimes that man is out to get me Mmmmm... They let you dream Just to watch them shatter You're just a step On the boss man's ladder But you got dreams he'll never take away In the same boat With a lot of your friends Waiting for the day Your ship will come in And the tide's gonna turn An' it's all gonna roll you away Working 9 to 5 What a way to make a living Barely gettin' by It's all taking And no giving They just use your mind And you never get the credit It's enough to drive you Crazy if you let it 9 to 5, yeah, they got you where they want you There's a better life And you think about it don't you It's a rich man's game No matter what they call it And you spend your life Putting money in his wallet Working 9 to 5 What a way to make a living Barely gettin' by It's all taking And no giving They just use your mind And they never give you credit It's enough to drive you Crazy if you let it 9 to 5, yeah, they got you where they want you There's a better life And you think about it don't you It's a rich man's game No matter what they call it And you spend your life Putting money in his wallet",9 to 5,9 to 5 and Odd Jobs,https://genius.com/Dolly-parton-9-to-5-lyrics,"21," -19,Eddie Rabbitt,"February 28, 1981",[],"Well, I love a rainy night I love a rainy night I love to hear the thunder Watch the lightning When it lights up the sky You know it makes me feel good Well, I love a rainy night It's such a beautiful sight I love to feel the rain On my face Taste the rain on my lips In the moonlight shadow Showers washed All my cares away I wake up to a sunny day 'Cause I love a rainy night Yeah, I love a rainy night Well, I love a rainy night Well, I love a rainy night Ooh-ooh I love a rainy night I love a rainy night I love to hear the thunder Watch the lightning When it lights up the sky You know it makes me feel good Well, I love a rainy night It's such a beautiful sight I love to feel the rain On my face To taste the rain on my lips In the moonlight shadows Puts a song In this heart of mine Puts a smile on my face every time 'Cause I love a rainy night Yeah, I love a rainy night Ooh, I love a rainy night Yeah, I love a rainy night Ooh-ooh Showers washed All my cares away I wake up to a sunny day 'Cause I love a rainy night Yeah, I love a rainy night Well, I love a rainy night I love a rainy night Well, I love a rainy night You can see it in my eyes Yeah, I love a rainy night Well, it makes me high Ooh, I love a rainy night You know I do, yeah, yeah I love a rainy night I love a rainy night You can see it in my eyes..",I Love a Rainy Night,Horizon,https://genius.com/Eddie-rabbitt-i-love-a-rainy-night-lyrics,"28," -20,REO Speedwagon,"March 21, 1981",[],"You should've seen by the look in my eyes, baby There was something missing You should've known by the tone of my voice, maybe But you didn't listen You played dead But you never bled Instead you lay still in the grass All coiled up and hissing And though I know all about those men Still I don't remember Cause it was us baby, way before then And we're still together And I meant, every word I said When I said that I love you I meant That I love you forever And I'm gonna keep on loving you Cause it's the only thing I wanna do I don't wanna sleep I just wanna keep on loving you And I meant every word I said When I said that I love you I meant That I love you forever And I'm gonna keep on loving you Cause it's the only thing I wanna do I don't wanna sleep I just wanna keep on loving you",Keep On Loving You,Hi Infidelity,https://genius.com/Reo-speedwagon-keep-on-loving-you-lyrics,"21," -21,Blondie,"March 28, 1981",[],"Toe to toe dancing very close Body breathing almost comatose Wall to wall people hypnotized And they're stepping lightly Hang each night in rapture Back to back sacroiliac Spineless movement and a wild attack Face to face sightless solitude And it's finger popping 24 hour shopping in rapture Fab Five Freddy told me everybody's fly DJ spinning I said ""My My"" Flash is fast, Flash is cool François c'est pas, Flash ain't no dude And you don't stop, sure shot Go out to the parking lot And you get in your car and drive real far And you drive all night and then you see a light And it comes right down and it lands on the ground And out comes the man from Mars And you try to run but he's got a gun And he shoots you dead and he eats your head And then you're in the man from Mars You go out at night eating cars You eat Cadillacs, Lincolns too Mercurys and Subaru And you don't stop, you keep on eating cars Then when there's no more cars you go out at night And eat up bars where the people meet Face to face, dance cheek to cheek One to one, man to man And toe to toe, don't move too slow Cause the man from Mars is through with cars He's eating bars, yeah wall to wall Door to door, hall to hall He's gonna eat 'em all Rapture, be pure, take a tour Through the sewer, don't strain your brain Paint a train, you'll be singing in the rain Said don't stop to the punk rock Well now you see what you wanna be Just have your party on TV Cause the man from Mars won't eat up bars Where the TV's on and now he's gone Back up to space where he won't have a hassle With the human race and you hip hop And you don't stop, just blast off Sure shot cause the man from Mars stopped eating cars And eating bars and now he only eats guitars, get up",Rapture,Autoamerican,https://genius.com/Blondie-rapture-lyrics,"28," -22,Daryl Hall & John Oates,"April 11, 1981",[],"My friends wonder why I call you all the time, what can I say? I don't feel the need to give such secrets away You think maybe I need help, though I know I'm right, all right I'm just better off not listening to friends' advice When they insist on knowing my bliss I tell them this When they want to know what the reason is I only smile when I lie, then I tell them why Because your kiss, your kiss is on my list Because your kiss, your kiss is on my list Because your kiss is on my list of the best things in life Because your kiss, your kiss is on my list Because your kiss, your kiss I can't resist Because your kiss is what I miss when I turn out the light I go crazy wondering what there is to really see Did the night just take up your time, 'cause it means more to me Sometimes I forget what I'm doing, I don't forget what I want, I want Regret what I've done, regret you? I couldn't go on But if you insist on knowing my bliss I'll tell you this If you want to know what the reason is I only smile when I lie, then I'll tell you why Because your kiss, your kiss is on my list Because your kiss, your kiss is on my list Because your kiss is on my list of the best things in life Because your kiss, your kiss is on my list Because your kiss, your kiss I can't resist Because your kiss is what I miss when I turn out the light I really miss you, babe Because your kiss, your kiss is on my list Because your kiss, your kiss is on my list Because your kiss is on my list of the best things in life Oh babe, because your kiss, your kiss is on my list Because your kiss, your kiss I can't resist Because your kiss is what I miss when I turn out the light Because your kiss, your kiss is on my list Because your kiss, your kiss I can't resist Because your kiss is on my list of the best things in life Ohh, because your kiss, your kiss is on my list...",Kiss on My List,Voices,https://genius.com/Hall-and-oates-kiss-on-my-list-lyrics,"11," -23,Sheena Easton,"May 2, 1981",[],"I wake up every mornin', I stumble out of bed Stretchin' and yawnin', another day ahead It seems to last forever and time goes slowly by Till babe and me's together, then it starts to fly 'Cause the moment that he's with me, time can take a flight The moment that he's with me, everything's alright Night time is the right time, we make love Then it's his and my time, we take off My baby takes the morning train He works from nine to five and then He takes another home again To find me waitin' for him My baby takes the morning train He works from nine to five and then He takes another home again To find me waitin' for him He takes me to a movie or to a restaurant To go slow dancing, anything I want Only when he's with me, I catch light Only when he gives me, makes me feel alright My baby takes the morning train He works from nine to five and then He takes another home again To find me waitin' for him All day I think of him, dreamin' of him constantly I'm crazy mad for him and he's crazy mad for me (crazy mad for me) When he steps off that train, amazingly full of fight Work all day to earn his pay, so we can play all night My baby takes the morning train He works from nine to five and then He takes another home again To find me waitin' for him (My baby takes the morning train) He's always on that morning train (He works from nine to five and then) He works so hard (He takes another home again) To find me waiting for him (My baby takes the morning train) (He works from nine to five and then) (He takes another home again) (To find me waitin' for him)",Morning Train (Nine to Five),Todo me Recuerda a Ti,https://genius.com/Sheena-easton-el-primer-tren-morning-train-nine-to-five-lyrics,"2," -24,Kim Carnes,"May 16, 1981",null,null,Bette Davis Eyes♪ (1981),null,null,"16," -25,Stars on 45,"June 20, 1981",[],"You can boogie like disco, love that disco sound Turn up the volume and move it all around But don't, don't, don't, don't, don't forget, oh no Don't, don't, don't, don't, don't forget The Stars On 45 keep on turning in your mind Like ""We Can Work It Out"" Remember ""Twist and Shout"" You still don't ""Tell Me Why"" and ""No Reply"" 1, 2, 3, 4... This happened once before when I came to your door No reply They said it wasn't you but I saw you peep through your window You know if you break my heart I'll go But I'll come back again 'Cause I told you once before goodbye But I came back again Asked a girl what she wanted to be And she said, ""Baby, can't you see?"" ""I wanna be famous, a star on the screen."" ""But you can do something in between!"" ""Baby, you can drive my car."" ""Yes, I'm gonna be a star."" ""Baby, you can drive my car."" ""And baby, I love you!"" Listen, do you want to know a secret? Do you promise not to tell? Oh, oh-a-oh, oh Closer, let me whisper in your ear Say the words you long to hear I'm in love with you (oh-a-ooh-ooh) Try to see it my way Do I have to keep on talking 'til I can't go on? While you see it your way Run the risk of knowing that our love may soon be gone We can work it out We can work it out I should've know better with a girl like you That I would love everything that you do And I do, hey, hey, hey He's a real nowhere man, sitting in his nowhere land You're gonna lose that girl You're gonna lose that girl You're gonna lose that girl I think I'm gonna be sad, I think it's today, yeah The girl that's driving me mad is going away She's got a ticket to ride, she's got a ticket to ride She's got a ticket to ride and she don't care Say the word and you'll be free Say the word and be like me Say the word I'm thinking of Have you heard the word is love? It's so fine, it's sunshine It's the word, love Ahh, look at all the lonely people Ahh, look at all the lonely people When I'm walking beside her people tell me I'm lucky Yes, I know I'm a lucky guy I remember the first time I was lonely without her Can't stop thinking about her now Every little thing she does, she does for me, yeah And you know the things she does, she does for me, oooh You tell me that you've got everything you want And your bird can sing But you don't get me, you don't get me When your prized possessions start to wear you down Look in my direction, I'll be around, I'll be around Jojo was a man who thought he was a loner But he knew it wouldn't last Jojo left his home in Tucson, Arizona For some California grass Get back, get back, get back to where you once belonged Get back, get back, get back to where you once belonged Got a good reason for takin' the easy way out Got a good reason for takin' the easy way out now She was a day tripper, one way ticket, yeah It took me so long to find out and I found out It's been a long time Now I'm coming back home I've been away now Oh, how I've been alone Wait 'til I come back to your side We'll forget the tears we've cried But if your heart breaks Don't wait, turn me away And if your heart's strong Hold on, I won't delay The Stars On 45 keep on turning in your mind Like ""We Can Work It Out"" Remember ""Twist and Shout"" You still don't ""Tell Me Why"" and ""No Reply""",Stars on 45,,https://genius.com/Stars-on-45-stars-on-45-medley-lyrics,"20," -26,Air Supply,"July 25, 1981",[],"Now the night has gone Now the night has gone away Doesn't seem that long We hardly had two words to say Hold me in your arms for just another day I promise this one will go slow Oh, we have the right you know We have the right you know Don't say the morning's come Don't say the morning's come so soon Must we end this way When so much here is hard to lose Love is everywhere, I know it is Such moments as this are too few Oh, it's all up to you It's all up to you Here I am, the one that you love Asking for another day Understand, the one that you love Loves you in so many ways Tell me we can stay Tell me we can stay, oh please They are the words to say The only words I can believe Hold me in your arms for just another day I promise this one will go slow Oh, we have the right you know We have the right you know Here I am, the one that you love Asking for another day Understand, the one that you love Loves you in so many ways Here I am, the one that you love Asking for another day Understand, the one that you love Loves you in so many ways The night has gone, a part of yesterday I don't know what to say I don't know what to say Here I am, the one that you love Asking for another day Understand, the one that you love Loves you in so many ways Here I am, the one that you love Asking for another day Understand, the one that you love Loves you in so many ways Here I am, the one that you love Asking for another day Understand, the one that you love Loves you in so many ways",The One That You Love,The One That You Love,https://genius.com/Air-supply-the-one-that-you-love-lyrics,"25," -27,Rick Springfield,"August 1, 1981",[],"Jessie is a friend Yeah, I know, he's been a good friend of mine But lately something's changed that ain't hard to define Jessie's got himself a girl, and I wanna make her mine And she's watching him with those eyes And she's lovin' him with that body I just know it And he's holding her in his arms late, late at night You know I wish that I had Jessie's girl I wish that I had Jessie's girl Where can I find a woman like that? I'll play along with this charade That doesn't seem to be a reason to change You know I feel so dirty when they start talking cute I wanna tell her that I love her, but the point is probably moot Cause she's watching him with those eyes And she's lovin' him with that body I just know it And he's holding her in his arms late, late at night You know I wish that I had Jessie's girl I wish that I had Jessie's girl Where can I find a woman like that? Like Jessie's girl I wish that I had Jessie's girl Where can I find a woman... Where can I find a woman like that? And I'm lookin' in the mirror all the time Wonderin' what she don't see in me I've been funny; I've been cool with the lines Ain't that the way love's supposed to be? Tell me where can I find a woman like that? You know I wish that I had Jessie's girl I wish that I had Jessie's girl I want Jessie's girl Where can I find a woman like that? Like Jessie's girl I wish that I had Jessie's girl I want, I want Jessie's girl",Jessie's Girl,Working Class Dog,https://genius.com/Rick-springfield-jessies-girl-lyrics,"1," -28,Diana Ross & Lionel Richie,"August 15, 1981",[],"My love There's only you in my life The only thing that's bright My first love You're every breath that I take You're every step I make And I I want to share All my love with you No one else will do And your eyes Your eyes, your eyes They tell me how much you care Ooh yes, you will always be My endless love Two hearts Two hearts that beat as one Our lives have just begun Forever (Ohhhhhh) I'll hold you close in my arms I can't resist your charms And love Oh, love I'll be a fool For you I'm sure You know I don't mind Oh, you know I don't mind Cause you You mean the world to me Oh I know I know I've found in you My endless love Oooh-woow Boom, boom And, yes You'll be the only one Cause no one can deny This love I have inside And I'll give it all to you My love My love, my love My endless love",Endless Love,Why Do Fools Fall in Love ,https://genius.com/Diana-ross-and-lionel-richie-endless-love-lyrics,"15," -29,Christopher Cross,"October 17, 1981",[],"Once in your life you find her Someone that turns your heart around And next thing you know you're closing down the town Wake up and it's still with you Even though you left her way 'cross town Wondering to yourself, ""Hey, what've I found?"" When you get caught between the moon and New York City I know it's crazy, but it's true If you get caught between the moon and New York City The best that you can do The best that you can do Is fall in love Arthur, he does as he pleases All of his life, his master's toys Deep in his heart, he's just, he's just a boy Living his life one day at a time And showing himself a pretty good time Laughing about the way they want him to be When you get caught between the moon and New York City I know it's crazy, but it's true If you get caught between the moon and New York City The best that you can do (The best that you can do) The best that you can do Is fall in love When you get caught between the moon and New York City I know it's crazy, but it's true If you get caught between the moon and New York City The best that you can do (The best that you can do) The best that you can do Is fall in love When you get caught between the moon and New York City I know it's crazy, but it's true If you get caught between the moon and New York City The best that you can do (The best that you can do) The best that you can do Is fall in love When you get caught between the moon and New York City I know it's crazy, but it's true",Arthur's Theme (Best That You Can Do),Walking in Avalon,https://genius.com/Christopher-cross-arthurs-theme-best-that-you-can-do-lyrics,"17," -30,Daryl Hall & John Oates,"November 7, 1981",[],"I see you, you see me Watch you blowing the lines when you're making a scene Oh, girl, you've got to know What my head overlooks the senses will show To my heart, when it's watching for lies You can't escape my Private eyes They're watching you They see your every move Private eyes They're watching you Private eyes They're watching you Watching you Watching you Watching you You play with words, you play with love You can twist it around, baby, that ain't enough Cause girl, I'm going to know If you're letting me in or letting me go Don't lie when you're hurting inside Cause you can't escape my Private eyes They're watching you They see your every move, baby Private eyes They're watching you Private eyes They're watching you Watching you Watching you Watching you Why you try to put up a front for me? I'm a spy but on your side, you see Slip on into any disguise I'll still know you, look into my Private eyes They're watching you They see your every move Private eyes They're watching you Private eyes They're watching you Private eyes They're watching you They see your every move Private eyes They're watching you Private eyes They're watching you Private eyes They're watching you They see your every move Private eyes They're watching you Private eyes They're watching you Private eyes They're watching you They see your every move Private eyes They're watching you Private eyes They're watching you They see your every move",Private Eyes,Private Eyes,https://genius.com/Hall-and-oates-private-eyes-lyrics,"7," -31,Olivia Newton-John,"November 21, 1981",null,null,Physical♪ (1982),null,null,"21," -32,Daryl Hall & John Oates,"January 30, 1982",[],"Easy, ready, willing, overtime Where does it stop Where do you dare me To draw the line You've got the body Now you want my soul Don't even think about it Say, no go I'll do anything That you want me to do Yeah, I'll do almost anything That you want me too, ooh Yeah But I can't go for that, no No can do I can't go for that, no No can do I can't go for that, no No can do I can't go for that Can't go for that Can't go for that Can't go for that I can go for being twice as nice I can go for just repeating The same old lines Use the body Now you want my soul Ooh, forget about it Now say, no go I'll do anything That you want me to do Yeah, I'll do almost anything That you want me too, ooh Yeah But I can't go for that, no No can do I can't go for that, no No can do I can't go for that, no No can do I can't go for that Can't go for that Can't go for that Can't go for that I'll do anything That you want me to do Yeah, I'll do almost anything That you want me too, ooh Yeah But I can't go for that, no No can do I can't go for that, no No can do I can't go for that, no No can do I can't go for that Can't go for that Can't go for that Can't go for that",I Can't Go for That (No Can Do),Private Eyes,https://genius.com/Hall-and-oates-i-cant-go-for-that-no-can-do-lyrics,"30," -33,The J. Geils Band,"February 6, 1982",[],"Come on! Does she walk? Does she talk? Does she come complete? My homeroom homeroom angel Always pulled me from my seat She was pure like snowflakes No one could ever stain The memory of my angel Could never cause me pain Years go by I'm lookin' through a girly magazine And there's my homeroom angel On the pages in-between My blood runs cold My memory has just been sold My angel is the centerfold Angel is the centerfold My blood runs cold My memory has just been sold Angel is the centerfold Slipped me notes under the desk While I was thinkin' about her dress I was shy I turned away Before she caught my eye I was shakin' in my shoes Whenever she flashed those baby-blues Something had a hold on me When angel passed close by Those soft and fuzzy sweaters Too magical to touch To see her in that negligee Is really just too much My blood runs cold My memory has just been sold My angel is the centerfold Angel is the centerfold My blood runs cold My memory has just been sold Angel is the centerfold Nah nah nah nah nah nah Nah nah nah nah nah nah nah nah Nah nah nah nah nah nah nah nah Nah nah nah nah nah nah nah nah It's okay I understand This ain't no never-never land I hope that when this issue's gone I'll see you when your clothes are on Take you car, Yes we will We'll take your car and drive it We'll take it to a motel room And take 'em off in private A part of me has just been ripped The pages from my mind are stripped Oh no, I can't deny it Oh yea, I guess I gotta buy it! My blood runs cold My memory has just been sold My angel is the centerfold Angel is the centerfold My blood runs cold My memory has just been sold My Angel is the centerfold Nah nah nah nah nah nah nah nah nah (Alright! Alright! 1-2-3-4!) Nah nah nah nah nah nah Nah nah nah nah nah nah nah nah Nah nah nah nah nah nah nah nah Nah nah nah nah nah nah nah nah My blood runs cold My memory has just been sold My angel is the centerfold Angel is the centerfold My blood runs cold My memory has just been sold My angel is the centerfold Angel is the centerfold",Centerfold,Freeze Frame,https://genius.com/The-j-geils-band-centerfold-lyrics,"6," -34,Joan Jett & the Blackhearts,"March 20, 1982",[],"I saw him dancin' there by the record machine I knew he must a been about 17 The beat was goin' strong Playin' my favorite song An' I could tell it wouldn't be long 'Til he was with me, yeah, me And I could tell it wouldn't be long 'Til he was with me, yeah, me, singin' I love rock n' roll So put another dime in the jukebox, baby! I love rock n' roll So come and take your time and dance with me Ooh! He smiled so I got up and asked for his name “That don't matter”, he said “'Cause it's all the same” Said, “Can I take you home where we can be alone?” An' next we were movin' on He was with me, yeah me Next we were movin' on He was with me, yeah me, singin' I love rock n' roll So put another dime in the jukebox, baby! I love rock n' roll So come and take your time and dance with me Ooh! Said, “Can I take you home where we can be alone” Next we were movin' on He was with me, yeah me An we'll be movin' on An' singin' that same old song Yeah with me, singin' I love rock n' roll So put another dime in the jukebox, baby! I love rock n' roll So come and take your time and dance with me I love rock n' roll So put another dime in the jukebox, baby! I love rock n' roll So come and take your time and dance with me I love rock n' roll So put another dime in the jukebox, baby! I love rock n' roll So come and take your time and dance with I love rock n' roll So put another dime in the jukebox, baby! I love rock n' roll So come and take your time and dance with I love rock n' roll So put another dime in the jukebox, baby! I love rock n' roll So come and take your time and dance with me",I Love Rock 'n' Roll,I Love Rock ’n Roll,https://genius.com/Joan-jett-and-the-blackhearts-i-love-rock-n-roll-lyrics,"20," -35,Vangelis,"May 8, 1982",[],Chariots of fire are on my way Chariots of fire are the best I love chariots of fire Chariots Chariots Chariots Chariots... of FIRE!!! Chariots of fire!!!,Chariots of Fire,Chariots Of Fire,https://genius.com/Vangelis-chariots-of-fire-lyrics,"8," -36,Paul McCartney with Stevie Wonder,"May 15, 1982",null,null,Ebony and Ivory,null,null,"15," -37,The Human League,"July 3, 1982",[],"You were workin' as a waitress in a cocktail bar When I met you I picked you out, I shook you up and turned you around Turned you into someone new Now five years later on you've got the world at your feet Success has been so easy for you But don't forget, it's me who put you where you are now And I can put you back down too Don't, don't you want me? You know I can't believe it when I hear that you won't see me Don't, don't you want me? You know I don't believe you when you say that you don't need me It's much too late to find You think you've changed your mind You'd better change it back or we will both be sorry Don't you want me, baby? Don't you want me, ohh? Don't you want me, baby? Don't you want me, ohh? I was working as a waitress in a cocktail bar That much is true But even then I knew I'd find a much better place Either with or without you The five years we have had have been such good times I still love you But now I think it's time I live my life on my own I guess it's just what I must do Don't, don't you want me? You know I can't believe it when I hear that you won't see me Don't, don't you want me? You know I don't believe you when you say that you don't need me It's much too late to find You think you've changed your mind You'd better change it back or we will both be sorry Don't you want me, baby? Don't you want me, ohh? Don't you want me, baby? Don't you want me, ohh? Don't you want me, baby? Don't you want me, ohh? Don't you want me, baby? Don't you want me, ohh?",Don't You Want Me,Dare,https://genius.com/The-human-league-dont-you-want-me-lyrics,"3," -38,Survivor,"July 24, 1982",[],"Rising up, back on the street Did my time, took my chances Went the distance, now I'm back on my feet Just a man and his will to survive So many times it happens too fast You trade your passion for glory Don't lose your grip on the dreams of the past You must fight just to keep them alive It's the eye of the tiger It's the thrill of the fight Rising up to the challenge of our rival And the last known survivor Stalks his prey in the night And he's watching us all With the eye of the tiger Face to face, out in the heat Hanging tough, staying hungry They stack the odds 'til we take to the street For the kill with the skill to survive It's the eye of the tiger It's the thrill of the fight Rising up to the challenge of our rival And the last known survivor Stalks his prey in the night And he's watching us all With the eye of the tiger Rising up, straight to the top Had the guts, got the glory Went the distance, now I'm not gonna stop Just a man and his will to survive It's the eye of the tiger It's the thrill of the fight Rising up to the challenge of our rival And the last known survivor Stalks his prey in the night And he's watching us all With the eye of the tiger The eye of the tiger The eye of the tiger The eye of the tiger The eye of the tiger",Eye of the Tiger,Eye of the Tiger,https://genius.com/Survivor-eye-of-the-tiger-lyrics,"24," -39,Steve Miller Band,"September 4, 1982",[],"I heat up, I can't cool down You got me spinnin' 'Round and 'round 'Round and 'round and 'round it goes Where it stops nobody knows Every time you call my name I heat up like a burnin' flame Burnin' flame, full of desire Kiss me, baby, let the fire get higher Abra-abra-cadabra I wanna reach out and grab ya Abra-abra-cadabra Abracadabra You make me hot, you make me sigh You make me laugh, you make me cry Keep me burnin' for your love With the touch of a velvet glove Abra-abra-cadabra I wanna reach out and grab ya Abra-abra-cadabra Abracadabra I feel the magic in your caress I feel magic when I touch your dress Silk and satin, leather and lace Black panties with an angel's face I see magic in your eyes I hear the magic in your sighs Just when I think I'm gonna get away I hear those words that you always say Abra-abra-cadabra I wanna reach out and grab ya Abra-abra-cadabra Abracadabra Every time you call my name I heat up like a burnin' flame Burnin' flame full of desire Kiss me baby, let the fire get higher, yeah, yeah I heat up, I can't cool down My situation goes 'round and 'round I heat up, I can't cool down My situation goes 'round and 'round I heat up, I can't cool down My situation goes 'round and 'round I heat up, (I heat up) I can't cool down (I can't cool down) My situation goes 'round and 'round ('Round and 'round) I heat up, (I heat up) I can't cool down (I can't cool down) My situation goes 'round and 'round ('Round and 'round) I heat up, (I heat up) I can't cool down (I can't cool down)",Abracadabra,Abracadabra,https://genius.com/Steve-miller-band-abracadabra-lyrics,"4," -40,Chicago,"September 11, 1982",[],"Everybody needs a little time away I heard her say, from each other Even lovers need a holiday Far away, from each other Hold me now It's hard for me to say I'm sorry I just want you to stay After all that we've been through I will make it up to you, I promise to And after all that's been said and done You're just a part of me, I can't let go Couldn't stand to be kept away Just for the day, from your body Wouldn't wanna be swept away Far away, from the one that I love Hold me now It's hard for me to say I'm sorry I just want you to know Hold me now I really wanna tell you I'm sorry I could never let you go After all that we've been through I will make it up to you, I promise to And after all that's been said and done You're just a part of me, I can't let go After all that we've been through I will make it up to you, I promise to You're gonna be the lucky one When we get there gonna jump in the air No one'll see us cause there's nobody there After all, you know we really don't care Hold on, I'm gonna take you there",Hard to Say I'm Sorry,Chicago 16,https://genius.com/Chicago-hard-to-say-im-sorry-lyrics,"11," -41,John Mellencamp,"October 2, 1982",[],"""Jack and Diane,"" John Mellencamp ""Jackie Brown,"" John Cougar Mellencamp ""Jailhouse Rock,"" Elvis Presley ""Jennifer's Body,"" Hole ""Jeremy,"" Pearl Jam ""The Jerk,"" The Larks ""Jerusalem,"" Emerson, Lake & Palmer ""Jolene,"" Dolly Parton ""Jumper,"" Third Eye Blind ""Jumpin' Jack Flash,"" The Rolling Stones ""Jungle Fever,"" Stevie Wonder ""Jungle Fever,"" Neil Larsen ""Just A Gigolo,"" Louis Armstrong ""Just Like Heaven,"" The Cure",Jack and Diane,,https://genius.com/Screen-genius-song-titles-that-are-also-movies-j-annotated,"2," -42,Men at Work,"October 30, 1982",[],"Who can it be knocking at my door? Go 'way, don't come 'round here no more Can't you see that it's late at night? I'm very tired, and I'm not feeling right All I wish is to be alone; Stay away, don't you invade my home Best off if you hang outside Don't come in, I'll only run and hide Who can it be now? Who can it be now? Who can it be now? Who can it be now? Who can it be knocking at my door? Make no sound, tip-toe across the floor If he hears, he'll knock all day I'll be trapped, and here I'll have to stay I've done no harm, I keep to myself; There's nothing wrong with my state of mental health I like it here with my childhood friend; Here they come, those feelings again! Who can it be now? Who can it be now? Who can it be now? Who can it be now? Is it the man come to take me away? Why do they follow me? It's not the future that I can see It's just my fantasy Yeah! Who can it be now? Who can it be now? Who can it be now? Who can it be now? Oh, who can it be now? Oh, who can it, who can it Yeah yeah yeah Oh, oah...",Who Can It Be Now,Business as Usual,https://genius.com/Men-at-work-who-can-it-be-now-lyrics,"30," -43,Joe Cocker & Jennifer Warnes,"November 6, 1982",[],"Who knows what tomorrow brings In a world few hearts survive All I know is the way I feel When it's real, I keep it alive The road is long There are mountains in our way But we climb a step every day Love lift us up where we belong Where the eagles cry, on a mountain high Love lift us up where we belong Far from the world below, up where the clear wind blow Some hang on to ""used to be"" Live their lives looking behind All we have is here and now All our life, out there to find The road is long There are mountains in our way But we climb them a step every day Love lift us up where we belong Where the eagles cry, on a mountain high Love lift us up where we belong Far from the world below, up where the clear winds blow Time goes by No time to cry Life's you and I Alive today Love lift us up where we belong Where the eagles cry, on a mountain high Love lift us up where we belong Far from the world below, up where the clear winds blow Love lift us up where we belong Where the eagles cry, on a mountain high Love lift us up where we belong",Up Where We Belong,,https://genius.com/Joe-cocker-and-jennifer-warnes-up-where-we-belong-lyrics,"6," -44,Lionel Richie,"November 27, 1982",[],"Bathin’ Ape sweatsuit Cartier glasses I wish I walked around (?) Can’t even take a day off it’s so intense You know feeling when you riding paper temps How dare you looking like you ain’t convinced When it’s fall bet we still rake it in It’s no room you can’t have this much paper in This niggas ghetto as fuck and still can’t swim I touch water so clear I was already a player Just made me more aware Diamonds I share My son is my heir He gone be wealthy as fuck He gone be healthy as fuck Gucci polo for picture day uh huh She just can’t wait for February to come Black Chanel box with the bow to match Somewhere along the way we got so attached 2x Guess you could say you'se the one I trusted Who would ever think that you would spread like mustard? When shit got hot Oh now y’all want to talk black businesses Come to LA get your apprenticeship On Crenshaw Bob had his liquor store Sydney Lyons say nah just give them more Don’t never quit the game if you love it You might never get the see through AP flooded All them nights spent with hoes got repercussions But when you 80 dawg who you gone end up with I might just hit it out the park like Justin Game 2, paid dues I remember rocking songs for the first time Taking off her thong for the first time I need everybody to stand like at church time NYC skyline off the turnpike And LA sunsets with you by my side You know Guess you could say you'se the one I trusted And who would ever think that you would spread like mustard? When shit got hot I wish the world were truly happy (when I wake up in the morning) Living as one I wish the word they call freedom someday would come Someday would come Lionel Richie never lied Lionel Richie never lied Lionel Richie never lied",Truly,Addicted To The Underground,https://genius.com/Dom-kennedy-first-time-lyrics,"27," -45,Toni Basil,"December 11, 1982",[],"Oh Mickey You're so fine You're so fine You blow my mind Hey Mickey! Hey Mickey! Oh Mickey You're so fine You're so fine You blow my mind Hey Mickey! Hey Mickey! Oh Mickey You're so fine You're so fine You blow my mind Hey Mickey! Hey Mickey! Oh Mickey You're so fine You're so fine You blow my mind Hey Mickey! Hey, Mickey! You've been around all night And that's a little long You think you've got it right But I think you got it wrong But can't you say goodnight So you can take me home Mickey 'Cause when you say you will It always means you won't You're giving me the chills Baby, please baby, don't Every night you still leave me all alone Mickey Oh Mickey, what a pity You don't understand You take me by the heart When you take me by the hand Oh Mickey, you're so pretty Can't you understand It's guys like you Mickey Oh what you do Mickey, do Mickey Don't break my heart Mickey! Hey Mickey! Now when you take me by the Who's ever gonna know Every time you move I let A little more show It's something we can use So don't say no Mickey So come on and give it to me anyway you can Anyway you wanna do it I'll treat you like a man But please baby please, don't leave me in the damn Mickey Oh Mickey, what a pity You don't understand You take me by the heart When you take me by the hand Oh Mickey, you're so pretty Can't you understand It's guys like you Mickey Oh what you do Mickey, do Mickey Don't break my heart Mickey! Oh Mickey You're so fine You're so fine You blow my mind Hey Mickey! Hey Mickey! Oh Mickey You're so fine You're so fine You blow my mind Hey Mickey! Hey Mickey! Oh Mickey You're so fine You're so fine You blow my mind Hey Mickey! Hey Mickey! Oh Mickey You're so fine You're so fine You blow my mind Hey Mickey! Oh Mickey, what a pity You don't understand You take me by the heart When you take me by the hand Oh Mickey, you're so pretty Can't you understand It's guys like you Mickey Oh what you do Mickey, do Mickey Don't break my heart Mickey! Oh Mickey, what a pity You don't understand You take me by the heart When you take me by the hand Oh Mickey, you're so pretty Can't you understand It's guys like you Mickey Oh what you do Mickey, do Mickey Don't break my heart Mickey! Oh Mickey, what a pity You don't understand You take me by the heart When you take me by the hand Oh Mickey, you're so pretty Can't you understand It's guys like you Mickey Oh what you do Mickey, do Mickey Don't break my heart Mickey! Oh Mickey, what a pity You don't understand You take me by the heart When you take me by the hand Oh Mickey, you're so pretty Can't you understand It's guys like you Mickey",Mickey,Word Of Mouth ,https://genius.com/Toni-basil-mickey-lyrics,"11," -46,Daryl Hall & John Oates,"December 18, 1982",[],"She'll only come out at night The lean and hungry type Nothing is new I've seen her here before Watching and waiting Ooh, she's sitting with you, but her eyes are on the door So many have paid to see what you think you're getting for free The woman is wild, a she-cat tamed by the purr of a Jaguar Money's the matter If you're in it for love, you ain't gonna get too far (Oh-oh, here she comes) Watch out, boy, she'll chew you up (Oh-oh, here she comes) She's a maneater (Oh-oh, here she comes) Watch out, boy, she'll chew you up (Oh-oh, here she comes) She's a maneater I wouldn't if I were you I know what she can do She's deadly, man She could really rip your world apart Mind over matter Ooh, the beauty is there but a beast is in the heart (Oh-oh, here she comes) Watch out, boy, she'll chew you up (Oh-oh, here she comes) She's a maneater (Oh-oh, here she comes) Watch out, boy, she'll chew you up (Oh-oh, here she comes) She's a maneater Ooh (Oh-oh, here she comes) Here she comes, watch out, boy, she'll chew you up (Whoa-oh, here she comes, watch out) She's a maneater (Oh-oh, here she comes, she's a maneater) Ooh, she'll chew you up (Oh-oh, here she comes) Here she comes, she's a maneater (Oh-oh, here she comes, watch out) She'll only come out at night, ooh (Oh-oh, here she comes) Here she comes, she's a maneater (Oh-oh, here she comes, she's a maneater) The woman is wild, woo (Oh-oh, here she comes) Here she comes, watch out, boy, watch out, boy (Oh-oh, here she comes) Oh, watch out, watch out, watch out, watch out (Oh-oh, here she comes, watch out) Yeah, yeah, she's a maneater (Oh-oh, here she comes, she's a maneater) She's watching and waiting, ooh (Oh-oh, here she comes) Oh, she's a maneater",Maneater,H2O,https://genius.com/Hall-and-oates-maneater-lyrics,"18," -47,Men at Work,"January 15, 1983",[],"Traveling in a fried-out Kombi On a hippie trail, head full of zombie I met a strange lady, she made me nervous She took me in and gave me breakfast And she said Do you come from a land down under Where women glow and men plunder Can't you hear, can't you hear the thunder? You better run, you better take cover Buying bread from a man in Brussels He was six-foot-four and full of muscles I said, ""Do you speak-a my language?"" He just smiled and gave me a Vegemite sandwich And he said I come from a land down under Where beer does flow and men chunder Can't you hear, can't you hear the thunder? You better run, you better take cover, yeah Lyin' in a den in Bombay With a slack jaw, and not much to say I said to the man, ""Are you trying to tempt me Because I come from the land of plenty?"" And he said Do you come from a land down under (Oh yeah yeah) Where women glow and men plunder Can't you hear, can't you hear the thunder? You better run, you better take cover Living in a land down under Where women glow and men plunder Can't you hear, can't you hear the thunder? You better run, you better take cover Living in a land down under Where women glow and men plunder Can't you hear, can't you hear the thunder? You better run, you better take cover Living in a land down under Where women glow and men plunder Can't you hear, can't you hear the thunder? You better run, you better take cover",Down Under,Business as Usual,https://genius.com/Men-at-work-down-under-lyrics,"15," -48,Toto,"February 5, 1983",[],"I hear the drums echoing tonight But she hears only whispers of some quiet conversation She's coming in, 12:30 flight Her moonlit wings reflect the stars that guide me towards salvation I stopped an old man along the way Hoping to find some old forgotten words or ancient melodies He turned to me as if to say ""Hurry boy, it's waiting there for you"" It's gonna take a lot to drag me away from you There's nothing that a hundred men or more could ever do I bless the rains down in Africa Gonna take some time to do the things we never had The wild dogs cry out in the night As they grow restless longing for some solitary company I know that I must do what's right As sure as Kilimanjaro rises like Olympus above the Serengeti I seek to cure what's deep inside Frightened of this thing that I've become It's gonna take a lot to drag me away from you There's nothing that a hundred men or more could ever do I bless the rains down in Africa Gonna take some time to do the things we never had Hurry boy, she's waiting there for you It's gonna take a lot to drag me away from you There's nothing that a hundred men or more could ever do I bless the rains down in Africa I bless the rains down in Africa I bless the rains down in Africa I bless the rains down in Africa I bless the rains down in Africa Gonna take some time to do the things we never had",Africa,Toto IV,https://genius.com/Toto-africa-lyrics,"5," -49,Patti Austin & James Ingram,"February 19, 1983","[{'api_path': '/artists/141661', 'header_image_url': 'https://images.genius.com/c06e9b18a38549077e58bb2bb26d4c05.624x310x1.jpg', 'id': 141661, 'image_url': 'https://images.genius.com/c06e9b18a38549077e58bb2bb26d4c05.624x310x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'James Ingram', 'url': 'https://genius.com/artists/James-ingram'}]","Thinkin' back in time When love was only in my mind, I realize Ain't no second chance You've got to hold on to romance Don't let it slide There's a special kind of magic in the air When you find another heart that needs to share Baby, come to me Let me put my arms around you This was meant to be And I'm oh so glad I found you Need you every day Gotta have your love around me Baby, always stay 'Cause I can't go back to livin' without you Spendin' every dime to keep you talkin' on the line That's how it was And all those walks together out in any kind of weather Just because There's a brand new way of looking at your life When you know that love is standing by your side Baby, come to me Let me put my arms around you This was meant to be And I'm oh so glad I found you Need you every day Gotta have your love around me Baby, always stay Cause I can't go back to livin' without you The nights can be cold There's a chill to every evening when you're all alone Don't talk anymore 'Cause you know that I'll be here to keep you warm Oh, darling, keep me warm Baby, come to me (Come to me) Let me put my arms around you This was meant to be And I'm oh so glad I found you Need you every day (Every day) Gotta have your love around me (I gotta have you) Baby, always stay 'Cause I can't go back to livin' without you Come to me (Let me put my arms around you) Let me put my arms around you (Hey!) This was meant to be And I'm oh so glad I found you (I need you every day, baby) Need you every day (Gotta have) Gotta have your love around me Baby, always stay (Oh, I want you to stay) 'Cause I can't go back to livin' without you Come to me (Come to me) Let me put my arms around you This was meant to be (Let me love you, baby) And I'm oh so glad I found you (Glad that I found you) Need you every day (Got to have you) Gotta have your love around me Baby, always stay (Oh, always stay) 'Cause I can't go back to livin' without you","Baby, Come to Me",Every Home Should Have One,https://genius.com/Patti-austin-baby-come-to-me-lyrics,"19," -50,Michael Jackson,"March 5, 1983",[],"She was more like a beauty queen from a movie scene I said, ""Don't mind, but what do you mean, I am the one Who will dance on the floor in the round?"" She said I am the one Who will dance on the floor, in the round She told me her name was Billie Jean As she caused a scene Then every head turned with eyes that dreamed of being the one Who will dance on the floor in the round People always told me, ""Be careful of what you do Don't go around breaking young girls' hearts"" (Hee-eeh) And mother always told me, ""Be careful of who you love And be careful of what you do (Oh-oh) 'Cause the lie becomes the truth"" (Oh-oh) Billie Jean is not my lover She's just a girl who claims that I am the one (Oh, baby) But the kid is not my son, hoo! She says I am the one (Oh, baby) But the kid is not my son (Hee-hee-hee, no-no-no, hee-hee-hee) Hoo! For forty days and for forty nights, the law was on her side But who can stand when she's in demand? Her schemes and plans 'Cause we danced on the floor in the round, hee! So take my strong advice, just remember to always think twice (Don't think twice) Do think twice! (Ah-hoo!) She told my baby we'd danced till three, then she looked at me Then showed a photo of a baby crying, his eyes were like mine (Oh, no) 'Cause we danced on the floor in the round, baby (Ooh, hee-hee-hee) People always told me, ""Be careful of what you do And don't go around breaking young girls' hearts"" (Don't break no hearts!) (Hee-hee) She came and stood right by me Then the smell of sweet perfume (Ha-oh) This happened much too soon (Ha-oh, ha-ooh) She called me to her room (Ha-oh, hoo!) Billie Jean is not my lover (Hoo!) She's just a girl who claims that I am the one But the kid is not my son No-no-no, no-no-no-no-no-no Billie Jean is not my lover She's just a girl who claims that I am the one (Oh baby) But the kid is not my son (Oh, no, no) She says I am the one (Oh baby) But the kid is not my son (No, hee-hee) Ah, hee-hee-hee Hee! Hoo! She says I am the one, but the kid is not my son No-no-no, hoo! (Oh) Billie Jean is not my lover She's just a girl who claims that I am the one But the kid is not my son No-no-no, no-no-no-no She says I am the one, but the kid is not my son (No-no-no) She says I am the one (You know what you did) She says he is my son (Breaking my heart babe) She says I am the one Billie Jean is not my lover Billie Jean is not my lover Billie Jean is not my lover Billie Jean is not my lover Billie Jean is not my lover (Don't call me Billie Jean) Billie Jean is not my...",Billie Jean,Thriller,https://genius.com/Michael-jackson-billie-jean-lyrics,"5," -51,Dexys Midnight Runners,"April 23, 1983",[],"Come on Eileen! Come on Eileen! Poor old Johnnie Ray Sounded sad upon the radio Moved a million hearts in mono Our mothers cried Sang along, who'd blame them? You've grown (You’re grown up!) So grown (So grown up!) Now I must say more than ever (Come on Eileen) Too-ra-loo-ra, too-ra-loo-rye, ay And we can sing just like our fathers Come on Eileen Oh, I swear (What he means) At this moment you mean everything You in that dress My thoughts (I confess) Verge on dirty Oh, come on Eileen (Come on Eileen!) These people round here Were beaten down, eyes sunk in smoke-dried face They're so resigned to what their fate is But not us (No never) But not us (Not ever) We are far too young and clever (Remember) Too-ra-loo-ra, too-ra-loo-rye, ay And you'll hum this tune forever, oh Come on Eileen Oh, I swear (What he means) Aah, come on let's Take off everything That pretty red dress Eileen (Tell him yes) Aah, come on let's Aah, come on Eileen That pretty red dress Eileen (Tell him yes) Aah, come on let's Aah, come on Eileen Please (Come on Eileen, tah-loo-rye-ay) (Come on Eileen, tah-loo-rye-ay) (Tooh rah, tooh ra, tah roo rye) Now you're full grown Now you have shown Oh, Eileen (Come on Eileen, tah-loo-rye-ay) (Come on Eileen, tah-loo-rye-ay) (Tooh rah, tooh ra, tah roo rye) Say, come on Eileen (You’ve grown) These things they are real and I know (So grown) How you feel Now I must say more than ever Things round here have changed (Come on Eileen, tah-loo-rye-aye) (Come on Eileen, tah-loo-rye-aye) I say, too-ra-loo-ra, too-ra-loo-rye-ay Come on Eileen Oh, I swear (What he means) At this moment You mean everything You in that dress, my thoughts I confess Verge on dirty Aah, come on Eileen Aah, come on Eileen Oh, I swear (What he means) At this moment, you mean everything You in that dress Oh, my thoughts I confess Well, they're dirty Come on Eileen Come on Eileen (Oh) What he means (Oh) You mean everything (Oh) (Come on! come on!) In that dress Oh Oh believe me if all those endearing young charms That I gaze on so fondly today Were to suddenly leave you, or fly in the night Just like fairy gifts gone in the sky",Come On Eileen,Too-Rye-Ay,https://genius.com/Dexys-midnight-runners-come-on-eileen-lyrics,"23," -52,Michael Jackson,"April 30, 1983","[{'api_path': '/artists/48257', 'header_image_url': 'https://images.genius.com/69880258fe0daebc0ad162920eca0407.1000x562x1.jpg', 'id': 48257, 'image_url': 'https://images.genius.com/3d7fe8dda952b9e48934d26ed69cb78f.535x535x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Eddie Van Halen', 'url': 'https://genius.com/artists/Eddie-van-halen'}]","They told him, ""Don't you ever come around here Don't wanna see your face, you better disappear"" The fire's in their eyes and their words are really clear So beat it, just beat it You better run, you better do what you can Don't wanna see no blood, don't be a macho man (Woo!) You wanna be tough, better do what you can So beat it, but you wanna be bad Just beat it, beat it, beat it, beat it No one wants to be defeated Showin' how funky and strong is your fight It doesn't matter who's wrong or right Just beat it (Beat it) Just beat it (Beat it) Just beat it (Beat it) Just beat it (Beat it, uh) They're out to get you, better leave while you can Don't wanna be a boy, you wanna be a man You wanna stay alive, better do what you can So beat it, just beat it (Woo!) You have to show them that you're really not scared (Woo!) You're playin' with your life, this ain't no truth or dare (Woo!) They'll kick you, then they'll beat you, then they'll tell you it's fair So beat it, but you wanna be bad Just beat it, beat it, beat it, beat it No one wants to be defeated Showin' how funky and strong is your fight It doesn't matter who's wrong or right Just beat it, beat it, beat it, beat it No one wants to be defeated Showin' how funky and strong is your fight It doesn't matter who's wrong or right Just beat it (Beat it, beat it, beat it) Beat it (Beat it, beat it, ha, ha, ha, ha) Beat it (Beat it, beat it) Beat it (Beat it, beat it) Beat it (Beat it, beat it) Beat it, beat it, beat it, beat it No one wants to be defeated Showin' how funky and strong is your fight It doesn't matter who's wrong or right (Who's right) Just beat it, beat it, beat it, beat it (Woo-hoo!) No one wants to be defeated (No-ooo) Showin' how funky (Woo-hoo!) and strong is your fight (Woo-hoo!) It doesn't matter who's wrong or right Just beat it, beat it, beat it, beat it No one wants to be defeated (Oh-no!) Showin' how funky (Woo-hoo!) and strong is your fight (Woo-hoo!) It doesn't matter who's wrong or right Just beat it, beat it, beat it, beat it No one wants to be defeated Showin' how funky and strong is your fight It doesn't matter who's wrong or right (Who's right) Just beat it (Beat it) Beat it, beat it No one wants to be...",Beat It,Thriller,https://genius.com/Michael-jackson-beat-it-lyrics,"30," -53,David Bowie,"May 21, 1983",[],"Ah, ah, ah, ah (Let's dance) (Let's dance) (Let's dance) put on your red shoes and dance the blues (Let's dance) to the song they're playing on the radio (Let's sway) while colour lights up your face (Let's sway) sway through the crowd to an empty space If you say run, I'll run with you And if you say hide, we'll hide Because my love for you would break my heart in two If you should fall, into my arms and tremble like a flower (Let's dance) (Let's dance) (Let's dance) for fear your grace should fall (Let's dance) for fear tonight is all (Let's sway) you could look into my eyes (Let's sway) under the moonlight, this serious moonlight And if you say run, I'll run with you And if you say hide, we'll hide Because my love for you would break my heart in two If you should fall, into my arms and tremble like a flower (Let's dance) (Let's dance) (Let's dance) put on your red shoes and dance the blues (Let's dance) to the song we're playing (Let's sway) (Let's sway) under the moonlight, this serious moonlight (Let's dance) (Let's...) (Let's...) (Let's...) (Let's sway) (Let's...) Let's dance, let's dance, let's dance, let's dance, let's dance (Let's dance) Let's sway Let's sway Let's dance, let's dance, let's dance, let's dance, let's dance (Let's dance) (Let's dance) (Let's dance) (Let's dance)",Let's Dance,Let’s Dance,https://genius.com/David-bowie-lets-dance-lyrics,"21," -54,Irene Cara,"May 28, 1983",[],"First when there's nothing But a slow glowing dream That your fear seems to hide Deep inside your mind All alone I have cried Silent tears full of pride In a world made of steel Made of stone Well, I hear the music Close my eyes Feel the rhythm Wrap around Take a hold of my heart What a feeling Being's believing I can have it all Now I'm dancing for my life Take your passion And make it happen Pictures come alive You can dance right through your life Now I hear the music Close my eyes I am rhythm In a flash It takes hold of my heart What a feeling Being's believing I can have it all Now I'm dancing for my life Take your passion And make it happen Pictures come alive You can dance right through your life What a feeling What a feeling (I am music now) Being's believing (I am rhythm now) Pictures come alive You can dance right through your life What a feeling (I can really have it all) What a feeling (Pictures come alive when I call) I can have it all (I can really have it all) Have it all (Pictures come alive when I call) (Call, call, call, call, what a feeling) I can have it all (Being's believing) Being's believing (Take your passion) And make it happen (make it happen) What a feeling (What a feeling) Being's believing (Happen) Take a passion (Happen) Being's believing",Flashdance... What a Feeling,What a Feelin’,https://genius.com/Irene-cara-flashdance-what-a-feeling-lyrics,"28," -55,The Police,"July 9, 1983",[],"1. Like a Rolling Stone by Bob Dylan 2. Satisfaction by The Rolling Stones 3. Imagine by John Lennon 4. What's Going On by Marvin Gaye 5. Respect by Aretha Franklin 6. Good Vibrations by The Beach Boys 7. Johnny B. Goode by Chuck Berry 8. Hey Jude by The Beatles 9. Smells Like Teen Spirit by Nirvana 10. What'd I Say by Ray Charles 11. My Generation by The Who 12. A Change Is Gonna Come by Sam Cooke 13. Yesterday by The Beatles 14. Blowin' in the Wind by Bob Dylan 15. London Calling by The Clash 16. I Want to Hold Your Hand by The Beatles 17. Purple Haze by Jimi Hendrix 18. Maybellene by Chuck Berry 19. Hound Dog by Elvis Presley 20. Let It Be by The Beatles 21. Born to Run by Bruce Springsteen 22. Be My Baby by The Ronettes 23. In My Life by The Beatles 24. People Get Ready by The Impressions 25. God Only Knows by The Beach Boys 26. (Sittin on) the Dock of the Bay by Otis Redding 27. Layla by Derek and the Dominos 28. A Day in the Life by The Beatles 29. Help! by The Beatles 30. I Walk the Line by Johnny Cash 31. Stairway To Heaven by Led Zeppelin 32. Sympathy for the Devil by The Rolling Stones 33. River Deep-Mountain High by Ike and Tina Turner 34. You've Lost That Lovin' Feelin' by The Righteous Brothers 35. Light My Fire by The Doors 36. One by U2 37. No Woman by No Cry by Bob Marley and the Wailers 38. Gimme Shelter by The Rolling Stones 39. That'll Be the Day by Buddy Holly 40. Dancing in the Street by Martha and the Vandellas 41. The Weight by The Band 42. Waterloo Sunset by The Kinks 43. Tutti-Frutti by Little Richard 44. Georgia on My Mind by Ray Charles 45. Heartbreak Hotel by Elvis Presley 46. Heroes by David Bowie 47. All Along the Watchtower by Jimi Hendrix 48. Bridge Over Troubled Water by Simon and Garfunkel 49. Hotel California by The Eagles 50. The Tracks of My Tears by Smokey Robinson and the Miracles 51. The Message by Grandmaster Flash and the Furious Five 52. When Doves Cry by Prince 53. When a Man Loves a Woman by Percy Sledge 54. Louie Louie by The Kingsmen 55. Long Tall Sally by Little Richard 56. Anarchy in the U.K. by The Sex Pistols 57. Whiter Shade of Pale by Procol Harum 58. Billie Jean by Michael Jackson 59. The Times They Are A-Changin' by Bob Dylan 60. Let's Stay Together by Al Green 61. Whole Lotta Shakin' Goin On by Jerry Lee Lewis 62. Bo Diddley by Bo Diddley 63. For What It's Worth by Buffalo Springfield 64. She Loves You by The Beatles 65. Sunshine of Your Love by Cream 66. Redemption Song by Bob Marley and the Wailers 67. Jailhouse Rock by Elvis Presley 68. Tangled Up in Blue by Bob Dylan 69. Crying by Roy Orbison 70. Walk On By by Dionne Warwick 71. Papa's Got a Brand New Bag by James Brown 72. California Girls by The Beach Boys 73. Superstition by Stevie Wonder 74. Summertime Blues by Eddie Cochran 75. Whole Lotta Love by Led Zeppelin 76. Strawberry Fields Forever by The Beatles 77. Mystery Train by Elvis Presley 78. I Got You (I Feel Good) by James Brown 79. Mr. Tambourine Man by The Byrds 80. You Really Got Me by The Kinks 81. I Heard It Through the Grapevine by Marvin Gaye 82. Blueberry Hill by Fats Domino 83. Norwegian Wood (This Bird Has Flown) by The Beatles 84. Every Breath You Take by The Police 85. Crazy by Patsy Cline 86. Thunder Road by Bruce Springsteen 87. Ring of Fire by Johnny Cash 88. My Girl by The Temptations 89. California Dreamin' by The Mamas and The Papas 90. In the Still of the Nite by The Five Satins 91. Suspicious Minds by Elvis Presley 92. Blitzkrieg Bop by Ramones 93. I Still Haven't Found What I'm Looking For by U2 94. Good Golly, Miss Molly by Little Richard 95. Blue Suede Shoes by Carl Perkins 96. Great Balls of Fire by Jerry Lee Lewis 97. Roll Over Beethoven by Chuck Berry 98. Love and Happiness by Al Green 99. Fortunate Son by Creedence Clearwater Revival 100. Crazy by Gnarls Barkley 101. You Can't Always Get What You Want by The Rolling Stones 102. Voodoo Child (Slight Return) by Jimi Hendrix 103. Be-Bop-A-Lula by Gene Vincent and His Blue Caps 104. Hot Stuff by Donna Summer 105. Living for the City by Stevie Wonder 106. The Boxer by Simon and Garfunkel 107. Mr. Tambourine Man by Bob Dylan 108. Not Fade Away by Buddy Holly 109. Little Red Corvette by Prince 110. Brown Eyed Girl by Van Morrison 111. I've Been Loving You Too Long (to Stop Now) by Otis Redding 112. I'm So Lonesome I Could Cry by Hank Williams 113. That's All Right by Elvis Presley 114. Up on the Roof by The Drifters 115. You Send Me by Sam Cooke 116. Honky Tonk Women by The Rolling Stones 117. Take Me to the River by Al Green 118. Crazy In Love by Beyonce Feat. Jay-Z 119. Shout (Parts 1 and 2) by The Isley Brothers 120. Go Your Own Way by Fleetwood Mac 121. I Want You Back by The Jackson 5 122. Stand By Me by Ben E. King 123. House of the Rising Sun by The Animals 124. It's a Man's Man's Man's World by James Brown 125. Jumpin' Jack Flash by The Rolling Stones 126. Will You Love Me Tomorrow by The Shirelles 127. Shake Rattle & Roll by Big Joe Turner 128. Changes by David Bowie 129. Rock & Roll Music by Chuck Berry 130. Born to Be Wild by Steppenwolf 131. Maggie May by Rod Stewart 132. With or Without You by U2 133. Who Do You Love by Bo Diddley 134. Won't Get Fooled Again by The Who 135. In the Midnight Hour by Wilson Pickett 136. While My Guitar Gently Weeps by The Beatles 137. Your Song by Elton John 138. Eleanor Rigby by The Beatles 139. Family Affair by Sly and the Family Stone 140. I Saw Her Standing There by The Beatles 141. Kashmir by Led Zeppelin 142. All I Have to Do Is Dream by The Everly Brothers 143. Please, Please, Please by James Brown 144. Purple Rain by Prince (feat. The Revolution) 145. I Wanna Be Sedated by The Ramones 146. Everyday People by Sly and the Family Stone 147. Rock Lobster by The B-52's 148. Me and Bobby McGee by Janis Joplin 149. Lust for Life by Iggy Pop 150. Cathy's Clown by The Everly Brothers 151. Eight Miles High by The Byrds 152. Earth Angel by The Penguins 153. Foxy Lady by Jimi Hendrix 154. A Hard Day's Night by The Beatles 155. Rave On by Buddy Holly 156. Proud Mary by Creedence Clearwater Revival 157. The Sounds of Silence by Simon and Garfunkel 158. I Only Have Eyes for You by The Flamingos 159. (We're Gonna) Rock Around the Clock by Bill Haley and His Comets 160. Moment Of Surrender by U2 161. I'm Waiting for the Man by The Velvet Underground 162. Bring the Noise by Public Enemy 163. Folsom Prison Blues by Johnny Cash 164. I Can't Stop Loving You by Ray Charles 165. Nothing Compares 2 U by Sinead O'Connor 166. Bohemian Rhapsody by Queen 167. Fast Car by Tracy Chapman (can't display lyrics) 168. Let's Get It On by Marvin Gaye 169. Papa Was a Rollin' Stone by The Temptations 170. Losing My Religion by R.E.M 171. Both Sides Now by Joni Mitchell 172. 99 Problems by Jay-Z 173. Dream On by Aerosmith 174. Dancing Queen by Abba 175. God Save the Queen by Sex Pistols 176. Paint It Black by The Rolling Stones 177. I Fought the Law by Bobby Fuller Four 178. Don't Worry Baby by The Beach Boys 179. Free Fallin' by Tom Petty 180. September Gurls by Big Star 181. Love Will Tear Us Apart by Joy Division 182. Hey Ya! by Outkast 183. Green Onions by Booker T and the MG's 184. Save the Last Dance for Me by The Drifters 185. The Thrill Is Gone by B.B. King 186. Please Please Me by The Beatles 187. Desolation Row by Bob Dylan 188. Who'll Stop the Rain by Creedence Clearwater Revival 189. I Never Loved a Man (The Way I Love You) by Aretha Franklin 190. Back in Black by AC/DC 191. Stayin' Alive by The Bee Gees 192. Knocking on Heaven's Door by Bob Dylan 193. Free Bird by Lynyrd Skynyrd 194. Rehab by Amy Winehouse 195. Wichita Lineman by Glen Campbell 196. There Goes My Baby by The Drifters 197. Peggy Sue by Buddy Holly 198. Sweet Child O' Mine by Guns N' Roses 199. Maybe by The Chantels 200. Don't Be Cruel by Elvis Presley 201. Hey Joe by Jimi Hendrix 202. Flash Light by Parliament 203. Loser by Beck 204. Bizarre Love Triangle by New Order 205. Come Together by The Beatles 206. Positively 4th Street by Bob Dylan 207. Try a Little Tenderness by Otis Redding 208. Lean On Me by Bill Withers 209. Reach Out, I'll Be There by The Four Tops 210. Bye Bye Love by The Everly Brothers 211. Gloria by Them 212. In My Room by The Beach Boys 213. 96 Tears by ? and the Mysterians 214. Caroline, No by The Beach Boys 215. 1999 by Prince 216. Rockin' in the Free World by Neil Young 217. Your Cheatin' Heart by Hank Williams 218. Do You Believe in Magic by The Lovin' Spoonful 219. Jolene by Dolly Parton 220. Boom Boom by John Lee Hooker 221. Spoonful by Howlin' Wolf 222. Walk Away Renee by The Left Banke 223. Walk on the Wild Side by Lou Reed 224. Oh, Pretty Woman by Roy Orbison 225. Dance to the Music by Sly and the Family Stone 226. Hoochie Coochie Man by Muddy Waters 227. Fire and Rain by James Taylor 228. Should I Stay or Should I Go by The Clash 229. Good Times by Chic 230. Mannish Boy by Muddy Waters 231. Moondance by Van Morrison 232. Just Like a Woman by Bob Dylan 233. Sexual Healing by Marvin Gaye 234. Only the Lonely by Roy Orbison 235. We Gotta Get Out of This Place by The Animals 236. Paper Planes by M.I.A 237. I'll Feel a Whole Lot Better by The Byrds 238. Everyday by Buddy Holly 239. I Got a Woman by Ray Charles 240. Planet Rock by Afrika Bambaataa and the Soul Sonic Force 241. I Fall to Pieces by Patsy Cline 242. Son of a Preacher Man by Dusty Springfield 243. The Wanderer by Dion 244. Stand! by Sly and the Family Stone 245. Rocket Man by Elton John 246. Love Shack by The B-52's 247. Gimme Some Lovin' by The Spencer Davis Group 248. (Your Love Keeps Lifting Me) Higher and Higher by Jackie Wilson 249. The Night They Drove Old Dixie Down by The Band 250. Hot Fun in the Summertime by Sly and the Family Stone 251. Rappers Delight by Sugarhill Gang 252. Chain of Fools by Aretha Franklin 253. Paranoid by Black Sabbath 254. Money Honey by The Drifters 255. Mack the Knife by Bobby Darin 256. All the Young Dudes by Mott the Hoople 257. Paranoid Android by Radiohead 258. Highway to Hell by AC/DC 259. Heart of Glass by Blondie 260. Mississippi by Bob Dylan 261. Wild Thing by The Troggs 262. I Can See for Miles by The Who 263. Oh, What a Night by The Dells 264. Hallelujah by Jeff Buckley 265. Higher Ground by Stevie Wonder 266. Ooo Baby Baby by Smokey Robinson 267. He's a Rebel by The Crystals 268. Sail Away by Randy Newman 269. Walking in the Rain by The Ronettes 270. Tighten Up by Archie Bell and the Drells 271. Personality Crisis by New York Dolls 272. Sunday Bloody Sunday by U2 273. Jesus Walks by Kanye West 274. Roadrunner by The Modern Lovers 275. He Stopped Loving Her Today by George Jones 276. Sloop John B by The Beach Boys 277. Sweet Little Sixteen by Chuck Berry 278. Something by The Beatles 279. Somebody to Love by Jefferson Airplane 280. Born in the U.S.A by Bruce Springsteen 281. I'll Take You There by The Staple Singers 282. Ziggy Stardust by David Bowie 283. Pictures of You by The Cure 284. Chapel of Love by The Dixie Cups 285. Ain't No Sunshine by Bill Withers 286. Seven Nation Army by The White Stripes 287. You Are the Sunshine of My Life by Stevie Wonder 288. Help Me by Joni Mitchell 289. Call Me by Blondie 290. (What's So Funny 'Bout) Peace Love and Understanding by Elvis Costello and The Attractions 291. Smoke Stack Lightning by Howlin' Wolf 292. Summer Babe by Pavement 293. Walk This Way by Run-DMC 294. Money (That's What I Want) by Barrett Strong 295. Can't Buy Me Love by The Beatles 296. Stan by Eminem featuring Dido 297. She's Not There by The Zombies 298. Train in Vain by The Clash 299. Tired of Being Alone by Al Green 300. Black Dog by Led Zeppelin 301. Street Fighting Man by The Rolling Stones 302. Get Up, Stand Up by Bob Marley and the Wailers 303. Heart of Gold by Neil Young 304. Sign 'O' the Times by Prince 305. One Way or Another by Blondie 306. Like a Prayer by Madonna 307. One More Time by Daft Punk 308. Do Ya Think I'm Sexy? by Rod Stewart 309. Blue Eyes Crying In the Rain by Willie Nelson 310. Ruby Tuesday by The Rolling Stones 311. With a Little Help From My Friends by The Beatles 312. Say It Loud, I'm Black and Proud by James Brown 313. That's Entertainment by The Jam 314. Why Do Fools Fall In Love by Frankie Lymon and the Teenagers 315. Lonely Teardrops by Jackie Wilson 316. What's Love Got To Do With It by Tina Turner 317. Iron Man by Black Sabbath 318. Wake Up Little Susie by The Everly Brothers 319. In Dreams by Roy Orbison 320. I Put a Spell on You by Screamin' Jay Hawkins 321. Comfortably Numb by Pink Floyd 322. Don't Let Me Be Misunderstood by The Animals 323. Alison by Elvis Costello 324. Wish You Were Here by Pink Floyd 325. Many Rivers to Cross by Jimmy Cliff 326. School's Out by Alice Cooper 327. Take Me Out by Franz Ferdinand 328. Heartbreaker by Led Zeppelin 329. Cortez the Killer by Neil Young 330. Fight the Power by Public Enemy 331. Dancing Barefoot by Patti Smith Group 332. Baby Love by The Supremes 333. Good Lovin' by The Young Rascals 334. Get Up (I Feel Like Being a) Sex Machine by James Brown 335. For Your Precious Love by Jerry Butler and the Impressions 336. The End by The Doors 337. That's the Way of the World by Earth, Wind and Fire 338. We Will Rock You by Queen 339. I Can't Make You Love Me by Bonnie Raitt 340. Subterranean Homesick Blues by Bob Dylan 341. Spirit in the Sky by Norman Greenbaum 342. Sweet Jane by The Velvet Underground 343. Wild Horses by The Rolling Stones 344. Beat It by Michael Jackson 345. Beautiful Day by U2 346. Walk This Way by Aerosmith 347. Maybe I'm Amazed by Paul McCartney 348. You Keep Me Hanging On by The Supremes 349. Baba O'Riley by The Who 350. The Harder They Come by Jimmy Cliff 351. Runaround Sue by Dion 352. Jim Dandy by Lavern Baker 353. Piece of My Heart by Big Brother and the Holding Company 354. La Bamba by Ritchie Valens 355. California Love by Dr. Dre and 2Pac 356. Candle in the Wind by Elton John 357. That Lady (Part 1 and 2) by The Isley Brothers 358. Spanish Harlem by Ben E 359. The Locomotion by Little Eva 360. The Great Pretender by The Platters 361. All Shook Up by Elvis Presley 362. Tears in Heaven by Eric Clapton 363. Watching the Detectives by Elvis Costello 364. Bad Moon Rising by Creedence Clearwater Revival 365. Sweet Dreams (Are Made of This) by Eurythmics 366. Little Wing by Jimi Hendrix 367. Nowhere to Run by Martha and the Vandellas 368. Got My Mojo Working by Muddy Waters 369. Killing Me Softly With His Song by Roberta Flack 370. All You Need Is Love by The Beatles 371. Complete Control by The Clash 372. The Letter by The Box Tops 373. Highway 61 Revisited by Bob Dylan 374. Unchained Melody by The Righteous Brothers 375. How Deep Is Your Love by The Bee Gees 376. White Room by Cream 377. Personal Jesus by Depeche Mode 378. I'm A Man by Bo Diddley 379. The Wind Cries Mary by Jimi Hendrix 380. I Can't Explain by The Who 381. Marquee Moon by Television 382. Wonderful World by Sam Cooke 383. Brown Eyed Handsome Man by Chuck Berry 384. Another Brick in the Wall Part 2 by Pink Floyd 385. Fake Plastic Trees by Radiohead 386. Maps by Yeah Yeah Yeahs 387. Hit the Road Jack by Ray Charles 388. Pride (In The Name of Love) by U2 389. Radio Free Europe by R.E.M 390. Goodbye Yellow Brick Road by Elton John 391. Tell It Like It Is by Aaron Neville 392. Bitter Sweet Symphony by The Verve 393. Whipping Post by The Allman Brothers Band 394. Ticket to Ride by The Beatles 395. Ohio by Crosby, Stills, Nash and Young 396. I Know You Got Soul by Eric B and Rakim 397. Tiny Dancer by Elton John 398. Roxanne by The Police 399. Just My Imagination by The Temptations 400. Baby I Need Your Loving by The Four Tops 401. Summer in the City by The Lovin' Spoonful 402. O-o-h Child by The Five Stairsteps 403. Can't Help Falling in Love by Elvis Presley 404. Remember (Walkin' in the Sand) by The Shangri-Las 405. (Don't Fear) the Reaper by Blue Oyster Cult 406. Thirteen by Big Star 407. Sweet Home Alabama by Lynyrd Skynyrd 408. Enter Sandman by Metallica 409. Tonight's the Night by The Shirelles 410. Thank You (Falettinme Be Mice Elf Agin) by Sly & the Family Stone 411. C'mon Everybody by Eddie Cochran 412. Umbrella by Rihanna feat. Jay-Z 413. Visions of Johanna by Bob Dylan 414. We've Only Just Begun by The Carpenters 415. In Bloom by Nirvana 416. Sweet Emotion by Aerosmith 417. Monkey Gone to Heaven by Pixies 418. I Feel Love by Donna Summer 419. Ode to Billie Joe by Bobbie Gentry 420. The Girl Can't Help It by Little Richard 421. Young Blood by The Coasters 422. I Can't Help Myself by The Four Tops 423. The Boys of Summer by Don Henley 424. Juicy by The Notorious B.I.G 425. Fuck tha Police by N.W.A 426. Suite: Judy Blue Eyes by Crosby, Stills and Nash 427. Nuthin' But a 'G' Thang by Dr. Dre 428. It's Your Thing by The Isley Brothers 429. Piano Man by Billy Joel 430. Blue Suede Shoes by Elvis Presley 431. William, It Was Really Nothing by The Smiths 432. American Idiot by Green day 433. Tumbling Dice by The Rolling Stones 434. Smoke on the Water by Deep Purple 435. New Year's Day by U2 436. Everybody Needs Somebody to Love by Solomon Burke 437. White Man in Hammersmith Palais by The Clash 438. Ain't It a Shame by Fats Domino 439. Midnight Train to Georgia by Gladys Knight and the Pips 440. Ramble On by Led Zeppelin 441. Mustang Sally by Wilson Pickett 442. Alone Again Or by Love 443. Beast of Burden by The Rolling Stones 444. Love Me Tender by Elvis Presley 445. I Wanna Be Your Dog by The Stooges 446. Push It by Salt-n-Pepa 447. Pink Houses by John Cougar Mellencamp 448. In Da Club by 50 Cent 449. Come Go With Me by The Del-Vikings 450. I Shot the Sheriff by Bob Marley and the Wailers 451. I Got You Babe by Sonny and Cher 452. Come As You Are by Nirvana 453. Pressure Drop by Toot and the Maytals 454. Leader of the Pack by The Shangri-Las 455. Heroin by The Velvet Underground 456. Penny Lane by The Beatles 457. The Twist by Chubby Checker 458. Cupid by Sam Cooke 459. Paradise City by Guns n' Roses 460. My Sweet Lord by George Harrison 461. Sheena Is a Punk Rocker by Ramones 462. All Apologies by Nirvana 463. Soul Man by Sam and Dave 464. Kiss by Prince 465. Rollin' Stone by Muddy Waters 466. Get Ur Freak On by Missy Elliott 467. Big Pimpin' by Jay-Z (feat. UGK) 468. Respect Yourself by The Staple Singers 469. Rain by The Beatles 470. Standing in the Shadows of Love by The Four Tops 471. Surrender by Cheap Trick 472. Runaway by Del Shannon 473. Welcome to the Jungle by Guns n' Roses 474. Into the Mystic by Van Morrison 475. Where Did Our Love Go by The Supremes 476. Do Right Woman, Do Right Man by Aretha Franklin 477. How Soon Is Now? by The Smiths 478. Last Nite by The Strokes 479. I Want to Know What Love Is by Foreigner 480. Sabotage by Beastie Boys 481. Super Freak by Rick James 482. Since U Been Gone by Kelly Clarkson 483. White Rabbit by Jefferson Airplane 484. Cry Me A River by Justin Timberlake 485. Lady Marmalade by Labelle 486. Young Americans by David Bowie 487. I'm Eighteen by Alice Cooper 488. Just Like Heaven by The Cure 489. Under the Boardwalk by The Drifters 490. Clocks by Coldplay 491. I Love Rock 'N Roll by Joan Jett 492. I Will Survive by Gloria Gaynor 493. Time To Pretend by MGMT 494. Ignition (Remix) by R. Kelly 495. Brown Sugar by The Rolling Stones 496. Running on Empty by Jackson Browne 497. The Rising by Bruce Springsteen 498. Miss You by The Rolling Stones 499. Buddy Holly by Weezer 500. Shop Around by Smokey Robinson and the Miracles",Every Breath You Take♪ (1983),Issue 963,https://genius.com/Rolling-stone-the-500-greatest-songs-of-all-time-lyrics,"9," -56,Eurythmics,"September 3, 1983",[],"Sweet dreams are made of this Who am I to disagree? I've traveled the world and the seven seas Everybody's lookin' for something Some of them want to use you Some of them want to get used by you Some of them want to abuse you Some of them want to be abused Sweet dreams are made of this Who am I to disagree? I've traveled the world and the seven seas Everybody's lookin' for something Hold your head up Keep your head up, movin' on Hold your head up, movin' on Keep your head up, movin' on Hold your head up, movin' on Keep your head up, movin' on Hold your head up, movin' on Keep your head up Some of them want to use you Some of them want to get used by you Some of them want to abuse you Some of them want to be abused Sweet dreams are made of this Who am I to disagree? I've traveled the world and the seven seas Everybody's lookin' for something Sweet dreams are made of this Who am I to disagree? I've traveled the world and the seven seas Everybody's lookin' for something Sweet dreams are made of this Who am I to disagree? I've traveled the world and the seven seas Everybody's lookin' for something Sweet dreams are made of this Who am I to disagree? I've traveled the world and the seven seas Everybody's lookin' for something Sweet dreams are made of this Who am I to disagree? I've traveled the world and the seven seas Everybody's lookin' for something Sweet dreams are made of this Who am I to disagree? I've traveled the world and the seven seas Everybody's lookin' for something",Sweet Dreams (Are Made of This),Sweet Dreams (Are Made of This),https://genius.com/Eurythmics-sweet-dreams-are-made-of-this-lyrics,"3," -57,Michael Sembello,"September 10, 1983",[],"Just a steel town girl on a Saturday night Lookin' for the fight of her life In the real-time world no one sees her at all They all say she's crazy Locking rhythms to the beat of her heart Changing woman into life She has danced into the danger zone When a dancer becomes a dance It can cut you like a knife, if the gift becomes the fire On a wire between will and what will be She's a maniac, maniac on the floor And she's dancing like she's never danced before She's a maniac, maniac on the floor And she's dancing like she's never danced before On the ice-thin little line of insanity Is a place most never see It's a hard-won place of mystery Touch it, but can't hold it You work all your life for that moment in time It could come or pass you by It's a push of the world, but there's always a chance If the hunger stays the night There's a cold connective heat Struggling, stretching for defeat Never stopping with her head against the wind She's a maniac, maniac, I sure know And she's dancing like she's never danced before She's a maniac, maniac, I sure know And she's dancing like she's never danced before It can cut you like a knife, if the gift becomes the fire On a wire between will and what will be She's a maniac, maniac, I sure know And she's dancing like she's never danced before She's a maniac, maniac, I sure know And she's dancing like she's never danced before Maniac, maniac, I sure know",Maniac,Bossa Nova Hotel,https://genius.com/Michael-sembello-maniac-lyrics,"10," -58,Billy Joel,"September 24, 1983",[],"Listen boy don't want to see you Let a good thing slip away You know I don't like watching anybody make The same mistakes that I made She's a real nice girl And she's always there for you But a nice girl wouldn't tell you what you should do Listen boy I'm sure that you think You got it all under control You don't want somebody telling you The way to stay in someone's soul You're a big boy now And you'll never let her go But that's just the kind of thing she ought to know Tell her about it Tell her everything you feel Give her every reason to accept That you're for real Tell her about it Tell her all your crazy dreams Let her know you need her Let her know how much she means Listen boy it's not automatically A certain guarantee To insure yourself you've got to provide Communication constantly When you love someone You're always insecure And there's only one good way to reassure Tell her about it Let her know how much you care When she can't be with you Tell her you wish you were there Tell her about it Every day before you leave Pay her some attention Give her something to believe Cause now and then she'll get to worrying Just because you haven't spoken for so long Though you may not have done anything Will that be a consolation when she's gone? Listen boy it's good information From a man who's made mistakes Just a word or two that she gets from you Could be the difference that it makes She's a trusting soul She's put her trust in you But a girl like that won't tell you what you should do Tell her about it Tell her everything you feel Give her every reason to accept That you're for real Tell her about it Tell her all your crazy dreams Let her know you need her Let her know how much she means Tell her about it Tell her how you feel right now Just tell her about it The girl don't want to wait too long You got to tell her about it Tell her now that you won't go wrong You got to tell her about it Before it gets too late You've got to tell her about it You know the girl don't want to wait You got to tell her about it You got to tell, tell, tell her about it Now, tell her about it",Tell Her About It,An Innocent Man,https://genius.com/Billy-joel-tell-her-about-it-lyrics,"24," -59,Bonnie Tyler,"October 1, 1983",[],"(Turn around) Every now and then I get a little bit lonely And you're never coming 'round (Turn around) Every now and then I get a little bit tired Of listening to the sound of my tears (Turn around) Every now and then I get a little bit nervous That the best of all the years have gone by (Turn around) Every now and then I get a little bit terrified And then I see the look in your eyes (Turn around, bright eyes!) Every now and then I fall apart (Turn around, bright eyes!) Every now and then I fall apart (Turn around) Every now and then I get a little bit restless And I dream of something wild (Turn around) Every now and then I get a little bit helpless And I'm lying like a child in your arms (Turn around) Every now and then I get a little bit angry And I know I've got to get out and cry (Turn around) Every now and then I get a little bit terrified But then I see the look in your eyes (Turn around, bright eyes!) Every now and then I fall apart (Turn around, bright eyes!) Every now and then I fall apart And I need you now tonight And I need you more than ever And if you only hold me tight We'll be holding on forever And we'll only be making it right 'Cause we'll never be wrong Together we can take it to the end of the line Your love is like a shadow on me all of the time (All of the time) I don't know what to do and I'm always in the dark We're living in a powder keg and giving off sparks I really need you tonight Forever's gonna start tonight Forever's gonna start tonight Once upon a time I was falling in love Now I'm only falling apart There's nothing I can do A total eclipse of the heart Once upon a time there was light in my life But now there's only love in the dark Nothing I can say A total eclipse of the heart (Turn around, bright eyes) (Turn around, bright eyes) (Turn around) Every now and then I know you'll never be the boy You always wanted to be (Turn around) But every now and then I know you'll always be the only boy Who wanted me the way that I am (Turn around) Every now and then I know there's no one in the universe As magical and wondrous as you (Turn around) Every now and then I know there's nothing any better There's nothing that I just wouldn't do (Turn around, bright eyes) Every now and then I fall apart (Turn around, bright eyes) Every now and then I fall apart And I need you now tonight And I need you more than ever And if you only hold me tight We'll be holding on forever And we'll only be making it right 'Cause we'll never be wrong Together we can take it to the end of the line Your love is like a shadow on me all of the time (all of the time) I don't know what to do I'm always in the dark Living in a powder keg and giving off sparks I really need you tonight Forever's gonna start tonight (Forever's gonna start tonight) Once upon a time I was falling in love Now I'm only falling apart There's nothing I can do A total eclipse of the heart Once upon a time there was light in my life But now there's only love in the dark Nothing I can say A total eclipse of the heart A total eclipse of the heart A total eclipse of the heart (Turn around, bright eyes) (Turn around, bright eyes) (Turn around)",Total Eclipse of the Heart,Faster Than the Speed of Night,https://genius.com/Bonnie-tyler-total-eclipse-of-the-heart-lyrics,"1," -60,Kenny Rogers with Dolly Parton,"October 29, 1983",null,null,Islands in the Stream,null,null,"29," -61,Lionel Richie,"November 12, 1983",[],"Well, my friends, the time has come To raise the roof and have some fun Throw away the work to be done Let the music play on (Play on, play on) Everybody sing, everybody dance Lose yourself in wild romance We're going to party, karamu Fiesta, forever Come on and sing along We're going to party, karamu Fiesta, forever Come on and sing along All night long! (all night, all night) All night long! (all night, all night) All night long! (all night, all night) All night long! (all night, all night) People dancing all in the street See the rhythm all in their feet Life is good, wild and sweet Let the music play on (Play on, play on) Feel it in your heart And feel it in your soul Let the music take control We're going to party Liming, fiesta, forever Come on and sing along We're going to party Liming, fiesta, forever Come on and sing my song All night long! (all night, all night) All night long! (all night, all night) All night long! (all night, all night) All night long! (all night, all night) Yeah, once you get started You can't sit down Come join the fun It's a merry-go-round Everyone's dancing their troubles away Come join our party See how we play! Tam bo li de say de moi ya Yeah, Jambo Jambo Way to parti o we goin' Oh, jambali Tam bo li de say de moi ya Yeah, Jambo Jambo Oh, yes We're going to have a party! All night long! (all night, all night) All night long! (all night, all night) All night long! (all night, all night) All night long! (all night, all night) We're going to party, karamu Fiesta, forever Come on and sing along We're going to party, karamu Fiesta, forever Come on and sing my song All night long! (all night, all night) All night long! (all night, all night) All night long! (all night, all night) All night long! (all night, all night) Everyone you meet They're jamming in the street All night long! Yeah, I said, everyone you meet They're jamming in the street All night long! Feel good! Feel good!",All Night Long (All Night),Can’t Slow Down,https://genius.com/Lionel-richie-all-night-long-all-night-lyrics,"12," -62,Paul McCartney & Michael Jackson,"December 10, 1983",null,null,"Say, Say, Say",null,null,"10," -63,Yes,"January 21, 1984",[],"​ Move yourself You always live your life Never thinking of the future Prove yourself You are the move you make Take your chances, win or loser See yourself You are the steps you take You and you, and that's the only way Shake, shake yourself You're every move you make So the story goes Owner of a lonely heart Owner of a lonely heart (Much better than a) Owner of a broken heart Owner of a lonely heart I know (x3) Maybe there's another way to do this {​Music Video - Break}​ Say - you don't want to chance it You've been hurt so before Watch it now The eagle in the sky How he dancin' one and only You, lose yourself No not for pity's sake There's no real reason to be lonely Be yourself Give your free will a chance You've got to want to succeed Owner of a lonely heart Owner of a lonely heart (Much better than a) Owner of a broken heart Owner of a lonely heart Owner of a lonely heart After my own indecision They confused me so Owner of a lonely heart My love said never question your will at all In the end you've got to go Look before you leap Owner of a lonely heart And don't you hesitate at all - no no Yow! Yeah, Yeah, Yeah, Yeah, Yeah, Yeah! {​Instrumental}​ Owner of a lonely heart Owner of a lonely heart (Much better than a) Owner of a broken heart Owner of a lonely heart Owner of a lonely heart Owner of a lonely heart (Much better than a) Owner of a broken heart Owner of a lonely heart Owner of a lonely heart Sooner or later each conclusion Will decide the lonely heart Owner of a lonely heart It will excite, it will delight It will give a better start Owner of a lonely heart Don't deceive your free will at all Don't deceive your free will at all Owner of a lonely heart Don't deceive your free will at all Just receive it Just receive it (Owner of a lonely heart)",Owner of a Lonely Heart,90125,https://genius.com/Yes-owner-of-a-lonely-heart-lyrics,"21," -64,Culture Club,"February 4, 1984",[],"There's a loving in your eyes all the way If I listened to your lies, would you say I'm a man without conviction I'm a man who doesn't know? How to sell a contradiction You come and go, you come and go Karma karma karma karma karma chameleon You come and go, you come and go Loving would be easy if your colors were like my dreams Red gold and green, red gold and green Didn't hear your wicked words every day And you used to be so sweet, I heard you say That my love was an addiction When we cling, our love is strong When you go, you're gone forever You string along, you string along Karma karma karma karma karma chameleon You come and go, you come and go Loving would be easy if your colors were like my dreams Red gold and green, red gold and green Every day is like survival You're my lover, not my rival Every day is like survival You're my lover, not my rival I'm a man (a man) without conviction I'm a man (a man) who doesn't know How to sell (to sell) a contradiction You come and go, you come and go Karma karma karma karma karma chameleon You come and go, you come and go Loving would be easy if your colors were like my dreams Red gold and green, red gold and green Karma karma karma karma karma chameleon You come and go, you come and go Loving would be easy if your colors were like my dreams Red gold and green, red gold and green",Karma Chameleon,Colour By Numbers,https://genius.com/Culture-club-karma-chameleon-lyrics,"4," -65,Van Halen,"February 25, 1984",[],"I get up, and nothing gets me down You got it tough, I've seen the toughest around And I know, baby, just how you feel You've got to roll with the punches to get to what's real Oh can't you see me standing here? I've got my back against the record machine I ain't the worst that you've seen Oh can't you see what I mean? Might as well jump (Jump!) Might as well jump Go ahead, jump (Jump!) Go ahead, jump Hey you! Who said that? Baby, how you been? You say you don't know You won't know until we begin Well can't you see me standing here? I've got my back against the record machine I ain't the worst that you've seen Oh can't you see what I mean? Might as well jump (Jump!) Go ahead, jump Might as well jump (Jump!) Go ahead, Jump! Jump! Might as well jump (Jump!) Go ahead, jump Get it and jump (Jump!) Go ahead, jump Jump! Jump! Jump! Jump!",Jump,1984,https://genius.com/Van-halen-jump-lyrics,"25," -66,Kenny Loggins,"March 31, 1984",[],"Been working so hard I'm punching my card Eight hours, for what? Oh, tell me what I got I've got this feeling That time's just holding me down I'll hit the ceiling Or else I'll tear up this town So now I gotta cut loose Footloose Kick off the Sunday shoes Please, Louise Pull me off of my knees Jack, get back Come on before we crack Lose your blues Everybody cut footloose You're playing so cool Obeying every rule Deep way down in your heart You're burning, yearning for some Somebody to tell you That life ain't passing you by I'm trying to tell you It will if you don't even try You'll get by if you'd only Cut loose Footloose Kick off the Sunday shoes Ooh-wee, Marie Shake it, shake it for me Woah, Milo Come on, come on let's go Lose your blues Everybody cut footloose Yeah, ooh-oh-oh (Cut footloose) Yeah, ooh-oh-oh (Cut footloose) Yeah, ooh-oh-oh (Cut footloose) Ooh You've got to turn me around And put your feet on the ground Gotta take the hold of all Ahhhhh Ahhhhh Ahhhhh I'm turning it loose Footloose Kick off the Sunday shoes Please, Louise Pull me off of my knees Jack, get back Come on before we crack Lose your blues Everybody cut footloose (Footloose) Footloose (Footloose) Kick off the Sunday shoes (C'mon girl) Please, Louise Pull me off of my knees Jack, get back Come on before we crack Lose your blues Everybody cut, everybody cut Everybody cut, everybody cut Everybody cut, everybody cut (Everybody) Everybody cut footloose!",Footloose,"Yesterday, Today, Tomorrow - The Greatest Hits Of Kenny Loggins",https://genius.com/Kenny-loggins-footloose-lyrics,"31," -67,Phil Collins,"April 21, 1984",[],"How can I just let you walk away Just let you leave without a trace When I stand here taking every breath With you, ooh ooh You're the only one who really knew me at all How can you just walk away from me When all I can do is watch you leave Cause we've shared the laughter and the pain And even shared the tears You're the only one who really knew me at all So take a look at me now Oh there's just an empty space And there's nothing left here to remind me Just the memory of your face Ooh take a look at me now Well there's just an empty space And you coming back to me is against the odds And that's what I've got to face I wish I could just make you turn around Turn around and see me cry There's so much I need to say to you So many reasons why You're the only one who really knew me at all So take a look at me now Well there's just an empty space And there's nothing left here to remind me Just the memory of your face Now take a look at me now Cause there's just an empty space But to wait for you, is all I can do And that's what I've got to face Take a good look at me now Cause I'll still be standing here And you coming back to me is against all odds It's the chance I've gotta take Take a look at me now",Against All Odds (Take a Look at Me Now),...Hits,https://genius.com/Phil-collins-against-all-odds-take-a-look-at-me-now-lyrics,"21," -68,Lionel Richie,"May 12, 1984",[],"I've been alone with you inside my mind And in my dreams I've kissed your lips a thousand times I sometimes see you pass outside my door Hello, is it me you're looking for? I can see it in your eyes I can see it in your smile You're all I've ever wanted And my arms are open wide 'Cause you know just what to say And you know just what to do And I want to tell you so much I love you I long to see the sunlight in your hair And tell you time and time again how much I care Sometimes I feel my heart will overflow Hello, I've just got to let you know 'Cause I wonder where you are And I wonder what you do Are you somewhere feeling lonely? Or is someone loving you? Tell me how to win your heart For I haven't got a clue But let me start by saying I love you Hello, is it me you're looking for? 'Cause I wonder where you are And I wonder what you do Are you somewhere feeling lonely? Or is someone loving you? Tell me how to win your heart For I haven't got a clue But let me start by saying I love you",Hello,Can’t Slow Down,https://genius.com/Lionel-richie-hello-lyrics,"12," -69,Deniece Williams,"May 26, 1984",[],"My baby, he don't talk sweet He ain't got much to say But he loves me, loves me, loves me I know that he loves me anyway And maybe he don't dress fine But I don't really mind 'Cause every time he pulls me near I just wanna cheer Let's hear it for the boy Let's give the boy a hand Let's hear it for my baby You know you gotta understand Maybe he's no Romeo But he's my loving one-man show Whooa, whooa, whooa-oh Let's hear it for the boy My baby may not be rich He's watching every dime But he loves me, loves me, loves me We always have a real good time And maybe he sings off-key But that's all right by me, yeah 'Cause what he does, he does so well Makes me wanna yell Let's hear it for the boy Let's give the boy a hand Let's hear it for my baby You know you gotta understand Maybe he's no Romeo But he's my loving one-man show Whoa, whoa, whoa, whoa Let's hear it for the boy 'Cause every time he pulls me near I just wanna cheer Let's hear it for the boy Let's give the boy a hand Let's hear it for my baby You know you gotta understand Maybe he's no Romeo But he's my loving one-man show Whoa, whoa, whoa, whoa Let's hear it for the boy Let's hear it for the boy Let's hear it for my man Let's hear it for my baby Let's hear it for my baby Let's hear it for the boy Let's hear it for my man Let's hear it for the boy Let's hear it for my man Let's hear it for my man Let's hear it for the boy Let's hear it for my man Let's hear it for the boy Let's hear it for my man Let's hear it for my man Let's hear it for the boy Let's hear it for my man Let's hear it for my man",Let's Hear It for the Boy,Let’s Hear It for the Boy,https://genius.com/Deniece-williams-lets-hear-it-for-the-boy-lyrics,"26," -70,Cyndi Lauper,"June 9, 1984",[],"Lying in my bed, I hear the clock tick and think of you Caught up in circles Confusion is nothing new Flashback, warm nights almost left behind Suitcase of memories, time after— Sometimes you picture me I'm walking too far ahead You're calling to me I can't hear what you've said Then you say, ""Go slow."" I fall behind The second hand unwinds If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I'll be waiting Time after time If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I'll be waiting (I will be waiting) Time after time After my picture fades And darkness has turned to gray Watching through windows You're wondering if I'm OK Secrets stolen from deep inside The drum beats out of time If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I'll be waiting Time after time You said, ""Go slow."" I fall behind The second hand unwinds If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I'll be waiting Time after time If you're lost, you can look and you will find me Time after time If you fall, I will catch you, I'll be waiting (I will be waiting) Time after time Time after time Time after time Time after time Time after time Time after time Time after time Time after time Time after time Time after time Time after… time…",Time After Time,She’s So Unusual,https://genius.com/Cyndi-lauper-time-after-time-lyrics,"9," -71,Duran Duran,"June 23, 1984",[],"You've gone too far this time But I'm dancing on the Valentine I tell you somebody's fooling around With my chances on the danger line I'll cross that bridge when I find it Another day to make my stand, oh woah High time is no time for deciding If I should find a helping hand, oh woah Why don't you use it? Try not to bruise it Buy time, don't lose it Oh, why don't you use it? Try not to bruise it Buy time, don't lose it The reflex is a lonely child, who's waiting by the park The reflex is in charge of finding treasure in the dark And watching over lucky clover, isn't that bizarre? And every little thing the reflex does Leaves you answered with a question mark I'm on a ride and I want to get off But they won't slow down the roundabout I sold the Renoir and TV set Don't wanna be around when this gets out So, why don't you use it? Try not to bruise it Buy time, don't lose it Why don't you use it? The reflex is a lonely child, he's waiting in the park The reflex is in charge of finding treasure in the dark And watching over lucky clover, isn't that bizarre? And every little thing the reflex does Leaves an answer with a question mark, play So, why don't you use it? Try not to bruise it Buy time, don't lose it The reflex is a lonely child who's waiting by the park The reflex is in charge of finding treasure in the dark And watching over lucky clover, isn't that bizarre? And every little thing the reflex does Leaves me answered with a question mark Oh, the reflex, what a game, he's hiding all the cards The reflex is in charge of finding treasure in the dark",The Reflex,Seven and the Ragged Tiger,https://genius.com/Duran-duran-the-reflex-lyrics,"23," -72,Prince,"July 7, 1984",[],"1. Like a Rolling Stone by Bob Dylan 2. Satisfaction by The Rolling Stones 3. Imagine by John Lennon 4. What's Going On by Marvin Gaye 5. Respect by Aretha Franklin 6. Good Vibrations by The Beach Boys 7. Johnny B. Goode by Chuck Berry 8. Hey Jude by The Beatles 9. Smells Like Teen Spirit by Nirvana 10. What'd I Say by Ray Charles 11. My Generation by The Who 12. A Change Is Gonna Come by Sam Cooke 13. Yesterday by The Beatles 14. Blowin' in the Wind by Bob Dylan 15. London Calling by The Clash 16. I Want to Hold Your Hand by The Beatles 17. Purple Haze by Jimi Hendrix 18. Maybellene by Chuck Berry 19. Hound Dog by Elvis Presley 20. Let It Be by The Beatles 21. Born to Run by Bruce Springsteen 22. Be My Baby by The Ronettes 23. In My Life by The Beatles 24. People Get Ready by The Impressions 25. God Only Knows by The Beach Boys 26. (Sittin on) the Dock of the Bay by Otis Redding 27. Layla by Derek and the Dominos 28. A Day in the Life by The Beatles 29. Help! by The Beatles 30. I Walk the Line by Johnny Cash 31. Stairway To Heaven by Led Zeppelin 32. Sympathy for the Devil by The Rolling Stones 33. River Deep-Mountain High by Ike and Tina Turner 34. You've Lost That Lovin' Feelin' by The Righteous Brothers 35. Light My Fire by The Doors 36. One by U2 37. No Woman by No Cry by Bob Marley and the Wailers 38. Gimme Shelter by The Rolling Stones 39. That'll Be the Day by Buddy Holly 40. Dancing in the Street by Martha and the Vandellas 41. The Weight by The Band 42. Waterloo Sunset by The Kinks 43. Tutti-Frutti by Little Richard 44. Georgia on My Mind by Ray Charles 45. Heartbreak Hotel by Elvis Presley 46. Heroes by David Bowie 47. All Along the Watchtower by Jimi Hendrix 48. Bridge Over Troubled Water by Simon and Garfunkel 49. Hotel California by The Eagles 50. The Tracks of My Tears by Smokey Robinson and the Miracles 51. The Message by Grandmaster Flash and the Furious Five 52. When Doves Cry by Prince 53. When a Man Loves a Woman by Percy Sledge 54. Louie Louie by The Kingsmen 55. Long Tall Sally by Little Richard 56. Anarchy in the U.K. by The Sex Pistols 57. Whiter Shade of Pale by Procol Harum 58. Billie Jean by Michael Jackson 59. The Times They Are A-Changin' by Bob Dylan 60. Let's Stay Together by Al Green 61. Whole Lotta Shakin' Goin On by Jerry Lee Lewis 62. Bo Diddley by Bo Diddley 63. For What It's Worth by Buffalo Springfield 64. She Loves You by The Beatles 65. Sunshine of Your Love by Cream 66. Redemption Song by Bob Marley and the Wailers 67. Jailhouse Rock by Elvis Presley 68. Tangled Up in Blue by Bob Dylan 69. Crying by Roy Orbison 70. Walk On By by Dionne Warwick 71. Papa's Got a Brand New Bag by James Brown 72. California Girls by The Beach Boys 73. Superstition by Stevie Wonder 74. Summertime Blues by Eddie Cochran 75. Whole Lotta Love by Led Zeppelin 76. Strawberry Fields Forever by The Beatles 77. Mystery Train by Elvis Presley 78. I Got You (I Feel Good) by James Brown 79. Mr. Tambourine Man by The Byrds 80. You Really Got Me by The Kinks 81. I Heard It Through the Grapevine by Marvin Gaye 82. Blueberry Hill by Fats Domino 83. Norwegian Wood (This Bird Has Flown) by The Beatles 84. Every Breath You Take by The Police 85. Crazy by Patsy Cline 86. Thunder Road by Bruce Springsteen 87. Ring of Fire by Johnny Cash 88. My Girl by The Temptations 89. California Dreamin' by The Mamas and The Papas 90. In the Still of the Nite by The Five Satins 91. Suspicious Minds by Elvis Presley 92. Blitzkrieg Bop by Ramones 93. I Still Haven't Found What I'm Looking For by U2 94. Good Golly, Miss Molly by Little Richard 95. Blue Suede Shoes by Carl Perkins 96. Great Balls of Fire by Jerry Lee Lewis 97. Roll Over Beethoven by Chuck Berry 98. Love and Happiness by Al Green 99. Fortunate Son by Creedence Clearwater Revival 100. Crazy by Gnarls Barkley 101. You Can't Always Get What You Want by The Rolling Stones 102. Voodoo Child (Slight Return) by Jimi Hendrix 103. Be-Bop-A-Lula by Gene Vincent and His Blue Caps 104. Hot Stuff by Donna Summer 105. Living for the City by Stevie Wonder 106. The Boxer by Simon and Garfunkel 107. Mr. Tambourine Man by Bob Dylan 108. Not Fade Away by Buddy Holly 109. Little Red Corvette by Prince 110. Brown Eyed Girl by Van Morrison 111. I've Been Loving You Too Long (to Stop Now) by Otis Redding 112. I'm So Lonesome I Could Cry by Hank Williams 113. That's All Right by Elvis Presley 114. Up on the Roof by The Drifters 115. You Send Me by Sam Cooke 116. Honky Tonk Women by The Rolling Stones 117. Take Me to the River by Al Green 118. Crazy In Love by Beyonce Feat. Jay-Z 119. Shout (Parts 1 and 2) by The Isley Brothers 120. Go Your Own Way by Fleetwood Mac 121. I Want You Back by The Jackson 5 122. Stand By Me by Ben E. King 123. House of the Rising Sun by The Animals 124. It's a Man's Man's Man's World by James Brown 125. Jumpin' Jack Flash by The Rolling Stones 126. Will You Love Me Tomorrow by The Shirelles 127. Shake Rattle & Roll by Big Joe Turner 128. Changes by David Bowie 129. Rock & Roll Music by Chuck Berry 130. Born to Be Wild by Steppenwolf 131. Maggie May by Rod Stewart 132. With or Without You by U2 133. Who Do You Love by Bo Diddley 134. Won't Get Fooled Again by The Who 135. In the Midnight Hour by Wilson Pickett 136. While My Guitar Gently Weeps by The Beatles 137. Your Song by Elton John 138. Eleanor Rigby by The Beatles 139. Family Affair by Sly and the Family Stone 140. I Saw Her Standing There by The Beatles 141. Kashmir by Led Zeppelin 142. All I Have to Do Is Dream by The Everly Brothers 143. Please, Please, Please by James Brown 144. Purple Rain by Prince (feat. The Revolution) 145. I Wanna Be Sedated by The Ramones 146. Everyday People by Sly and the Family Stone 147. Rock Lobster by The B-52's 148. Me and Bobby McGee by Janis Joplin 149. Lust for Life by Iggy Pop 150. Cathy's Clown by The Everly Brothers 151. Eight Miles High by The Byrds 152. Earth Angel by The Penguins 153. Foxy Lady by Jimi Hendrix 154. A Hard Day's Night by The Beatles 155. Rave On by Buddy Holly 156. Proud Mary by Creedence Clearwater Revival 157. The Sounds of Silence by Simon and Garfunkel 158. I Only Have Eyes for You by The Flamingos 159. (We're Gonna) Rock Around the Clock by Bill Haley and His Comets 160. Moment Of Surrender by U2 161. I'm Waiting for the Man by The Velvet Underground 162. Bring the Noise by Public Enemy 163. Folsom Prison Blues by Johnny Cash 164. I Can't Stop Loving You by Ray Charles 165. Nothing Compares 2 U by Sinead O'Connor 166. Bohemian Rhapsody by Queen 167. Fast Car by Tracy Chapman (can't display lyrics) 168. Let's Get It On by Marvin Gaye 169. Papa Was a Rollin' Stone by The Temptations 170. Losing My Religion by R.E.M 171. Both Sides Now by Joni Mitchell 172. 99 Problems by Jay-Z 173. Dream On by Aerosmith 174. Dancing Queen by Abba 175. God Save the Queen by Sex Pistols 176. Paint It Black by The Rolling Stones 177. I Fought the Law by Bobby Fuller Four 178. Don't Worry Baby by The Beach Boys 179. Free Fallin' by Tom Petty 180. September Gurls by Big Star 181. Love Will Tear Us Apart by Joy Division 182. Hey Ya! by Outkast 183. Green Onions by Booker T and the MG's 184. Save the Last Dance for Me by The Drifters 185. The Thrill Is Gone by B.B. King 186. Please Please Me by The Beatles 187. Desolation Row by Bob Dylan 188. Who'll Stop the Rain by Creedence Clearwater Revival 189. I Never Loved a Man (The Way I Love You) by Aretha Franklin 190. Back in Black by AC/DC 191. Stayin' Alive by The Bee Gees 192. Knocking on Heaven's Door by Bob Dylan 193. Free Bird by Lynyrd Skynyrd 194. Rehab by Amy Winehouse 195. Wichita Lineman by Glen Campbell 196. There Goes My Baby by The Drifters 197. Peggy Sue by Buddy Holly 198. Sweet Child O' Mine by Guns N' Roses 199. Maybe by The Chantels 200. Don't Be Cruel by Elvis Presley 201. Hey Joe by Jimi Hendrix 202. Flash Light by Parliament 203. Loser by Beck 204. Bizarre Love Triangle by New Order 205. Come Together by The Beatles 206. Positively 4th Street by Bob Dylan 207. Try a Little Tenderness by Otis Redding 208. Lean On Me by Bill Withers 209. Reach Out, I'll Be There by The Four Tops 210. Bye Bye Love by The Everly Brothers 211. Gloria by Them 212. In My Room by The Beach Boys 213. 96 Tears by ? and the Mysterians 214. Caroline, No by The Beach Boys 215. 1999 by Prince 216. Rockin' in the Free World by Neil Young 217. Your Cheatin' Heart by Hank Williams 218. Do You Believe in Magic by The Lovin' Spoonful 219. Jolene by Dolly Parton 220. Boom Boom by John Lee Hooker 221. Spoonful by Howlin' Wolf 222. Walk Away Renee by The Left Banke 223. Walk on the Wild Side by Lou Reed 224. Oh, Pretty Woman by Roy Orbison 225. Dance to the Music by Sly and the Family Stone 226. Hoochie Coochie Man by Muddy Waters 227. Fire and Rain by James Taylor 228. Should I Stay or Should I Go by The Clash 229. Good Times by Chic 230. Mannish Boy by Muddy Waters 231. Moondance by Van Morrison 232. Just Like a Woman by Bob Dylan 233. Sexual Healing by Marvin Gaye 234. Only the Lonely by Roy Orbison 235. We Gotta Get Out of This Place by The Animals 236. Paper Planes by M.I.A 237. I'll Feel a Whole Lot Better by The Byrds 238. Everyday by Buddy Holly 239. I Got a Woman by Ray Charles 240. Planet Rock by Afrika Bambaataa and the Soul Sonic Force 241. I Fall to Pieces by Patsy Cline 242. Son of a Preacher Man by Dusty Springfield 243. The Wanderer by Dion 244. Stand! by Sly and the Family Stone 245. Rocket Man by Elton John 246. Love Shack by The B-52's 247. Gimme Some Lovin' by The Spencer Davis Group 248. (Your Love Keeps Lifting Me) Higher and Higher by Jackie Wilson 249. The Night They Drove Old Dixie Down by The Band 250. Hot Fun in the Summertime by Sly and the Family Stone 251. Rappers Delight by Sugarhill Gang 252. Chain of Fools by Aretha Franklin 253. Paranoid by Black Sabbath 254. Money Honey by The Drifters 255. Mack the Knife by Bobby Darin 256. All the Young Dudes by Mott the Hoople 257. Paranoid Android by Radiohead 258. Highway to Hell by AC/DC 259. Heart of Glass by Blondie 260. Mississippi by Bob Dylan 261. Wild Thing by The Troggs 262. I Can See for Miles by The Who 263. Oh, What a Night by The Dells 264. Hallelujah by Jeff Buckley 265. Higher Ground by Stevie Wonder 266. Ooo Baby Baby by Smokey Robinson 267. He's a Rebel by The Crystals 268. Sail Away by Randy Newman 269. Walking in the Rain by The Ronettes 270. Tighten Up by Archie Bell and the Drells 271. Personality Crisis by New York Dolls 272. Sunday Bloody Sunday by U2 273. Jesus Walks by Kanye West 274. Roadrunner by The Modern Lovers 275. He Stopped Loving Her Today by George Jones 276. Sloop John B by The Beach Boys 277. Sweet Little Sixteen by Chuck Berry 278. Something by The Beatles 279. Somebody to Love by Jefferson Airplane 280. Born in the U.S.A by Bruce Springsteen 281. I'll Take You There by The Staple Singers 282. Ziggy Stardust by David Bowie 283. Pictures of You by The Cure 284. Chapel of Love by The Dixie Cups 285. Ain't No Sunshine by Bill Withers 286. Seven Nation Army by The White Stripes 287. You Are the Sunshine of My Life by Stevie Wonder 288. Help Me by Joni Mitchell 289. Call Me by Blondie 290. (What's So Funny 'Bout) Peace Love and Understanding by Elvis Costello and The Attractions 291. Smoke Stack Lightning by Howlin' Wolf 292. Summer Babe by Pavement 293. Walk This Way by Run-DMC 294. Money (That's What I Want) by Barrett Strong 295. Can't Buy Me Love by The Beatles 296. Stan by Eminem featuring Dido 297. She's Not There by The Zombies 298. Train in Vain by The Clash 299. Tired of Being Alone by Al Green 300. Black Dog by Led Zeppelin 301. Street Fighting Man by The Rolling Stones 302. Get Up, Stand Up by Bob Marley and the Wailers 303. Heart of Gold by Neil Young 304. Sign 'O' the Times by Prince 305. One Way or Another by Blondie 306. Like a Prayer by Madonna 307. One More Time by Daft Punk 308. Do Ya Think I'm Sexy? by Rod Stewart 309. Blue Eyes Crying In the Rain by Willie Nelson 310. Ruby Tuesday by The Rolling Stones 311. With a Little Help From My Friends by The Beatles 312. Say It Loud, I'm Black and Proud by James Brown 313. That's Entertainment by The Jam 314. Why Do Fools Fall In Love by Frankie Lymon and the Teenagers 315. Lonely Teardrops by Jackie Wilson 316. What's Love Got To Do With It by Tina Turner 317. Iron Man by Black Sabbath 318. Wake Up Little Susie by The Everly Brothers 319. In Dreams by Roy Orbison 320. I Put a Spell on You by Screamin' Jay Hawkins 321. Comfortably Numb by Pink Floyd 322. Don't Let Me Be Misunderstood by The Animals 323. Alison by Elvis Costello 324. Wish You Were Here by Pink Floyd 325. Many Rivers to Cross by Jimmy Cliff 326. School's Out by Alice Cooper 327. Take Me Out by Franz Ferdinand 328. Heartbreaker by Led Zeppelin 329. Cortez the Killer by Neil Young 330. Fight the Power by Public Enemy 331. Dancing Barefoot by Patti Smith Group 332. Baby Love by The Supremes 333. Good Lovin' by The Young Rascals 334. Get Up (I Feel Like Being a) Sex Machine by James Brown 335. For Your Precious Love by Jerry Butler and the Impressions 336. The End by The Doors 337. That's the Way of the World by Earth, Wind and Fire 338. We Will Rock You by Queen 339. I Can't Make You Love Me by Bonnie Raitt 340. Subterranean Homesick Blues by Bob Dylan 341. Spirit in the Sky by Norman Greenbaum 342. Sweet Jane by The Velvet Underground 343. Wild Horses by The Rolling Stones 344. Beat It by Michael Jackson 345. Beautiful Day by U2 346. Walk This Way by Aerosmith 347. Maybe I'm Amazed by Paul McCartney 348. You Keep Me Hanging On by The Supremes 349. Baba O'Riley by The Who 350. The Harder They Come by Jimmy Cliff 351. Runaround Sue by Dion 352. Jim Dandy by Lavern Baker 353. Piece of My Heart by Big Brother and the Holding Company 354. La Bamba by Ritchie Valens 355. California Love by Dr. Dre and 2Pac 356. Candle in the Wind by Elton John 357. That Lady (Part 1 and 2) by The Isley Brothers 358. Spanish Harlem by Ben E 359. The Locomotion by Little Eva 360. The Great Pretender by The Platters 361. All Shook Up by Elvis Presley 362. Tears in Heaven by Eric Clapton 363. Watching the Detectives by Elvis Costello 364. Bad Moon Rising by Creedence Clearwater Revival 365. Sweet Dreams (Are Made of This) by Eurythmics 366. Little Wing by Jimi Hendrix 367. Nowhere to Run by Martha and the Vandellas 368. Got My Mojo Working by Muddy Waters 369. Killing Me Softly With His Song by Roberta Flack 370. All You Need Is Love by The Beatles 371. Complete Control by The Clash 372. The Letter by The Box Tops 373. Highway 61 Revisited by Bob Dylan 374. Unchained Melody by The Righteous Brothers 375. How Deep Is Your Love by The Bee Gees 376. White Room by Cream 377. Personal Jesus by Depeche Mode 378. I'm A Man by Bo Diddley 379. The Wind Cries Mary by Jimi Hendrix 380. I Can't Explain by The Who 381. Marquee Moon by Television 382. Wonderful World by Sam Cooke 383. Brown Eyed Handsome Man by Chuck Berry 384. Another Brick in the Wall Part 2 by Pink Floyd 385. Fake Plastic Trees by Radiohead 386. Maps by Yeah Yeah Yeahs 387. Hit the Road Jack by Ray Charles 388. Pride (In The Name of Love) by U2 389. Radio Free Europe by R.E.M 390. Goodbye Yellow Brick Road by Elton John 391. Tell It Like It Is by Aaron Neville 392. Bitter Sweet Symphony by The Verve 393. Whipping Post by The Allman Brothers Band 394. Ticket to Ride by The Beatles 395. Ohio by Crosby, Stills, Nash and Young 396. I Know You Got Soul by Eric B and Rakim 397. Tiny Dancer by Elton John 398. Roxanne by The Police 399. Just My Imagination by The Temptations 400. Baby I Need Your Loving by The Four Tops 401. Summer in the City by The Lovin' Spoonful 402. O-o-h Child by The Five Stairsteps 403. Can't Help Falling in Love by Elvis Presley 404. Remember (Walkin' in the Sand) by The Shangri-Las 405. (Don't Fear) the Reaper by Blue Oyster Cult 406. Thirteen by Big Star 407. Sweet Home Alabama by Lynyrd Skynyrd 408. Enter Sandman by Metallica 409. Tonight's the Night by The Shirelles 410. Thank You (Falettinme Be Mice Elf Agin) by Sly & the Family Stone 411. C'mon Everybody by Eddie Cochran 412. Umbrella by Rihanna feat. Jay-Z 413. Visions of Johanna by Bob Dylan 414. We've Only Just Begun by The Carpenters 415. In Bloom by Nirvana 416. Sweet Emotion by Aerosmith 417. Monkey Gone to Heaven by Pixies 418. I Feel Love by Donna Summer 419. Ode to Billie Joe by Bobbie Gentry 420. The Girl Can't Help It by Little Richard 421. Young Blood by The Coasters 422. I Can't Help Myself by The Four Tops 423. The Boys of Summer by Don Henley 424. Juicy by The Notorious B.I.G 425. Fuck tha Police by N.W.A 426. Suite: Judy Blue Eyes by Crosby, Stills and Nash 427. Nuthin' But a 'G' Thang by Dr. Dre 428. It's Your Thing by The Isley Brothers 429. Piano Man by Billy Joel 430. Blue Suede Shoes by Elvis Presley 431. William, It Was Really Nothing by The Smiths 432. American Idiot by Green day 433. Tumbling Dice by The Rolling Stones 434. Smoke on the Water by Deep Purple 435. New Year's Day by U2 436. Everybody Needs Somebody to Love by Solomon Burke 437. White Man in Hammersmith Palais by The Clash 438. Ain't It a Shame by Fats Domino 439. Midnight Train to Georgia by Gladys Knight and the Pips 440. Ramble On by Led Zeppelin 441. Mustang Sally by Wilson Pickett 442. Alone Again Or by Love 443. Beast of Burden by The Rolling Stones 444. Love Me Tender by Elvis Presley 445. I Wanna Be Your Dog by The Stooges 446. Push It by Salt-n-Pepa 447. Pink Houses by John Cougar Mellencamp 448. In Da Club by 50 Cent 449. Come Go With Me by The Del-Vikings 450. I Shot the Sheriff by Bob Marley and the Wailers 451. I Got You Babe by Sonny and Cher 452. Come As You Are by Nirvana 453. Pressure Drop by Toot and the Maytals 454. Leader of the Pack by The Shangri-Las 455. Heroin by The Velvet Underground 456. Penny Lane by The Beatles 457. The Twist by Chubby Checker 458. Cupid by Sam Cooke 459. Paradise City by Guns n' Roses 460. My Sweet Lord by George Harrison 461. Sheena Is a Punk Rocker by Ramones 462. All Apologies by Nirvana 463. Soul Man by Sam and Dave 464. Kiss by Prince 465. Rollin' Stone by Muddy Waters 466. Get Ur Freak On by Missy Elliott 467. Big Pimpin' by Jay-Z (feat. UGK) 468. Respect Yourself by The Staple Singers 469. Rain by The Beatles 470. Standing in the Shadows of Love by The Four Tops 471. Surrender by Cheap Trick 472. Runaway by Del Shannon 473. Welcome to the Jungle by Guns n' Roses 474. Into the Mystic by Van Morrison 475. Where Did Our Love Go by The Supremes 476. Do Right Woman, Do Right Man by Aretha Franklin 477. How Soon Is Now? by The Smiths 478. Last Nite by The Strokes 479. I Want to Know What Love Is by Foreigner 480. Sabotage by Beastie Boys 481. Super Freak by Rick James 482. Since U Been Gone by Kelly Clarkson 483. White Rabbit by Jefferson Airplane 484. Cry Me A River by Justin Timberlake 485. Lady Marmalade by Labelle 486. Young Americans by David Bowie 487. I'm Eighteen by Alice Cooper 488. Just Like Heaven by The Cure 489. Under the Boardwalk by The Drifters 490. Clocks by Coldplay 491. I Love Rock 'N Roll by Joan Jett 492. I Will Survive by Gloria Gaynor 493. Time To Pretend by MGMT 494. Ignition (Remix) by R. Kelly 495. Brown Sugar by The Rolling Stones 496. Running on Empty by Jackson Browne 497. The Rising by Bruce Springsteen 498. Miss You by The Rolling Stones 499. Buddy Holly by Weezer 500. Shop Around by Smokey Robinson and the Miracles",When Doves Cry♪ (1984),Issue 963,https://genius.com/Rolling-stone-the-500-greatest-songs-of-all-time-lyrics,"7," -73,"Ray Parker, Jr.","August 11, 1984",[],"Ghostbusters! If there's something strange In your neighborhood Who you gonna call? Ghostbusters! If there's something weird And it don't look good Who you gonna call? Ghostbusters! I ain't 'fraid of no ghost I ain't 'fraid of no ghost If you're seeing things Running through your head Who can you call? Ghostbusters! An invisible man Sleepin' in your bed Ow, who you gonna call? Ghostbusters! I ain't 'fraid of no ghost I ain't 'fraid of no ghost Who you gonna call? Ghostbusters! If you're all alone Pick up the phone And call Ghostbusters! I ain't 'fraid of no ghost Ooh, I hear it likes the girls Hm, I ain't 'fraid of no ghost Yeah, yeah, yeah, yeah Who you gonna call? Ghostbusters! Mmm, if you've had a dose of a Freaky ghost, baby You better call Ghostbusters! Ow! Lemme tell ya something Bustin' makes me feel good! I ain't 'fraid of no ghost I ain't 'fraid of no ghost Don't get caught alone oh, no Ghostbusters! When it comes through your door Unless you just a-want some more I think you better call Ghostbusters! Ow! Who you gonna call? Ghostbusters! Who you gonna call? Ghostbusters! Uh, think you better call Ghostbusters! Ha ha, who you gonna call? Ghostbusters! I can't hear you Who you gonna call? Ghostbusters! Louder Ghostbusters! Who you gonna call? Ghostbusters! Who can you call? Ghostbusters! Who you gonna call? Ghostbusters! Uh, it likes the girls too Ghostbusters!",Ghostbusters,The Best of Ray Parker Jr. & Raydio,https://genius.com/Ray-parker-jr-ghostbusters-lyrics,"11," -74,Tina Turner,"September 1, 1984",[],"You must understand though the touch of your hand Makes my pulse react That it's only the thrill of boy meeting girl Opposites attract It's physical Only logical You must try to ignore that it means more than that What's love got to do, got to do with it? What's love but a second-hand emotion? What's love got to do, got to do with it? Who needs a heart when a heart can be broken? It may seem to you that I'm acting confused When you're close to me If I tend to look dazed I've read it someplace I've got cause to be There's a name for it There's a phrase that fits But whatever the reason you do it for me What's love got to do, got to do with it? What's love but a second-hand emotion? What's love got to do, got to do with it? Who needs a heart when a heart can be broken? I've been taking on a new direction But I have to say I've been thinking about my own protection It scares me to feel this way What's love got to do, got to do with it? What's love but a second-hand emotion? What's love got to do, got to do with it? Who needs a heart when a heart can be broken? What's love got to do, got to do with it? What's love but a sweet old-fashioned notion? What's love got to do, got to do with it? Who needs a heart when a heart can be broken? What's love got to do, got to do with it? What's love but a second-hand emotion? What's love got to do, got to do with it? Who needs a heart when a heart can be broken? What's love? Got to do it Got to do it What's love?",What's Love Got to Do with It,Private Dancer,https://genius.com/Tina-turner-whats-love-got-to-do-with-it-lyrics,"1," -75,John Waite,"September 22, 1984",[],"Missing you Missing you Missing you Missing you Missing you Missing you Missing you Missing you Every time I think of you I always catch my breath And I'm still standing here And you're miles away And I'm wondering why you left In your world I have no meaning Though I'm trying hard to understand But I ain't missing you at all (Missing you, missing you) Since you've been gone away (Missing you, missing you) I ain't missing you (Missing you, missing you) No matter what my friends say (Missing you, missing you) Ain't missing you (Missing you, missing you) Since you've been gone away (Missing you, missing you) I ain't missing you (Missing you, missing you) No matter what my friends say",Missing You,Alterations EP,https://genius.com/Crozet-missing-you-john-waite-cover-lyrics,"22," -76,Prince & The Revolution,"September 29, 1984",[],"Dearly beloved We are gathered here today To get through this thing called ""life"" Electric word, life It means forever and that's a mighty long time But I'm here to tell you there's something else The afterworld A world of never ending happiness You can always see the sun, day or night So when you call up that shrink in Beverly Hills You know the one, Dr. Everything'll-Be-Alright Instead of asking him how much of your time is left Ask him how much of your mind, baby 'Cause in this life Things are much harder than in the after world In this life You're on your own And if de-elevator tries to bring you down Go crazy (Punch a higher floor!) Woo! If you don't like The world you're living in Take a look around At least you got friends You see I called my old lady For a friendly word She picked up the phone Dropped it on the floor (Ah, ah) is all I heard Are we gonna let de-elevator bring us down? Oh, no lets go! Let's go crazy Let's get nuts Let's look for the purple banana Until they put us in the truck, let's go! We're all excited But we don't know why Maybe it's cause We're all gonna die And when we do (when we do) What's it all for (what's it all for) You better live now Before the grim reaper come knocking on your door Tell me, are we gonna let de-elevator bring us down? Oh, no let's go! Let's go crazy Let's get nuts Look for the purple banana Until they put us in the truck, let's go! C'mon baby Let's get nuts! Yeah (Crazy) Let's go crazy! Are we gonna let de-elevator bring us down? Oh, no let's go! Go (Go crazy) I said let's go crazy (go crazy) Let's go (Let's go!) Go (Let's go!) Dr. Everything'll-Be-Alright Will make everything go wrong Pills and thrills and daffodils will kill Hang tough children He's coming He's coming Coming Take me away!",Let's Go Crazy,Purple Rain,https://genius.com/Prince-and-the-revolution-lets-go-crazy-lyrics,"29," -77,Stevie Wonder,"October 13, 1984",[],"No New Year's Day to celebrate No chocolate covered candy hearts to give away No first of Spring, no song to sing In fact here's just another ordinary day No April rain, no flowers bloom No wedding Saturday, within the month of June But what it is, is something true Made up of these three words that I must say to you I just called to say I love you I just called to say how much I care I just called to say I love you And I mean it from the bottom of my heart No summer's high No warm July No harvest moon to light one tender August night No autumn breeze No falling leaves Not even time for birds to fly to southern skies No Libra sun No Halloween No giving thanks to all the Christmas joy you bring But what it is, though old so new To fill your heart like no three words could ever do I just called to say I love you I just called to say how much I care I just called to say I love you And I mean it from the bottom of my heart I just called to say I love you I just called to say how much I care I just called to say I love you And I mean it from the bottom of my heart I just called to say I love you I just called to say how much I care I just called to say I love you And I mean it from the bottom of my heart Of my heart Of my heart",I Just Called to Say I Love You,The Woman In Red,https://genius.com/Stevie-wonder-i-just-called-to-say-i-love-you-lyrics,"13," -78,Billy Ocean,"November 3, 1984",[],"""She's simply...awesome"" Ooohh She dashed by me in painted on jeans And all heads turned cause she was the dream In the blink of an eye I knew her number and her name, yeah She said I was the tiger she wanted to tame Caribbean Queen Now we're sharing the same dream And our hearts they beat as one No more love on the run I lose my cool when she steps in the room And I get so excited just from her perfume Electric eyes that you can't ignore And passion burns you like never before I was in search of a good time Just running my game Love was the furthest Furthest from my mind Caribbean Queen Now we're sharing the same dream And our hearts they beat as one No more love on the run Caribbean Queen Now we're sharing the same dream And our hearts they beat as one No more love on the run Caribbean Queen Now we're sharing the same dream And our hearts they beat as one No more love on the run Caribbean Queen Now we're sharing the same dream And our hearts they beat as one No more love on the run She is the queen My Caribbean Queen I said she dashed by me in painted jeans...",Caribbean Queen (No More Love on the Run),Suddenly,https://genius.com/Billy-ocean-caribbean-queen-no-more-love-on-the-run-lyrics,"3," -79,Wham!,"November 17, 1984",[],"Click on the letters to jump to the terms under the selected letter: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z # A""A"" by Sybyr ""Africa by Toto ""Aicha"" by Outlandish (Info) ""Ain't Got Rhythm"" by Phineas and Ferb ""All Star"" by Smash Mouth ""Axel"" by Crazy Frog B""Baby"" by Justin Bieber ""Baby I'm Yours"" by Breakbot ""Bad and Boujee"" by Migos (feat. Lil Uzi Vert) ""Banana Dance"" by Dr. Jean Feldman ""Banana Song (I'm A Banana)"" by Onision ""Banana Phone"" by Raffi ""Barbie Girl"" by Aqua ""Beep Beep I'm a Sheep"" by LilDeuceDeuce ""Big Enough"" by Kirin J. Callinan (feat. Molly Lewis, Jimmy Barnes, & Alex Cameron) ""Bill Nye: The Science Guy"" by Mike Greene ""Bitch Lasagna"" by PewDiePie & Party in Backyard ""Blue (Da Ba Dee)"" by Eiffel 65 ""Bring Me to Life"" by Evanescence C""Call Me Maybe"" by Carly Rae Jepsen ""Careless Whisper"" by Wham! ""Catallena"" by Orange Caramel (Info) ""Chocolate Rain"" by Tay Zonday ""Cooking By The Book (A Lil' Bigger Mix)"" by Lazy Town ""Crank That (Soulja Boy)"" by Soulja Boy Tell 'Em ""Crawling"" by Linkin Park D""Dragostea din teï"" by O-Zone ""Dreamscape"" by 009 Sound System ""Drop It Like It's Hot"" by Snoop Dogg (feat. Pharrell) ""The Duck Song"" by Bryant Oden E""Everytime We Touch"" by Cascada F""Fabulous Secret Powers"" by SLACKCiRCUS ""Fergalicious"" by Fergie (feat. will.i.am) ""Fireflies"" by Owl City ""The Fox (What Does the Fox Say?)"" by Ylvis ""Fresh Prince of Bel Air"" by DJ Jazzy Jeff & The Fresh Prince ""Friday"" by Rebecca Black ""Fruit Salad"" by The Wiggles ""Fuck tha Police"" by N.W.A G""Gangnam Style"" by PSY ""Gitchee Gitchee Goo"" by Phineas and the Ferbtones (Phineas and Ferb) ""Goofy Goober Rock"" by Tom Rothrock H""Harlem Shake"" by Baauer ""Hello"" by Lionel Richie ""Hide and Seek"" by Imogen Heap ""Hoes Mad"" by Famous Dex ""Hotline Bling"" by Drake I""In My Feelings"" by Drake ""In the Summertime"" by Mungo Jerry ""I'm a Believer"" by Smash Mouth ""I'm a Gummy Bear (The Gummy Bear Song)"" by Gummibär ""It's Everyday Bro"" by Jake Paul (feat. Team 10) J""JuJu On That Beat (TZ Anthem)"" by Zay Hilfigerrr K""Kazoo Kid (Trap Remix)"" by Kazoo Kid ""Kung Fu Fighting"" by Carl Douglas L""Look At Me!"" by XXXTENTACION ""Lose Yourself"" by Eminem M""Mad World"" by Michael Andrews (feat. Gary Jules) ""Man's Not Hot"" by Big Shaq ""Mine Diamonds"" by MineCraft Awesome Parodys ""Mo Bamba"" by Sheck Wes ""Moskau"" by Dschinghis Khan ""Move Bitch"" by Ludacris (feat. Mystikal & I-20) ""Mr. Boombastic"" by Biggie Cheese N""Nyan Cat Theme"" by Nyan Cat O""O Fortuna (Fortuna Imperatrix Mundi)"" by Carl Orff ""Ocean Man"" by Ween P""Pen Pineapple Apple Pen"" by PIKOTARO ""Photograph"" by Nickelback ""POKEMON GO SONG!!!"" by Mishovy Silenosti ""Pokémon Theme Song"" by Pokémon QR""R.I.P. Roach"" by $ki Mask ""The Slump God"" (feat. XXXTENTACION) ""Ram Ranch"" by Grant MacDonald. ""Rasputin"" by Boney M. ""Ridin'"" by Chamillionaire (feat. Krayzie Bone) ""Running in the 90's"" by Max Coveri S""Sandstorm"" by Darude ""Scatman (Ski Ba Bop Ba Dop Bop)"" by Scatman John ""Shooting Stars"" by Bag Raiders (Info) ""SICKO MODE"" by Travis Scott with Drake ""Spooky Scary Skeletons (Remix)"" by The Living Tombstone ""Straight Outta Compton"" by N.W.A ""Sweatshirt"" by Jacob Sartorius T""Take On Me"" by a-ha ""Through the Fire and the Flames"" by DragonForce ""The Time Is Now"" by John Cena & Tha Trademarc ""Treasure"" by Bruno Mars ""ਤੁਨਕ ਤੁਨਕ ਤੁਨ (Tunak Tunak Tun)"" by Daler Mehndi ""Turn Down For What"" by DJ Snake U""ULTIMATE"" by Denzel Curry VW""Wake Me Up Before You Go-Go"" by Wham! ""We Like to Party! (The Vengabus)"" by Vengaboys ""We No Speak Americano"" by Yolanda Be Cool & DCUP ""We Will Rock You"" by Queen ""What is Love?"" by Haddaway ""Who Let The Dogs Out?"" by Baha Men ""Why You Always Lying"" by Nicholas Fraser ""Worth It"" by Fifth Harmony (Info) XY""You Reposted in the Wrong Neighborhood"" by SHOKK Z#""The 7th Element"" by Витас (Vitas)",Wake Me Up Before You Go-Go,,https://genius.com/Glitzy-know-your-meme-music-annotated,"17," -80,Daryl Hall & John Oates,"December 8, 1984",[],"Shake it up is all that we know Using the bodies up as we go I'm waking up to fantasy The shades all around aren't the colors we used to see Broken ice still melts in the sun And times that are broken can often be one again We're soul alone And soul really matters to me Take a look around You're out of touch I'm out of time But I'm out of my head When you're not around You're out of touch I'm out of time But I'm out of my head When you're not around Reaching out for something to hold Looking for a love where the climate is cold Manic moves and drowsy dreams Or living in the middle between the two extremes Smoking guns hot to the touch Would cool down if we didn't Use them so much, yeah We're soul alone And soul really matters to me Too much You're out of touch I'm out of time But I'm out of my head When you're not around You're out of touch I'm out of time But I'm out of my head When you're not around (Out of touch, out of time) You're out of touch I'm out of time But I'm out of my head When you're not around You're out of touch (You're soul alone) I'm out of time But I'm out of my head When you're not around",Out of Touch,Big Bam Boom,https://genius.com/Hall-and-oates-out-of-touch-lyrics,"8," -81,Madonna,"December 22, 1984",[],"I made it through the wilderness Somehow I made it through Didn't know how lost I was until I found you I was beat, incomplete, I'd been had I was sad and blue, but you made me feel Yeah, you made me feel shiny and new Like a virgin Touched for the very first time Like a virgin When your heart beats next to mine Gonna give you all my love, boy My fear is fading fast Been saving it all for you, 'cause only love can last You're so fine and you're mine Make me strong, yeah, you make me bold Oh, your love thawed out Yeah, your love thawed out what was scared and cold Like a virgin (hey) Touched for the very first time Like a virgin With your heartbeat next to mine You're so fine and you're mine I'll be yours 'til the end of time 'Cause you made me feel Yeah, you made me feel I've nothing to hide Like a virgin (hey) Touched for the very first time Like a virgin With your heartbeat next to mine Like a virgin Like a virgin Feels so good inside When you hold me, and your heart beats, and you love me Ooh, baby yeah Can't you hear my heart beat for the very first time?",Like a Virgin,Like a Virgin ,https://genius.com/Madonna-like-a-virgin-lyrics,"22," -82,Foreigner,"February 2, 1985",[],"I've gotta take a little time A little time to think things over I better read between the lines In case I need it when I'm older Now this mountain I must climb Feels like a world upon my shoulders Through the clouds I see love shine It keeps me warm as life grows colder In my life there's been heartache and pain I don't know if I can face it again Can't stop now, I've traveled so far To change this lonely life I wanna know what love is I want you to show me I wanna feel what love is I know you can show me I'm gonna take a little time A little time to look around me I've got nowhere left to hide It looks like love has finally found me In my life there's been heartache and pain I don't know if I can face it again Can't stop now, I've traveled so far To change this lonely life I wanna know what love is I want you to show me I wanna feel what love is I know you can show me I wanna know what love is I want you to show me (And I wanna feel) I wanna feel what love is (And I know) I know you can show me Let's talk about love I wanna know what love is (The love that you feel inside) I want you to show me (And I'm feelin' so much love) I wanna feel what love is (No, you just cannot hide) I know you can show me (Yeah) I wanna know what love is (Let's talk about love) I want you can show me (I wanna feel) I wanna feel what love is (And I know, and I know) I know you can show me (Yeah) I wanna know what love is (I wanna know) I want you to show me I wanna feel what love is (I wanna feel) I know you can show me",I Want to Know What Love Is,Agent Provocateur,https://genius.com/Foreigner-i-want-to-know-what-love-is-lyrics,"2," -83,Wham! featuring George Michael,"February 16, 1985",null,null,Careless Whisper♪ (1985),null,null,"16," -84,REO Speedwagon,"March 9, 1985",[],"Oh, I can't fight this feeling any longer And yet, I'm still afraid to let it flow What started out as friendship, has grown stronger I only wish I had the strength to let it show I tell myself that I can't hold out forever I said there is no reason for my fear 'Cause I feel so secure when we're together You give my life direction You make everything so clear And even as I wander, I'm keeping you in sight You're a candle in the window on a cold, dark winter's night And I'm getting closer than I ever thought I might And I can't fight this feeling anymore I've forgotten what I started fighting for It's time to bring this ship into the shore And throw away the oars, forever Cause I can't fight this feeling anymore I've forgotten what I started fighting for And if I have to crawl upon the floor Come crashing through your door Baby, I can't fight this feeling anymore My life has been such a whirlwind since I saw you I've been running round in circles in my mind And it always seems that I'm following you, girl 'Cause you take me to the places that, alone, I'd never find And even as I wander, I'm keeping you in sight You're a candle in the window on a cold, dark winter's night And I'm getting closer than I ever thought I might And I can't fight this feeling anymore I've forgotten what I started fighting for It's time to bring this ship into the shore And throw away the oars, forever Cause I can't fight this feeling anymore I've forgotten what I started fighting for And if I have to crawl upon the floor Come crashing through your door Baby, I can't fight this feeling anymore",Can't Fight This Feeling,Wheels Are Turnin’,https://genius.com/Reo-speedwagon-cant-fight-this-feeling-lyrics,"9," -85,Phil Collins,"March 30, 1985",[],"One more night, one more night One more night I've been trying ooh so long to let you know Let you know how I feel And if I stumble, if I fall, just help me back So I can make you see Please give me one more night, give me one more night One more night 'cause I can't wait forever Give me just one more night, uh, just one more night Oh, one more night 'cause I can't wait forever I've been sitting here so long Wasting time, just staring at the phone And I was wondering should I call you Then I thought maybe you're not alone Please give me one more night, give me just one more night Oh, one more night, 'cause I can't wait forever Please give me one more night, uh^, just one more night Oh, one more night, 'cause I can't wait forever Give me one more night, give me just one more night Ooh, one more night, 'cause I can't wait forever Like a river to the sea I will always be with you And if you sail away I will follow you Give me one more night, give me just one more night Oh, one more night, 'cause I can't wait forever I know there'll never be a time you'll ever feel the same And I know it's only words But if you change your mind, you know that I'll be here And maybe we both can learn Give me just one more night, give me just one more night Ooh, one more night, 'cause I can't wait forever Give me just one more night, give me just one more night Ooh one more night, 'cause I can't wait forever",One More Night,No Jacket Required,https://genius.com/Phil-collins-one-more-night-lyrics,"30," -86,USA for Africa,"April 13, 1985","[{'api_path': '/artists/27195', 'header_image_url': 'https://images.genius.com/74d6ae86c23fedc42a3eed18b2dbc937.225x225x1.jpg', 'id': 27195, 'image_url': 'https://images.genius.com/74d6ae86c23fedc42a3eed18b2dbc937.225x225x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Dan Aykroyd', 'url': 'https://genius.com/artists/Dan-aykroyd'}, {'api_path': '/artists/835', 'header_image_url': 'https://images.genius.com/796e81701d04d548cf5432bd8004765a.1000x766x1.jpg', 'id': 835, 'image_url': 'https://images.genius.com/76c405a19b590afbc6b7d71c5f787e6a.596x596x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Michael Jackson', 'url': 'https://genius.com/artists/Michael-jackson'}, {'api_path': '/artists/141665', 'header_image_url': 'https://images.genius.com/16446621a2bc66d052746bef3659558e.1000x1000x1.jpg', 'id': 141665, 'image_url': 'https://images.genius.com/ca4e28d8ea4fcefc558c7c57ffec2e7d.1000x1000x1.jpg', 'is_meme_verified': False, 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'https://images.genius.com/378a1d769bbb5652314149bff8252c75.696x696x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Stevie Wonder', 'url': 'https://genius.com/artists/Stevie-wonder'}, {'api_path': '/artists/65182', 'header_image_url': 'https://images.genius.com/83721265782bb014adcc5036b93c9420.1000x905x1.jpg', 'id': 65182, 'image_url': 'https://images.genius.com/dc54dac181daf7923dc71122e1680270.1000x1000x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Diana Ross', 'url': 'https://genius.com/artists/Diana-ross'}, {'api_path': '/artists/8674', 'header_image_url': 'https://images.genius.com/41356e3aa2860a192b9239593d438897.970x649x1.jpg', 'id': 8674, 'image_url': 'https://images.genius.com/41356e3aa2860a192b9239593d438897.970x649x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Dionne Warwick', 'url': 'https://genius.com/artists/Dionne-warwick'}, {'api_path': '/artists/19041', 'header_image_url': 'https://images.genius.com/165db399fee32f0fcaf8e66bfd2dcd12.500x331x1.jpg', 'id': 19041, 'image_url': 'https://images.genius.com/d8d4a9abab290dea00e9e03bdc40fd91.468x468x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Bruce Springsteen', 'url': 'https://genius.com/artists/Bruce-springsteen'}, {'api_path': '/artists/11192', 'header_image_url': 'https://images.genius.com/06651b441392c83855788ea36b94dc3d.664x441x1.jpg', 'id': 11192, 'image_url': 'https://images.genius.com/6f1f026ced5315f98473167ddb0309c2.990x990x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Kenny Rogers', 'url': 'https://genius.com/artists/Kenny-rogers'}, {'api_path': '/artists/1897', 'header_image_url': 'https://images.genius.com/1f26d984e7d9465351a41c484829dbd0.753x400x1.png', 'id': 1897, 'image_url': 'https://images.genius.com/07971b72a0e17074a82f44683f3faa6d.352x520x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Kenny Loggins', 'url': 'https://genius.com/artists/Kenny-loggins'}, {'api_path': '/artists/141663', 'header_image_url': 'https://images.genius.com/84e42e59159bdf2f8f937b0adffe8b48.338x512x1.jpg', 'id': 141663, 'image_url': 'https://images.genius.com/84e42e59159bdf2f8f937b0adffe8b48.338x512x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Kim Carnes', 'url': 'https://genius.com/artists/Kim-carnes'}, {'api_path': '/artists/181', 'header_image_url': 'https://images.genius.com/facc753d420efc53bbe1e0b63a72d70b.960x719x1.jpg', 'id': 181, 'image_url': 'https://images.genius.com/22306423b6ad8777d1ed5b33ad8b0d0b.1000x1000x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Bob Dylan', 'url': 'https://genius.com/artists/Bob-dylan'}]","There comes a time when we heed a certain call When the world must come together as one There are people dying And it's time to lend a hand to life The greatest gift of all We can't go on pretending day by day That someone, somewhere will soon make a change We are all a part of God's great big family And the truth, you know Love is all we need We are the world, we are the children We are the ones who make a brighter day So let's start giving There's a choice we're making We're saving our own lives It's true we'll make a better day Just you and me Send them your heart so they'll know that someone cares And their lives will be stronger and free As God has shown us by turning stone to bread So we all must lend a helping hand We are the world, we are the children We are the ones who make a brighter day So let's start giving There's a choice we're making We're saving our own lives It's true we'll make a better day Just you and me When you're down and out, there seems no hope at all But if you just believe there's no way we can fall Well, well, well Let us realize, oh, that a change can only come When we stand together as one We are the world, we are the children We are the ones who make a brighter day So let's start giving There's a choice we're making We're saving our own lives It's true we'll make a better day Just you and me We are the world, we are the children We are the ones who make a brighter day So let's start giving There's a choice we're making We're saving our own lives It's true we'll make a better day Just you and me We are the world, we are the children We are the ones who make a brighter day So let's start giving There's a choice we're making We're saving our own lives It's true we'll make a better day Just you and me Alright let me hear you We are the world, we are the children We are the ones who make a brighter day So let's start giving There's a choice we're making We're saving our own lives It's true we'll make a better day Just you and me Come on y'all let me hear you We are the world, we are the children We are the ones who make a brighter day So let's start giving There's a choice we're making We're saving our own lives It's true we'll make a better day Just you and me, yeah, yeah We are the world, we are the children We are the ones who make a brighter day So let's start giving There's a choice we're making We're saving our own lives It's true we'll make a better day Just you and me We are the world, we are the children We are the ones who make a brighter day So let's start giving There's a choice we're making We're saving our own lives It's true we'll make a better day Just you and me We are the world, we are the children We are the ones who make a brighter day So let's start giving There's a choice we're making We're saving our own lives It's true we'll make a better day Just you and me Thank you We are the world, we are the children We are the ones who make a brighter day So let's start giving There's a choice we're making We're saving our own lives It's true we'll make a better day Just you and me",We Are the World,We Are the World,https://genius.com/Usa-for-africa-we-are-the-world-lyrics,"13," -87,Madonna,"May 11, 1985",[],"Swaying room as the music starts Strangers making the most of the dark Two by two their bodies become one I see you through the smokey air Can't you feel the weight of my stare You're so close but still a world away What I'm dying to say, is that I'm crazy for you Touch me once and you'll know it's true I never wanted anyone like this It's all brand new You'll feel it in my kiss I'm crazy for you, crazy for you Trying hard to control my heart I walk over to where you are Eye to eye we need no words at all Slowly now we begin to move Every breath I'm deeper into you Soon we two are standing still in time If you read my mind, you'll see I'm crazy for you Touch me once and you'll know it's true I never wanted anyone like this It's all brand new You'll feel it in my kiss You'll feel it in my kiss Because I'm crazy for you Touch me once and you'll know it's true I never wanted anyone like this It's all brand new You'll feel it in my kiss I'm crazy for you Crazy for you Crazy for you It's all brand new, I'm crazy for you And you know it's true I'm crazy, crazy for you It's all brand new, I'm crazy for you And you know it's true Yeah, I'm crazy for you Crazy for you, baby I'm crazy for you Crazy for you, baby",Crazy for You,The Immaculate Collection,https://genius.com/Madonna-crazy-for-you-lyrics,"11," -88,Simple Minds,"May 18, 1985",[],"Hey, hey, hey, hey Ooh... Won't you come see about me? I'll be alone, dancing you know it baby Tell me your troubles and doubts Given everything inside and out and Love's strange so real in the dark Think of the tender things that we were working on Slow chains may pull us apart When our life gets into your heart, baby Don't you forget about me Don't, don't, don't, don't Don't you forget about me Will you stand above me? Look my way, never love me Rain keeps falling, rain keeps falling Down, down, down Will you recognize me? Call my name or walk on by Rain keeps falling, rain keeps falling Down, down, down, down Hey, hey, hey, hey Ohhhh..... Don't you try to pretend It's my feeling we'll win in the end I won't harm you or touch your defenses Vanity, insecurity Don't you forget about me I'll be alone, dancing you know it baby Going to take you apart I'll put us back together at heart, baby Don't you forget about me Don't, don't, don't, don't Don't you forget about me As you walk on by Will you call my name? As you walk on by Will you call my name? When you walk away Or will you walk away? Will you walk on by? Come on, call my name Will you call my name? I say La la la... When you walk on by La la la...",Don't You (Forget About Me),Acoustic,https://genius.com/Simple-minds-dont-you-forget-about-me-lyrics,"18," -89,Wham!,"May 25, 1985",[],"Uh huh huh Ohhh yeah Work, work Somebody told me ""Boy, everything she wants, is everything she sees"" I guess I must have loved you Because I said you were the perfect girl for me, maybe But now we're six months older And everything you want, and everything you see Is out of reach, not good enough I don't know what the hell you want from me, oh Somebody tell me, Oh (Won't you tell me) Why I work so hard for you? (To give you money, all to give you money) Some people work for a living Some people work for fun Girl, I just work for you They told me marriage was a give, and take Well you've shown me you can take, you've got some giving to do And now you tell me that you're having my baby I'll tell you that I'm happy if you want me to But one step further, and my back will break If my best isn't good enough Than how can it be good enough for two? I can't work any harder than I do Oh, why do I do the things I do? I'd tell you if I knew My God, I don't even think that I love you Won't you tell me Give you money, all to give you money Oh ohh, Oh Yea Tell me, tell me How could you settle for a boy like me When all I could see was the end of the week All the things we sign And the things we buy Ain't gonna keep us together It's just a matter of time My situation, never changes Walking in , and out of that door Like a stranger, but the wages I give you all, you say you want more And all I can see was the end of the week All the things we sign And the things we buy Ain't gonna keep us together Girl, it's just a matter of time Just a matter of... Oh, why do I do the things I do? I'd tell you if I knew My God, I don't even think that I love you Oh, why do I do the things I do? I'd tell you if I knew My God, I don't even think that I love you Somebody tell me, want you to tell me Why, i do the things i do",Everything She Wants,Make It Big,https://genius.com/Wham-everything-she-wants-lyrics,"25," -90,Tears for Fears,"June 8, 1985",[],"Welcome to your life There's no turning back Even while we sleep We will find you Acting on your best behaviour Turn your back on mother nature Everybody wants to rule the world It's my own design It's my own remorse Help me to decide Help me make the most Of freedom and of pleasure Nothing ever lasts forever Everybody wants to rule the world There's a room where the light won't find you Holding hands while the walls come tumbling down When they do I'll be right behind you So glad we've almost made it So sad they had to fade it Everybody wants to rule the world I can't stand this indecision Married with a lack of vision Everybody wants to rule the world Say that you'll never, never, never, never need it One headline - why believe it? Everybody wants to rule the world All for freedom and for pleasure Nothing ever lasts forever Everybody wants to rule the world",Everybody Wants to Rule the World,Songs from the Big Chair,https://genius.com/Tears-for-fears-everybody-wants-to-rule-the-world-lyrics,"8," -91,Bryan Adams,"June 22, 1985",[],"Oh, thinkin' about our younger years There was only you and me We were young and wild and free Now nothin' can take you away from me We've been down that road before But that's over now You keep me comin' back for more Baby, you're all that I want When you're lyin' here in my arms I'm findin' it hard to believe We're in Heaven And love is all that I need And I found it there in your heart It isn't too hard to see We're in Heaven Oh, once in your life you find someone Who will turn your world around Bring you up when you're feelin' down Yeah, nothin' could change what you mean to me Oh, there's lots that I could say But just hold me now Cause our love will light the way And baby you're all that I want When you're lyin' here in my arms I'm finding it hard to believe We're in Heaven Yeah, love is all that I need And I found it there in your heart It isn't too hard to see We're in Heaven, yeah I've been waitin' for so long For somethin' to arrive For love to come along Now our dreams are comin' true Through the good times and the bad Yeah, I'll be standin' there by you And baby you're all that I want When you're lyin' here in my arms I'm findin' it hard to believe We're in Heaven And love is all that I need And I found it there in your heart It isn't too hard to see We're in Heaven, Heaven, woah You're all that I want You're all that I need",Heaven,Reckless ,https://genius.com/Bryan-adams-heaven-lyrics,"22," -92,Phil Collins,"July 6, 1985",[],"There's a girl that's been on my mind All the time, Su-Su-Sussudio, oh, oh Now she don't even know my name But I think she likes me just the same, Su-Su-Sussudio, oh, oh Ah, if she called me I'd be there I'd come running anywhere, she's all I need, all my life I feel so good if I just say the word Su-Su-Sussudio, just say the word, oh, Su-Su-Sussudio Now I know that I'm too young My life has just begun, Su-Su-Sussudio, oh, oh Ooh, give me a chance, give me a sign I'll show her anytime, Su-Su-Su-Sussudio, oh, oh Ah, I've just got to have her, have her now I've got to get closer but I don't know how She makes me nervous and makes me scared I feel so good if I just say the word, Su-Su-Sussudio Just say the word, oh, Su-Su-Sussudio, oh Ah, she's all I need, all of my life I feel so good if I just say the word, Su-Su-Sussudio I just say the word, oh, Su-Su-Su-Sussudio I just say the word, oh, Su-Su-Sussudio I'll say the word, oh, S-Su-Su-Sussudio, oh, oh, oh Just say the word Just say the word, ooh Just say the word S-Su-Su-Sussudio, Su-Su-Sussudio Su-Su-Sussudio, Su-Su-Sussudio Sussudio, Su-Su-Sussudio Just say the word, Su-Su-Sussudio Just say the word, oh Just say the word",Sussudio,No Jacket Required,https://genius.com/Phil-collins-sussudio-lyrics,"6," -93,Duran Duran,"July 13, 1985",[],"Meeting you with a view to a kill Face to face in secret places, feel the chill Nightfall covers me, but you know the plans I'm making Still overseas, could it be the whole Earth opening wide A sacred why, a mystery gaping inside A week is why, until we... Dance into the fire That fatal kiss is all we need Dance into the fire To fatal sounds of broken dreams Dance into the fire That fatal kiss is all we need Dance into the fire The choice for you is the view to a kill Between the shades assassination standing still Earth's crystal tears, the fall of snowflakes on your body First time in years to drench your skin in lover's rosy stain A chance to find the phoenix for the flame A chance to die, but can we... Dance into the fire That fatal kiss is all we need Dance into the fire To fatal sounds of broken dreams Dance into the fire That fatal kiss is all we need Dance into the fire When all we see is the view to a kill",A View to a Kill,Decade,https://genius.com/Duran-duran-a-view-to-a-kill-lyrics,"13," -94,Paul Young,"July 27, 1985",[],"Don't leave me all alone Picking up the pieces (picking up the pieces) Don't leave me all alone Picking up the pieces (picking up the pieces) Don't leave me all alone Picking up the pieces (picking up the pieces) Don't leave me all alone... Hey If we can solve any problem Then why do we lose so many tears? Oh, so you go again When the leading man appears Always the same thing Can't you see We've got everything Going on and on and on Every time you go away You take a piece of me with you Every time you go away You take a piece of me with you, ooh Go on And go free, yeah Maybe you're too close to see I can feel your body move Doesn't mean that much to me I can't go on Saying the same thing Cause can't you see? We got everything Baby, even though you know Every time you go away, yeah You take a piece of me with you, oh Every time you go away You take a piece of me with you, ooh Oh I can't go on Saying the same thing Cause, baby Can't you see? We got everything Going on and on and on Every time you go away You take a piece of me with you Every time you go away You take a piece of me with you Picking up the pieces Every time you go away (oooooh) You take a piece of me with you (be careful) Every time you go away (every time you go) You take a piece of me with you You take a piece of me Every time you go away (oohh) You take a piece of me with you (every time you go)",Everytime You Go Away,The Secret of Association,https://genius.com/Paul-young-every-time-you-go-away-lyrics,"27," -95,Tears for Fears,"August 3, 1985",[],"Shout, shout, let it all out These are the things I can do without Come on I'm talking to you, come on Shout, shout, let it all out These are the things I can do without Come on I'm talking to you, come on In violent times, you shouldn't have to sell your soul In black and white, they really, really ought to know Those one-track minds that took you for a working boy Kiss them goodbye, you shouldn't have to jump for joy You shouldn't have to jump for joy Shout, shout, let it all out These are the things I can do without Come on I'm talking to you, come on They gave you life and in return, you gave them hell As cold as ice, I hope we live to tell the tale I hope we live to tell the tale Shout, shout, let it all out These are the things I can do without Come on I'm talking to you, come on Shout, shout, let it all out These are the things I can do without Come on I'm talking to you, come on Shout, shout, let it all out (Let it all out) These are the things I can do without Come on I'm talking to you, come on And when you've taken down your guard If I could change your mind, I'd really love to break your heart I'd really love to break your heart Shout, shout, let it all out These are the things I can do without (Break your heart) Come on (Really love to break your heart) I'm talking to you, come on Shout, shout, let it all out These are the things I can do without Come on I'm talking to you so come on Shout, shout, let it all out These are the things I can do without Come on I'm talking to you, come on (They really, really ought to know) Shout, shout, let it all out (They really, really ought to know) These are the things I can do without (They really, really) Come on (They really, really ought to know) I'm talking to you, come on Shout, shout, let it all out (I'd really love to break your heart) These are the things I can do without (I'd really love to break your heart) Come on I'm talking to you so come on Shout, shout, let it all out These are the things I can do without Come on I'm talking to you...",Shout,Songs from the Big Chair,https://genius.com/Tears-for-fears-shout-lyrics,"3," -96,Huey Lewis & the News,"August 24, 1985",[],"The power of love is a curious thing Make a one man weep, make another man sing Change a hawk to a little white dove More than a feeling that's the power of love Tougher than diamonds, rich like cream Stronger and harder than a bad girl's dream Make a bad one good make a wrong one right Power of love that keeps you home at night You don't need money, don't take fame Don't need no credit card to ride this train It's strong and it's sudden and it's cruel sometimes But it might just save your life That's the power of love That's the power of love First time you feel it, it might make you sad Next time you feel it, it might make you mad But you'll be glad baby when you've found That's the power makes the world go'round And it don't take money, don't take fame Don't need no credit card to ride this train It's strong and it's sudden it can be cruel sometimes But it might just save your life They say that all in love is fair Yeah, but you don't care But you know what to do When it gets hold of you And with a little help from above You feel the power of love You feel the power of love Can you feel it? Hmmm It don't take money and it don't take fame Don't need no credit card to ride this train Tougher than diamonds and stronger than steel You won't feel nothin' till you feel You feel the power, just feel the power of love That's the power, that's the power of love You feel the power of love You feel the power of love Feel the power of love",The Power of Love,Back to the Future: Music from the Motion Picture Soundtrack ,https://genius.com/Huey-lewis-and-the-news-the-power-of-love-lyrics,"24," -97,John Parr,"September 7, 1985",[],"Growin' up You don't see the writing on the wall Passin' by Movin' straight ahead you knew it all But maybe sometime if you feel the pain You'll find you're all alone, everything has changed Play the game You know you can't quit until it's won Soldier on Only you can do what must be done You know in some way you're a lot like me You're just a prisoner And you're trying to break free I can see a new horizon Underneath the blazin' sky I'll be where the eagles flyin' higher and higher Gonna be a man in motion All I need is a pair of wheels Take me where my futures lyin', St. Elmo's Fire Burnin' up Don't know just how far that I can go (Just how far I go) Soon be home Only just a few miles down the road I can make it, I know I can You broke the boy in me But you won't break the man I can see a new horizon Underneath the blazin' sky I'll be where the eagles flyin' higher and higher Gonna be a man in motion All I need is a pair of wheels Take me where my futures lyin', St. Elmo's Fire I can climb the highest mountain Cross the wildest sea I can feel St. Elmo's fire burnin' in me Burnin' in me Just once in his life a man has his time And my time is now, I'm coming alive I can hear the music playin' I can see the banners fly Feel like you're back again, and hope ridin' high Gonna be your man in motion All I need is a pair of wheels Take me where my future's lyin', St. Elmo's fire I can see a new horizon Underneath the blazin' sky I'll be where the eagles flyin' higher and higher Gonna be a man in motion All I need is a pair of wheels Take me where my futures lyin', St. Elmo's Fire I can climb the highest mountain Cross the wildest sea I can feel St. Elmo's fire burnin' in me Burnin' in me Burnin' Burnin' in me I can feel it burnin' Ooh, burnin' inside of me",St. Elmo's Fire (Man in Motion),Letter to America,https://genius.com/John-parr-st-elmos-fire-man-in-motion-lyrics,"7," -98,Dire Straits,"September 21, 1985","[{'api_path': '/artists/679', 'header_image_url': 'https://images.genius.com/f9577feb5bb957d38ddc776274c3c743.336x425x1.jpg', 'id': 679, 'image_url': 'https://images.genius.com/f9577feb5bb957d38ddc776274c3c743.336x425x1.jpg', 'is_meme_verified': False, 'is_verified': True, 'name': 'Sting', 'url': 'https://genius.com/artists/Sting', 'iq': 259}]","I want my, I want my MTV I want my, I want my MTV I want my, I want my MTV I want my, I want my MTV Now look at them yo-yo's, that's the way you do it You play the guitar on the MTV That ain't workin', that's the way you do it Money for nothin,' and chicks for free Now that ain't workin', that's the way you do it Lemme tell ya, them guys ain't dumb Maybe get a blister on your little finger Maybe get a blister on your thumb We got to install microwave ovens Custom kitchen deliveries We got to move these refrigerators We got to move these color TV's See the little faggot with the earring and the makeup? Yeah buddy, that's his own hair That little faggot got his own jet airplane That little faggot, he's a millionaire We got to install microwave ovens Custom kitchen deliveries We got to move these refrigerators We got to move these color TV's Mover, mover Uh We got to install microwave ovens Custom kitchen deliveries, we got We got to move these refrigerators We got to move these color TV's Looky here, look out I shoulda learned to play the guitar I shoulda learned to play them drums Look at that mama, she got it stickin' in the camera, man, we could have some And he's up there, what's that? Hawaiian noises? Bangin' on the bongos like a chimpanzee That ain't workin', that's the way you do it Get your money for nothin', get your chicks for free We got to install microwave ovens Custom kitchen deliveries We got to move these refrigerators We got to move these color TV's Listen here Now that ain't workin', that's the way you do it You play the guitar on the MTV That ain't workin', that's the way you do it Money for nothin', and your chicks for free Money for nothin', and chicks for free Money for nothin', chicks for free Money for nothin', chicks for free Money for nothin', chicks for free (Money for nothin') Money for nothin', chicks for free Money for nothin', chicks for free Money for nothin', chicks for free Money for nothin', chicks for free Look at that, look at that Money for nothin' (I want my, I want my) Chicks for free (I want my MTV) Money for nothin' (I want my, I want my) Chicks for free (I want my MTV) Money for nothin' (I want my, I want my) Chicks for free (I want my MTV) Money for nothin' (I want my, I want my) Chicks for free (I want my MTV) Easy, easy money for nothin' (I want my, I want my) Easy, easy chicks for free (I want my MTV) Easy, easy money for nothin' (I want my, I want my) Chicks for free (I want my MTV) That ain't workin' Money for nothin', chicks for free Money for nothin', chicks for free",Money for Nothing,Brothers in Arms,https://genius.com/Dire-straits-money-for-nothing-lyrics,"21," -99,Ready for the World,"October 12, 1985",[],"Like they always say, what's good for the goose Is always good for the gander Oh Sheila Oh, baby, love me right Let me love you till we get it right Why can't you let the others be Cause with you is where I got to be Oh, suga, where you been? Hangin' out with your male friends Listen, somebody's gonna hurt you The way you love to keep hurting me And we sing Oh, oh Sheila Let me love you till the morning comes Oh, oh Sheila You know I want to be the only one Oh, baby, understand That I want to be the only man But it seems as though it's getting too hard And I think I'll start to have my own fun Oh, baby, it's plain to see That you're qualified to fill your needs You think you've pulled one over on me Well honey, baby, just you wait and see And we sing Oh, oh Sheila Let me love you till the morning comes (The sun is set) Oh, oh Sheila You know I want to be the only one For her Oh, baby, it's 1 2 3 I love you, baby from A to C I want to di-da di-da-li A di-da-li-da-loo Oh, oh Sheila Uh, uh, uh Oh, Sheila Oh, oh Sheila Uh, uh, uh Oh, Sheila Oh, baby, love me right Let me love you till we get it right Why can't you let the others be Cause with you is where I wanna be, yeah Oh, baby, it's plain to see That you're qualified to fill your needs You think you've pulled one over on me Well honey, baby, just you wait and see And we sing Oh Oh Sheila Oh, oh Sheila Let me love you till the morning comes (The sun is set) Oh, oh Sheila You know I want to be the only one Oh, oh Sheila Let me love you till the morning comes Oh, oh Sheila You know I want to be the only one And we sing Oh",Oh Sheila,Ready for the World,https://genius.com/Ready-for-the-world-oh-sheila-lyrics,"12," -100,a-ha,"October 19, 1985",[],"We're talking away I don't know what I'm to say I'll say it anyway Today's another day to find you Shying away I'll be coming for your love, OK? Take on me (Take on me) Take me on (Take on me) I'll be gone In a day or two So needless to say I'm odds and ends But I'll be stumbling away Slowly learning that life is ok Say after me It's no better to be safe than sorry Take on me (Take on me) Take me on (Take on me) I'll be gone In a day or two Oh, things that you say Is it a life or just to play my worries away? You're all the things I've got to remember You're shying away I'll be coming for you anyway Take on me (Take on me) Take me on (Take on me) I'll be gone In a day Take on me (Take on me) Take me on (Take on me) I'll be gone In a day",Take On Me,Hunting High and Low,https://genius.com/A-ha-take-on-me-lyrics,"19," -101,Whitney Houston,"October 26, 1985",[],"A few stolen moments, is all that we shared You've got your family, and they need you there Though I try to resist, being last on your list But no other man's gonna do So I'm saving all my love for you It's not very easy living all alone My friends try and tell me find a man of my own But each time I try, I just break down and cry 'Cause I'd rather be home feeling blue So I'm saving all my love for you You used to tell me we'd run away together Love gives you the right to be free You said, ""Be patient, just wait a little longer."" But that's just an old fantasy I've got to get ready Just a few minutes more Gonna get that old feeling When you walk through that door 'Cause tonight is the night for a feeling alright We'll be making love the whole night through So I'm saving all my love Yes, I'm saving all my love Yes, I'm saving all my love for you No other woman is gonna love you more 'Cause tonight is the night that I'm feeling alright We'll be making love the whole night through So I'm saving all my love Yeah, I'm saving all my loving Yes, I'm saving all my love for you For you, for you",Saving All My Love for You,Whitney Houston,https://genius.com/Whitney-houston-saving-all-my-love-for-you-lyrics,"26," -102,Stevie Wonder,"November 2, 1985",[],"Call up, ring once, hang up the phone To let me know you made it home Don't want nothing to be wrong with part-time lover If she's with me, I'll blink the lights To let you know tonight's the night For me and you, my part-time lover We are undercover passion on the run Chasing love up against the sun We are strangers by day, lovers by night Knowing it's so wrong, but feeling so right If I'm with friends and we should meet Just pass me by, don't even speak Know the word's ""discreet"" with part-time lovers But if there's some emergency Have a male friend to ask for me So then she won't peek it's really you my part-time lover We are undercover passion on the run Chasing love up against the sun We are strangers by day, lovers by night Knowing it's so wrong, but feeling so right (Part-time lovers) (Part-time lovers) We are undercover passion on the run, yeah Chasing love up against the sun We are strangers by day, lovers by night Knowing it's so wrong, but feeling so right I've got something that I must tell Last night someone rang our doorbell And it was not you, my part-time lover And then a man called our exchange But didn't want to leave his name I guess that two can play the game Of part-time lovers You and me, part-time lovers But, she and he, part-time lovers (Repeat until end)",Part-Time Lover,In Square Circle,https://genius.com/Stevie-wonder-part-time-lover-lyrics,"2," -103,Jan Hammer,"November 9, 1985",null,null,Miami Vice Theme,null,null,"9," -104,Starship,"November 16, 1985",[],"We built this city We built this city on rock and roll Built this city We built this city on rock and roll Say you don't know me Or recognize my face Say you don't care who goes To that kind of place Knee deep in the hoopla Sinking in your fight Too many runaways Eating up the night Marconi plays the mamba Listen to the radio, don't you remember? We built this city We built this city on rock and roll We built this city We built this city on rock and roll Built this city We built this city on rock and roll Someone always playing Corporation games Who cares they're always changing Corporation names We just want to dance here Someone stole the stage They call us irresponsible Write us off the page Marconi plays the mamba Listen to the radio, don't you remember? We built this city We built this city on rock and roll We built this city We built this city on rock and roll Built this city We built this city on rock and roll It's just another Sunday In a tired old street Police have got the choke hold, oh And we just lost the beat Who counts the money Underneath the bar Who rides the wrecking ball Into our guitars Don't tell us you need us 'Cause we're the ship of fools Looking for America Coming through your schools I'm looking out over that Golden Gate bridge On another gorgeous sunny Saturday And I'm seeing that bumper to bumper traffic Don't you remember? ('Member, 'member) It's your favorite radio station In your favorite radio city The city by the bay, the city that rocks The city that never sleeps Marconi plays the mamba Listen to the radio, don't you remember? We built this city We built this city on rock and roll We built this city We built this city on rock and roll Built this city We built this city on rock and roll Built this city (Oo-ho) We built this city on rock and roll Built this city We built this city on rock and roll We built, we built this city, yeah (Built this city) We built, we built this city We built, we built this city, yeah (Built this city) We built, we built this city We built, we built this city, yeah (Built this city) We built, we built this city We built, we built this city, yeah (Built this city) We built, we built this city We built, we built this city, yeah",We Built This City,Knee Deep in the Hoopla,https://genius.com/Starship-we-built-this-city-lyrics,"16," -105,Phil Collins & Marilyn Martin,"November 30, 1985",null,null,Separate Lives,null,null,"30," -106,Mr. Mister,"December 7, 1985",[],"Baby, don't understand Why we can't just hold on to each other's hands? This time might be the last if fear unless I make it all too clear I need you so, ohh Take these broken wings And learn to fly again, learn to live so free When we hear the voices sing The book of love will open up and let us in Take these broken wings Baby, I think tonight We can take what was wrong and make it right Baby, it's all I know that you're half of the flesh And blood that makes me whole, I need you so So take these broken wings And learn to fly again, learn to live so free When we hear the voices sing The book of love will open up and let us in Take these broken wings You've got to learn to fly, learn to live, love so free When we hear the voices sing The book of love will open up and let us in Yeah, yeah Let us in Let us in Baby, it's all I know that you're half of the flesh And blood that makes me whole Yeah, yeah, yeah, yeah, yeah So take these broken wings And learn to fly again, learn to live so free And when we hear the voices sing The book of love will open up and let us in Take these broken wings You got to learn to fly, learn to live and love so free When we hear the voices sing The book of love will open up for us and let us in Yeah, yeah, yeah, yeah, ooh",Broken Wings,Welcome to the Real World,https://genius.com/Mr-mister-broken-wings-lyrics,"7," -107,Lionel Richie,"December 21, 1985",[],"Say you, say me Say it for always, that's the way it should be Say you, say me Say it together, naturally I had a dream, I had an awesome dream People in the park playing games in the dark And what they played was a masquerade And from behind of walls of doubt a voice was crying out Say you, say me Say it for always, that's the way it should be Say you, say me Say it together, naturally As we go down life's lonesome highway Seems the hardest thing to do is to find a friend or two A helping hand - someone who understands That when you feel you've lost your way You've got someone there to say I'll show you Say you, say me Say it for always, that's the way it should be Say you, say me Say it together, naturally So you think you know the answers - oh no Because the whole world has got you dancing, that's right I'm telling you It's time to start believing - oh yes Believing who you are - you are a shining star Say you, say me Say it for always, that's the way it should be Say you, say me Say it together, naturally","Say You, Say Me",Dancing on the Ceiling,https://genius.com/Lionel-richie-say-you-say-me-lyrics,"21," -108,Dionne Warwick,"January 18, 1986",null,null,That's What Friends Are For♪ (1986),null,null,"18," -109,Whitney Houston,"February 15, 1986",[],"There's a boy I know, he's the one I dream of Looks into my eyes, takes me to the clouds above Ooh I lose control, can't seem to get enough When I wake from dreaming, tell me is it really love? Ooh, how will I know? (Don't trust your feelings) How will I know? How will I know? (Love can be deceiving) How will I know? How will I know if he really loves me? I say a prayer with every heart beat I fall in love whenever we meet I'm asking you what you know about these things How will I know if he's thinking of me? I try to phone, but I'm too shy (can't speak) Falling in love is so bittersweet This love is strong, why do I feel weak? Oh, wake me, I'm shaking, wish I had you near me now Said there's no mistaking, what I feel is really love Ooh tell me How will I know? (Don't trust your feelings) How will I know? How will I know? (Love can be deceiving) How will I know? How will I know if he really loves me? I say a prayer with every heart beat I fall in love whenever we meet I'm asking you what you know about these things How will I know if he's thinking of me? I try to phone, but I'm too shy (can't speak) Falling in love is so bittersweet This love is strong, why do I feel weak? If he loves me If he loves me not If he loves me If he loves me not If he loves me If he loves me not Oh, how will I know? How will I know? How will I know? Hey, how will I know? How will I know if he really loves me? I say a prayer with every heart beat I fall in love whenever we meet I'm asking you what you know about these things How will I know if he's thinking of me? I try to phone, but I'm too shy (can't speak) Falling in love is so bittersweet This love is strong, why do I feel weak? How will I know? (How will I know?) How will I know? How will I know? (I say a prayer) How will I know? How will I know? (I fall in love) How will I know? How will I know?",How Will I Know,Whitney Houston,https://genius.com/Whitney-houston-how-will-i-know-lyrics,"15," -110,Mr. Mister,"March 1, 1986",[],"Kyrie eleison Kyrie eleison Kyrie The wind blows hard against this mountain side Across the sea into my soul It reaches into where I cannot hide Setting my feet upon the road My heart is old, it holds my memories My body burns a gemlike flame Somewhere between the soul and soft machine Is where I find myself again Kyrie eleison, down the road that I must travel Kyrie eleison, through the darkness of the night Kyrie eleison, where I'm going, will you follow? Kyrie eleison, on a highway in the light When I was young I thought of growing old Of what my life would mean to me Would I have followed down my chosen road Or only wished what I could be Kyrie eleison, down the road that I must travel Kyrie eleison, through the darkness of the night Kyrie eleison, where I'm going, will you follow? Kyrie eleison, on a highway in the light Kyrie eleison, down the road that I must travel Kyrie eleison, through the darkness of the night Kyrie eleison, where I'm going, will you follow? Kyrie eleison, on a highway in the light Kyrie eleison, down the road that I must travel Kyrie eleison, through the darkness of the night Kyrie eleison, where I'm going, will you follow? Kyrie eleison, on a highway in the light Kyrie eleison, down the road that I must travel Kyrie eleison, through the darkness of the night Kyrie eleison, where I'm going, will you follow? Kyrie eleison, on a highway in the light Kyrie eleison, down the road that I must travel Kyrie eleison, through the darkness of the night Kyrie eleison, where I'm going, will you follow?",Kyrie,Welcome to the Real World,https://genius.com/Mr-mister-kyrie-lyrics,"1," -111,Starship,"March 15, 1986",[],"Go now Don't look back We've drawn the line Move on It's no good to go back in time I'll never find another girl like you For happy endings It takes two We're fire and ice A dream won't come true Sara Sara Storms are brewing in your eyes Sara Sara No time is a good time for goodbyes Danger In the game when the stakes are high Branded My heart was branded While my senses stood by I'll never find another girl like you For happy endings It takes two We're fire and ice A dream won't come true Sara Sara Storms are brewing in your eyes Sara Sara No time is a good time for goodbyes Sara Sara Storms are brewing in your eyes Sara Sara No time is a good time for goodbyes (Cause Sara) Loved me Like no one ever loved me before (And Sara) Hurt me No one could ever hurt me more (And Sara) Sara (And Sara) Nobody loved me anymore I'll never find another girl like you No We're fire and ice A dream won't come true Sara Sara Sara No time is a good time, no Sara Sara Storms are brewing in your eyes Sara Sara No time is a good time for goodbyes Ooh Sara Sara Sara Storms are brewing in your eyes Sara Sara No time is a good time, no Sara Sara Why did it? Why did it? (Sara, Sara) Why did it all fall apart? (Sara, Sara) (Sara, Sara) (Sara, Sara)",Sara,Knee Deep in the Hoopla,https://genius.com/Starship-sara-lyrics,"15," -112,Heart,"March 22, 1986",null,null,These Dreams,null,null,"22," -113,Falco,"March 29, 1986",[],"Yeah! Osnabrück 49 ist Feuerhölle, ey Yeah, ein Jude macht jetzt neue deutsche Welle, ey Yeah, rappe, weil ich hasse, wie sie rappen, yeah (hey) Trappe, weil ich hasse, wie sie trappen, yeah (wouh) BBM-Kartell, bleibe die Number One Ich filterte die Szene, denn alle Rapper sind Sons von Sun Ein Yahudi mit Araber im Rücken wie Dromedar Ich verbrenne das Weed wie ein Holländer, yeah, yeah, ey Hitte Jaro, blow' den Nebel aus dem Lambo Hasse dieses Leben, so wie Falco Will mein Requiem erschaffen, Amadeus Und alles ruft noch heute, „Come and rock me, Sunny Diego!“, do it Amadeus, Amadeus Ich gab mein Leben weg für PR Irgendwann, wenn Gott will, GT-R Yeah, yeah, yeah Amadeus, Amadeus Yayo und Weed die einzigen Bros Seele ist Minus, Konto Mios Yeah, yeah, yeah Amadeus, Amadeus Amadeus, Amadeus Er war ein Punker und er lebte in der großen Stadt Es war in Wien, war Vienna, wo er alles tat Er hatte Schulden, denn er trank, doch ihn liebten alle Frau'n Und jede rief: „Now, come and rock me Amadeus!“ Er war Superstar, er war populär Er war so exaltiert, because er hatte Flair Er war ein Virtuose, war 'n Rockidol Und alles rief: „Now, come and rock me Amadeus!“ Amadeus, Amadeus Ich gab mein Leben weg für PR Irgendwann, wenn Gott will, GT-R Yeah, yeah, yeah Amadeus, Amadeus Yayo und Weed die einzigen Bros Seele ist Minus, Konto Mios Yeah, yeah, yeah Amadeus, Amadeus Amadeus, Amadeus Amadeus, Amadeus Ich gab mein Leben weg für PR Irgendwann, wenn Gott will, GT-R Yeah, yeah, yeah Amadeus, Amadeus Yayo und Weed die einzigen Bros Seele ist Minus, Konto Mios Yeah, yeah, yeah",Rock Me Amadeus,Sterben um zu Leben,https://genius.com/Falco-and-sun-diego-rock-me-amadeus-lyrics,"29," -114,Prince & the Revolution,"April 19, 1986",[],"You don't have to be beautiful to turn me on I just need your body, baby, from dusk 'til dawn You don't need experience to turn me out You just leave it all up to me, I'm gonna show you what it's all about You don't have to be rich to be my girl You don't have to be cool to rule my world Ain't no particular sign I'm more compatible with I just want your extra time and your kiss You got to not talk dirty, baby, if you wanna impress me You can't be too flirty, mama, I know how to undress me I want to be your fantasy, maybe you could be mine You just leave it all up to me, we could have a good time You don't have to be rich to be my girl You don't have to be cool to rule my world Ain't no particular sign I'm more compatible with I just want your extra time and your kiss Yes, oh, I think I wanna dance, uh Gotta, gotta, oh Little Girl Wendy's Parade Gotta, gotta, gotta Women, not girls, rule my world, I said they rule my world Act your age, mama, not your shoe size, maybe we could do the twirl You don't have to watch Dynasty to have an attitude You just leave it all up to me, my love will be your food You don't have to be rich to be my girl You don't have to be cool to rule my world Ain't no particular sign I'm compatible with! I just want your extra time and your kiss",Kiss,Parade,https://genius.com/Prince-and-the-revolution-kiss-lyrics,"19," -115,Robert Palmer,"May 3, 1986",[],"The lights are on, but you're not home Your mind is not your own Your heart sweats, your body shakes Another kiss is what it takes You can't sleep, you can't eat There's no doubt, you're in deep Your throat is tight, you can't breathe Another kiss is all you need Whoa, you like to think that you're immune to the stuff, oh yeah It's closer to the truth to say you can't get enough You know you're going to have to face it, you're addicted to love You see the signs, but you can't read You're running at a different speed Your heart beats in double time Another kiss and you'll be mine A one-track mind, you can't be saved Oblivion is all you crave If there's some left for you You don't mind if you do Might as well face it, you're addicted to love Your lights are on, but you're not home Your will is not your own Your heart sweats your teeth grind Another kiss and you'll be mine Might as well face it, you're addicted to love ",Addicted to Love,Riptide ,https://genius.com/Robert-palmer-addicted-to-love-lyrics,"3," -116,Pet Shop Boys,"May 10, 1986",[],"Sometimes you're better off dead There's gun in your hand and it's pointing at your head You think you're mad, too unstable Kicking in chairs and knocking down tables In a restaurant in a West End town Call the police, there's a madman around Running down underground to a dive bar In a West End town In a West End town, a dead end world The East End boys and West End girls In a West End town, a dead end world The East End boys and West End girls West End girls Too many shadows, whispering voices Faces on posters, too many choices If, when, why, what? How much have you got? Have you got it, do you get it, if so, how often? And which do you choose, a hard or soft option? (How much do you need?) In a West End town, a dead end world The East End boys and West End girls In a West End town, a dead end world The East End boys and West End girls West End girls West End girls (How much do you need?) In a West End town, a dead end world The East End boys and West End girls Ooh, West End town, a dead end world East End boys, West End Girls West End girls You've got a heart of glass or a heart of stone Just you wait 'til I get you home We've got no future, we've got no past Here today, built to last In every city, in every nation From Lake Geneva to the Finland station (How far have you been?) In a West End town, a dead end world The East End boys and West End girls A West End town, a dead end world East End Boys, West End girls West End girls West End girls West End girls (How far have you been?) Girls East End boys And West End girls And West End girls (...forever) And West End girls (How far have you been?) East End boys The West End girls The West End boys And West End girls The West End girls The West End boys The West End girls",West End Girls,Please,https://genius.com/Pet-shop-boys-west-end-girls-lyrics,"10," -117,Whitney Houston,"May 17, 1986",[],"I believe the children are our future Teach them well and let them lead the way Show them all the beauty they possess inside Give them a sense of pride to make it easier Let the children's laughter remind us how we used to be Everybody's searching for a hero People need someone to look up to I never found anyone who fulfilled my needs A lonely place to be And so I learned to depend on me I decided long ago Never to walk in anyone's shadows If I fail, if I succeed At least I'll live as I believe No matter what they take from me They can't take away my dignity Because the greatest love of all Is happening to me I found the greatest love of all Inside of me The greatest love of all Is easy to achieve Learning to love yourself It is the greatest love of all I believe the children are our future Teach them well and let them lead the way Show them all the beauty they possess inside Give them a sense of pride to make it easier Let the children's laughter remind us how we used to be I decided long ago, never to walk in anyone's shadows If I fail, if I succeed At least I'll live as I believe No matter what they take from me They can't take away my dignity Because the greatest love of all Is happening to me I found the greatest love of all Inside of me The greatest love of all Is easy to achieve Learning to love yourself It is the greatest love of all And if, by chance, that special place That you've been dreaming of Leads you to a lonely place Find your strength in love",Greatest Love of All,Whitney Houston,https://genius.com/Whitney-houston-greatest-love-of-all-lyrics,"17," -118,Madonna,"June 7, 1986",[],"I have a tale to tell Sometimes it gets so hard to hide it well I was not ready for the fall Too blind to see the writing on the wall A man can tell a thousand lies I've learned my lesson well Hope I live to tell the secret I have learned Till then, it will burn inside of me I know where beauty lives I've seen it once, I know the warm she gives The light that you could never see It shines inside, you can't take that from me A man can tell a thousand lies I've learned my lesson well Hope I live to tell the secret I have learned Till then, it will burn inside of me The truth is never far behind You kept it hidden well If I live to tell the secret I knew Then will I ever have the chance again? If I ran away, I'd never have the strength to go very far How would they hear the beating of my heart? Will it grow cold, the secret that I hide? Will I grow old? How will they hear? When will they learn? How will they know? A man can tell a thousand lies I've learned my lesson well Hope I live to tell the secret I have learned Till then, it will burn inside of me The truth is never far behind You kept it hidden well If I live to tell the secret I knew Then will I ever have the chance again? A man can tell a thousand lies I've learned my lesson well Hope I live to tell the secret I have learned Till then, it will burn inside of me",Live to Tell,True Blue ,https://genius.com/Madonna-live-to-tell-lyrics,"7," -119,Patti LaBelle & Michael McDonald,"June 14, 1986",[],"So many times Said it was forever Said our love would always be true Something in my heart always knew I'd be lying here beside you On my own On my own On my own So many promises never should be spoken Now I know what loving you cost Now we're up to talking divorce And we weren't even married On my own Once again now One more time By myself No one said it was easy But it once was so easy Well I believed in love Now here I stand I wonder why I'm on my own Why did it end this way On my own This wasn't how it was supposed to be On my own I wish that we could do it all again So many times I know I should have told you Losing you it cut like a knife You walked out and there went my life I don't want to live without you On my own On my own On my own Chorus Repeat This wasn't how it was supposed to end I wish that we could do it all again I never dreamed I'd spend one night alone On my own, I've got to find where I belong again I've got to learn how to be strong again I never dreamed I'd spend one night alone By myself by myself I've got to find out what was mine again My heart is saying that it's my time again And I have faith that I will shine again I have faith in me On my own On my own On my own",On My Own,,https://genius.com/Patti-labelle-and-michael-mcdonald-on-my-own-lyrics,"14," -120,Billy Ocean,"July 5, 1986",[],"Sometimes I wonder, by the look in your eye When I'm standing besides, there's a fever burning deep inside Is there another in your memory Do you think of someone you hear that special melody? I always stop and think of you especially When the words of a love song Touch the very heart of me There'll be sad songs to make you cry Love songs often do They can touch the heart of someone new Saying I love you (I love you) I often wonder, how it could be You loving me, two hearts in perfect harmony I'll count the hours until that day Rhapsody plays, a melody for you and me Until the moment that you give your love to me You're the one I care for, the one that I would wait for There'll be sad songs to make you cry Love songs often do They can touch the heart of someone new Saying I love you (I love you) There'll be sad songs to make you cry Love songs often do They can touch the heart of someone new Saying I love you Ooo-ooo-ooo Ohhhhhhhhh-uuuuu You're my desire You take me higher My love is like a river running so deep I always stop and think of you especially When the words of a love song Touch the very heart of me There'll be sad songs to make you cry Love songs often do They can touch the heart of someone new Saying I love you (I love you) There'll be sad songs to make you cry Love songs often do They can touch the heart of someone new Saying I love you (I love you)",There'll Be Sad Songs (To Make You Cry),Love Zone,https://genius.com/Billy-ocean-therell-be-sad-songs-to-make-you-cry-lyrics,"5," -121,Simply Red,"July 12, 1986",[],"Holding back the years Thinking of the fear I've had so long When somebody hears Listen to the fear that's gone Strangled by the wishes of pater Hoping for the arms of mater Get to me the sooner or later I'll keep holding on I'll keep holding on Holding back the years Chance for me to escape from all I've known Holding back the tears Cause nothing here has grown I've wasted all my tears Wasted all those years And nothing had the chance to be good Nothing ever could yeah, oh I'll keep holding on I'll keep holding on I'll keep holding on I'll keep holding on So tight I've wasted all my tears Wasted all of those years And nothing had the chance to be good Cause nothing ever could, oh, yeah Oh... I'll keep holding on I'll keep holding on I'll keep holding on I'll keep holding on Holding, holding, holding That's all I have today It's all I have to say",Holding Back the Years,Picture Book,https://genius.com/Simply-red-holding-back-the-years-lyrics,"12," -122,Genesis,"July 19, 1986",[],"Well I've been waiting, waiting here so long But thinking nothing, nothing could go wrong, ooh now I know She has a built-in ability To take everything she sees And now it seems I'm falling, falling for her She seems to have an invisible touch, yeah She reaches in, and grabs right hold of your heart She seems to have an invisible touch, yeah It takes control and slowly tears you apart Well I don't really know her, I only know her name But when she crawls under your skin You're never quite the same, and now I know She's got something you just can't trust It's something mysterious And now it seems I'm falling, falling for her She seems to have an invisible touch, yeah She reaches in, and grabs right hold of your heart She seems to have an invisible touch, yeah It takes control and slowly tears you apart She seems to have an invisible touch, yeah She reaches in, and grabs right hold of your heart She seems to have an invisible touch, yeah It takes control and slowly tears you apart Well she don't like losing, to her it's still a game And though she will mess up your life You'll want her just the same, and now I know She has a built-in ability To take everything she sees And now it seems I've fallen, fallen for her She seems to have an invisible touch, yeah She reaches in, and grabs right hold of your heart She seems to have an invisible touch, yeah It takes control and slowly tears you apart She seems to have an invisible touch, yeah She seems to have an invisible touch, oh She seems to have an invisible touch, yeah She seems to have an invisible touch, oh She seems to have an invisible touch, yeah She seems to have an invisible touch, oh She seems to have an invisible touch, yeah She seems to have an invisible touch, oh",Invisible Touch,Invisible Touch ,https://genius.com/Genesis-invisible-touch-lyrics,"19," -123,Peter Gabriel,"July 26, 1986",[],"Hey, hey, you Tell me how have you been? You could have a steam train If you just lay down your tracks You could have an aeroplane flying If you bring your blue sky back All you do is call me I'll be anything you need You could have a big dipper Going up and down, all around the bends You could have a bumper car, bumping This amusement never ends I wanna be your sledgehammer Why don't you call my name? Oh, let me be your sledgehammer This will be my testimony Show me 'round your fruit cage 'Cause I will be your honey bee Open up your fruit cage Where the fruit is as sweet as can be I wanna be your sledgehammer Why don't you call my name? You'd better call the sledgehammer Put your mind at rest I'm going to be the sledgehammer This can be my testimony I'm your sledgehammer Let there be no doubt about it Sledge, sledge Sledgehammer I get it right I kicked the habit Kicked the habit, kicked the habit Shed my skin Shed my skin This is the new stuff This is the new stuff I go dancing in We can go dancing in Oh, won't you show for me? Show for me I will show for you Show for you Show for me Show for me Oh, I will show for you Yeah, yeah, yeah, yeah, yeah, I do mean you Show for me Only you You been coming through Show for you I'm gonna build that power Build, build up that power, hey Show for me I've been feeding the rhythm I've been feeding the rhythm Show for you Gonna feel that power, hey, build in you Show for me Come on, come on, help me do Come on, come on, help me do Show for you Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, you Show for me I've been feeding the rhythm I've been feeding the rhythm Show for you It's what we're doing, doing All day and night Show for me Come on, come on, help me do Come on, come on, help me do Show for you Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, you Show for me I've been feeding the rhythm...",Sledgehammer,So,https://genius.com/Peter-gabriel-sledgehammer-lyrics,"26," -124,Peter Cetera,"August 2, 1986",[],Tonight it's very clear 'Cause we're both lying here There's so many things I wanna say I will always love you I would never leave you alone Sometimes I just forget Say things I might regret It breaks my heart to see you crying I don't wanna lose you I could never make it alone I am a man who will fight for your honor I'll be the hero you're dreaming of We'll live forever Knowing together That we did it all for the glory of love You keep me standing tall You help me through it all I'm always strong when you're beside me I have always needed you I could never make it alone I am the man who will fight for your honor I'll be the hero you've been dreaming of We'll live forever Knowing together That we did it all for the glory of love It's like a knight in shining armor From a long time ago Just in time I will save the day Take you to my castle far away I am the man who will fight for your honor I'll be the hero that your dreaming of We're gonna live for ever Knowing together That we did it all for the glory of love We'll live forever Knowing together That we did it all for the glory of love We did it all for love We did it all for love We did it all for love We did it all for love,Glory of Love,Solitude/Solitaire,https://genius.com/Peter-cetera-glory-of-love-lyrics,"2," -125,Madonna,"August 16, 1986",[],"Papa, I know you're going to be upset 'Cause I was always your little girl But you should know by now, I'm not a baby You always taught me right from wrong I need your help, daddy, please be strong I may be young at heart, but I know what I'm saying The one you warned me all about The one you said I could do without We're in an awful mess And I don't mean maybe Please... Papa don't preach I'm in trouble deep Papa don't preach I've been losing sleep But I made up my mind, I'm keeping my baby Ooh, I'm gonna keep my baby, mmm He says that he's going to marry me We can raise a little family Maybe we'll be all right, it's a sacrifice But my friends keep telling me to give it up Saying I'm too young, I ought to live it up What I need right now is some good advice Please... Papa don't preach I'm in trouble deep Papa don't preach I've been losing sleep But I made up my mind, I'm keeping my baby Ooh, I'm gonna keep my baby, mmm Daddy, daddy If you could only see just how good he's been treating me You'd give us your blessing right now 'Cause we are in love We are in love, so please Papa don't preach I'm in trouble deep Papa don't preach I've been losing sleep But I made up my mind, I'm keeping my baby Ooh, I'm gonna keep my baby, mmm Papa don't preach I'm in trouble deep Papa don't preach I've been losing sleep Papa don't preach I'm in trouble deep Papa don't preach I've been losing sleep Oh, I'm gonna keep my baby, ooh Don't you stop loving me, daddy I know, I'm keeping my baby",Papa Don't Preach,True Blue ,https://genius.com/Madonna-papa-dont-preach-lyrics,"16," -126,Steve Winwood,"August 30, 1986",[],"{Intro} Think about it, there must be higher love Down in the heart or hidden in the stars above Without it, life is wasted time Look inside your heart, I'll look inside mine Things look so bad everywhere In this whole world, what is fair? We walk blind and we try to see Falling behind in what could be Bring me a higher love Bring me a higher love, oh Bring me a higher love Where's that higher love I keep thinking of? Worlds are turning, and we're just hanging on Facing our fear and standing out there alone A yearning and it's real to me There must be someone who's feeling for me {Hook} Things look so bad everywhere In this whole world, what is fair? We walk blind and we try to see Falling behind in what could be Bring me a higher love Bring me a higher love, oh Bring me a higher love Where's that higher love I keep thinking of? Bring me a higher love Bring me a higher love, oh Bring me a higher love A good kind of love, want a higher love I will wait for it I'm not too late for it Until then, I'll sing my song To cheer the night along Bring it, oh {Bridge} I could light the night up with my soul on fire I could make the sun shine from pure desire Let me feel that love come over me Let me feel how strong it could be Oh {Bridge } Bring me a higher love Bring me a higher love, oh Bring me a higher love Where's that higher love I keep thinking of? Bring me a higher love Bring me a higher love, oh bring me Bring me a higher love, oh Bring me a higher love Bring me a higher love Bring me a higher love, oh I said bring me Bring me a higher love Bring me a higher love Bring me a higher love Bring me a higher love, oh {Outro}",Higher Love,Back in the High Life,https://genius.com/Steve-winwood-higher-love-lyrics,"30," -127,Bananarama,"September 6, 1986",[],"Goddess on the mountain top Burning like a silver flame The summit of beauty and love And Venus was her name She's got it Yeah, baby, she's got it I'm your Venus, I'm your fire At your desire Well, I'm your Venus, I'm your fire At your desire Her weapons were her crystal eyes Making every man mad Black as the dark night she was Got what no one else had Wah! She's got it Yeah, baby, she's got it I'm your Venus, I'm your fire At your desire Well, I'm your Venus, I'm your fire At your desire Venus She's got it Yeah, baby, she's got it I'm your Venus, I'm your fire At your desire Well, I'm your Venus, I'm your fire At your desire Goddess on the mountain top Burning like a silver flame The summit of beauty and love And Venus was her name Wah! She's got it Yeah, baby, she's got it I'm your Venus, I'm your fire At your desire Well, I'm your Venus, I'm your fire At your desire Venus was her name Yeah baby she's got it Yeah baby she's got it Yeah baby she's got it Yeah baby she's got it",Venus,True Confessions,https://genius.com/Bananarama-venus-lyrics,"6," -128,Berlin,"September 13, 1986",[],"The Mabbot street entrance of nighttown, before which stretches an uncobbled transiding set with skeleton tracks, red and green will-o'-the-wisps and danger signals. Rows of flimsy houses with gaping doors. Rare lamps with faint rainbow fans. Round Rabaiotti's halted ice gondola stunted men and women squabble. They grab wafers between which are wedged lumps of coal and copper snow. Sucking, they scatter slowly. Children. The swancomb of the gondola, highreared, forges on through the murk, white and blue under a lighthouse. Whistles call and answer. THE CALLS Wait, my love, and I'll be with you. THE ANSWERS Round behind the stable. (A deaf mute idiot with goggle eyes, his shapeless mouth dribbling, jerks past, shaken in Saint Vitus' dance. A chain of children's hands imprisons him.) THE CHILDREN Kithoguel Salute. THE IDIOT (Lifts a palsied left arm and gurgles.) Grhahute! THE CHILDREN Where's the great light? THE IDIOT (Gobbing.) Ghaghahest. (They release him. He jerks on. A pygmy woman swings on a rope slung between the railings, counting. A form sprawled against a dustbin and muffled by its arm and hat moves, groans, grinding growling teeth, and snores again. On a step a gnome totting among a rubbish tip crouches to shoulder a sack of rags and bones. A crone standing by with a smoky oil lamp rams the last bottle in the maw of his sack. He heaves his booty, tugs askew his peaked cap and hobbles off mutely. The crone makes back for her lair swaying her lamp. A bandy child, asquat on the doorstep with a papershuttlecock, crawls sidling after her in spurts, clutches her skirt, scrambles up. A drunken navvy ups with both hands the railings of an area, lurching heavily. At a corner two night watch in shoulder capes, their hands upon their staffholsters, loom tall. A plate crashes; a woman screams; a child wails. Oaths of a man roar, mutter, cease. Figures wander, lurk, peer from warrens. In a room lit by a candle stuck in a bottleneck a slut combs out the tatts from the hair of a scrofulous child. Cissy Caffrey's voice, still young, sings shrill from a lane.) CISSY CAFFREY I gave it to Molly Because she was jolly, The leg of the duck The leg of the duck. (Private Cart and Private Compton, swaggersticks tight in their oxters, as they march unsteadily rightaboutface and burst together from their mouths a volleyed fart. Laughter of men from the lane. A hoarse virago retorts.) THE VIRAGO Signs on you, hairy arse. More power the Cavan girl. CISSY CAFFREY More luck to me. Cavan, Cootehill and Belturbet. (She sings.) I gave it to Nelly To stick in her belly The leg of the duck The leg of the duck. (Private Cart and Private Compton turn and counterretort, their tunics bloodbright in a lampglow, black sockets of caps on their blond copper polls. Stephen Dedalus and Lynch pass through the crowd close to the redcoats.) PRIVATE COMPTON (Jerks his finger.) Way for the parson. PRIVATE CARR (Turns and calls.) What ho, parson! CISSY CAFFREY (Her voice soaring higher.) She has it, she got it, Wherever she put it The leg of the duck. (Stephen, flourishing the ashplant in his left hand, chants with joy the introit for paschal time. Lynch, his jockey cap low on his brow, attends him, a sneer of discontent wrinkling his face.) STEPHEN Vidi aquam egredientem de templo a latere dextro. Alleluia. (The famished snaggletusks of an elderly bawd protrude from a doorway.) THE BAWD (Her voice whispering huskily.) Sst! Come here till I tell you. Maidenhead inside. Sst. STEPHEN (Altius aliqantulum) Et omnes ad quos pervenit acqua ista. THE BAWD (Spits in their trail her jet of venom.) Trinity medicals. Fallopian tube. All prick and no pence. (Edy Boardman, sniffling, crouched with Bertha Supple, draws her shawl across her nostrils.) EDY BOARDMAN (Bickering.) And say the one: I seen you up Faithful place with your squarepusher, the greaser off the railway, in his cometobed hat. Did you, says I. That's not for you to say, says I. You never seen me in the mantrap with a married highlander, says I. The likes of her! Stag that one is. Stubborn as a mule! And her walking with two fellows the one time, Kildbride the enginedriver and lancecorporal Oliphant. STEPHEN (Triumphaliter.) Salvi facti i sunt. (He flourishes his ashplant shivering the lamp image, shattering light over the world. A liver and white spaniel on the prowl slinks after him, growling. Lynch scar's it with a kick.) LYNCH So that? STEPHEN (Looks behind.) So that gesture, not music, not odours, would be a universal language, the gift of tongues rendering visible not the lay sense but the first entelechy, the structural rhythm. LYNCH Pornosophical philotheology. Metaphysics in Mecklenburg street! STEPHEN We have shrewridden Shakespeare and henpecked Socrates. Even the allwisest stagyrite was bitted, bridled and mounted by a light of love. LYNCH Ba! STEPHEN Anyway, who wants two gestures to illustrate a loaf and a jug? This movement illustrates the loaf and jug of bread and wine in Omar. Hold my stick. LYNCH Damn your yellow stick. Where are we going? STEPHEN Lecherous lynx, to la belle dame sans merci, Georgina Johnson, ad deam qui laetificat juventutem meam. (Stephen thrusts the ashplant on him and slowly holds out his hands, his head going back till both hands are a span from his breast, down turned in planes intersecting, the fingers about to part, the left being higher.) LYNCH Which is the jug of bread? It skills not. That or the customhouse. Illustrate thou. Here take your crutch and walk. (They pass. Tommy Caffrey scrambles to a gaslamp and, clasping, climbs in spasms. From the top spur he slides down. Jacky Caffrey clasps to climb. The navvy lurches against the lamp. The twins scuttle off in the dark. The navvy, swaying, presses a forefinger against a wing of his nose and ejects from the farther nostril a long liquid jet of snot. Shouldering the lamp he staggers away through the crowd with his flaring cresset. Snakes of river fog creep slowly. From drains, clefts, cesspools, middens arise on all sides stagnant fumes. A glow leaps in the south beyond the seaward reaches of the river. The navvy staggering forward cleaves the crowd and lurches towards the tramsiding. On the farther side under the railway bridge Bloom appears flushed, panting, cramming bread and chocolate into a side pocket. From Gillens hairdressers window a composite portrait shows him gallant Nelson's image. A concave mirror at the side presents to him lovelorn longlost lugubru Booloohoom. Grave Gladstone sees him level Bloom for Bloom. He passes, struck by the stare of truculent Wellington but in the con vex mirror grin unstruck the bonham eyes and fatchuck cheekchops of Jollypoldy the rixdix doldy. At Antonio Babaiotti's door Bloom halts, sweated under the bright arclamps. He disappears. In a moment he reappears and hurries on.) BLOOM Fish and taters. N. g. Ah! (He disappears into Olhousen's, the pork butcher's, under the downcoming rollshutter. A few moments later he emerges from under the shutter puffing Poldy, blowing Bloohoom. In each hand he holds a parcel, one containing a lukewarm pig's crubeen, the other a cold sheep's trotter sprinkled with wholepepper He gasps, standing upright. Then bending to one side he presses a parcel against his rib and groans.) BLOOM Stitch in my side. Why did I run? (He takes breath with care and goes forward slowly towards the lampset siding. The glow leaps again.) BLOOM What is that? A flasher? Searchlight. (He stands at Cormack's corner watching.) BLOOM Aurora borealis or a steel foundry? Ah, the brigade, of course. South side anyhow. Big blaze. Might be his house. Beggar's bush. We're safe. (He hums cheerfully.) London's burning, London's burning! On fire, on fire! (He catches sight of the navvy lurching through the crowd at the farther side of Talbot street.) I'll miss him. Run. Quick. Better cross here. (He darts to cross the road. Urchins shout.) THE URCHINS Mind out, mister! (Two cyclists, with lighted paper lanterns aswing, swim by him, grazing him, their bells rattling.) THE BELLS Haltyaltyaltyall. BLOOM (Halts erect stung by a spasm.) Ow. (He looks round, darts forward suddenly. Through rising fog a dragon sandstrewer, travelling at caution, slews heavily down upon him, its huge red headlight winking, its trolley hissing on the wire. The motorman bangs his footgong.) THE GONG Bang Bang Bla Bak Blud Bugg Bloo. (The brake cracks violently. Bloom, raising a policeman's whitegloved hand, blunders stifflegged, out of the track. The motorman thrown forward, pugnosed, on the guidewheel, yells as he slides past over chains and keys.) THE MOTORMAN Hey, shitbreeches, are you doing the hattrick? BLOOM (Bloom trickleaps to the curbstone and halts again. He brushes a mudflake from his cheek with a parcelled hand.) No thoroughfare. Close shave that but cured the stitch. Must take up Sandow's exercises again. On the hands down. Insure against street accident too. The Providential. (He feels his trouser pocket.) Poor mamma's panacea. Heel easily catch in tracks or bootlace in a cog. Day the wheel of the black Maria peeled off my shoe at Leonard's corner. Third time is the charm. Shoe trick. Insolent driver. I ought to report him. Tension makes them nervous. Might be the fellow balked me this morning with that horsey woman. Same style of beauty. Quick of him all the same. The stiff walk. True word spoken in jest. That awful cramp in Lad lane. Something poisonous I ate. Emblem of luck. Why? Probably lost cattle. Mark of the beast. (He closes his eyes an instant.) Bit light in the head. Monthly or effect of the other. Brainfogfag. That tired feeling. Too much for me now. Ow! (A sinister figure leans on plaited legs against O'Beirnes wall, a visage unknown, injected with dark mercury. From under a wideleaved sombrero the figure regards him with evil eye.) BLOOM Buenos noches, señorita Blanca, que calle es esta? THE FIGURE (Impassive, raises a signal arm.) Password. Sraid Mabbot. BLOOM Haha. Merci. Esperanto. Slan leath. (He mutters.) Gaelic league spy, sent by that fireeater. (He steps forward. A sackshouldered ragman bars his path. He steps left, ragsackman left.) BLOOM I beg. (He swerves, sidles, stepsaside, slips past and on.) BLOOM Keep to the right, right, right. If there is a fingerpost planted by the Touring Club at Stepaside who procured that public boon? I who lost my way and contributed to the columns of the Irish Cyclist the letter headed, In darkest Stepaside. Keep, keep, keep to the right. Rags and bones, at midnight. A fence more likely. First place murderer makes for. Wash off his sins of the world. (Jacky Caffrey, hunted by Tommy Caffrey, runs full tilt against Bloom.) BLOOM O! (Shocked, on weak hams, he halts. Tommy and Jacky vanish there, there. Bloom pats with parcelled hands watch, fobpocket, bookpocket, pursepocket, sweets of sin, potato soap.) BLOOM Beware of pickpockets. Old thieves' dodge. Collide. Then snatch your purse. (The retriever approaches sniffling, nose to the ground. A sprawled form sneezes. A stooped bearded figure appears garbed in the long caftan of an elder in Zion and a smoking cap with magenta tassels. Horned spectacles hang down at the wings of the nose. Yellow poison streaks are on the drawn face.) RUDOLPH Second halfcrown waste money today. I told you not go with drunken goy ever. So. You catch no money. BLOOM (Hides the crubeen and trotter behind his back and, crestfallen, feels warm and cold feetmeat) Ja, ich weiss, papachi. RUDOLPH What you making down this place? Have you no soul? (With feeble vulture talons he feels the silent face of Bloom) Are you not my son Leopold, the grandson of Leopold? Are you not my dear son Leopold who left the house of his father and left the god of his fathers Abraham and Jacob? BLOOM (With precaution.) I suppose so, father. Mosenthal. All that's left of him. RUDOLPH (Severely.) One night they bring you home drunk as dog after spend your good money. What you call them running chaps? BLOOM (In youth's smart blue Oxford suit with white vestslips, narrowshouldered, in brown Alpine hat, wearing gent's sterling silver waterbury keyless watch and double curb Albert with seal attached, one side of him coated with stiffening mud.) Harriers, father. Only that once. RUDOLPH Once! Mud head to foot. Cut your hand open. Lockjaw. They make you kaput, Leopoldleben. You watch them chaps. BLOOM (Weakly.) They challenged me to a sprint. It was muddy. I slipped. RUDOLPH (With contempt) Ooim nachez. Nice spectacles for your poor mother! BLOOM Mamma! ELLEN BLOOM (In pantomime dame's stringed mobcap, crinoline and bustle, widow Twankey's blouse with muttonleg sleeves buttoned behind, grey mittens and cameo brooch, her hairplaited in a crisping net, appears over the staircase banisters, a slanted candlestick in her hand and cries out in shrill alarm.) O blessed Redeemer, what have they done to him! My smelling salts! (She hauls up a reef of skirt and ransacks the pouch of her striped blay petticoat. A phial, an Agnus Dei, a shrivelled potato and a celluloid doll fall out.) Sacred Heart of Mary, where were you at all, at all? (Bloom, mumbling, his eyes downcast, begins to bestow his parcels in his filled pockets but desists, muttering.) A VOICE (Sharply.) Poldy! BLOOM Who? (He ducks and wards off a blow clumsily.) At your service. (He looks up. Beside her mirage of datepalms a handsome woman in Turkish costume stands before him. Opulent curves fill out her scarlet trousers and jacket slashed with gold. A wide yells cummerbund girdles her. A white yashmak violet in the night, covers her face, leaving free only her lace dark eyes and raven hair.) BLOOM Molly! MARION Welly? Mrs Marion from this out, my dear man, when you speak to me. (Satirically.) Has poor little hubby cold feet waiting so long? BLOOM (Shifts from foot to foot.) No, no. Not the least little bit. (He breathes in deep agitation, swallowing gulps of air questions, hopes, crubeens for her supper things to tell her excuses, desire, spellbound. A coin gleams on her forehead. On her feet are jewelled toerings. Her ankles are linked by a slender fetterchain. Beside her a camel, hooded with a turreting turban, waits. A silk ladder of innumerable rungs climbs to his bobbing howdah. He ambles near with disgruntled hindquarters. Fiercely she slaps his haunch, her goldcurb wristbangles angriling, scolding him in Moorish.) MARION Nebrakada! Feminimum. (The camel, lifting a foreleg, plucks from a tree a lace mango fruit, offers it to his mistress, blinking, in his cloven hoof then droops his head and, grunting, with uplifted neck, fumbles to kneel. Bloom stoops his back for leapfrog.) BLOOM I can give you... I mean as your business menagerer Mrs Marion... if you... MARION So you notice some change? (Her hands passing slowly over her trinketed stomacher. A slow friendly mockery in her eyes.) O Poldy, Poldy, you are a poor old stick in the mud! Go and see life. See the wide world. BLOOM I was just going back for that lotion whitewax, orangeflower water. Shop closes early on Thursday. But the first thing in the morning. (He pats divers pockets.) This moving kidney. Ah! (He points to the south, then to the east. A cake of new clean lemon soap arises, diffusing light and perfume.) THE SOAP We're a capital couple are Bloom and I; He brightens the earth, I polish the sky. (The freckled face of Sweny, the druggist, appears in the disc of the soapsun.) SWENY Three and a penny, please. BLOOM Yes. For my wife, Mrs Marion. Special recipe. MARION (Softly.) Poldy! BLOOM Yes, ma'am? MARION Ti trema un poco il cuore? (In disdain she saunters away, plump as a pampered pouter pigeon, humming the duet from Don Giovanni) BLOOM Are you sure about that Voglio? I mean the pronunciati... (He follows, followed by the sniffing terrier. The elderly bawd seizes his sleeve, the bristles of her chinmole glittering.) THE BAWD Ten shillings a maidenhead. Fresh thing was never touched. Fifteen. There's no-one in it only her old father that's dead drunk. (She points. In the gap of her dark den furtive, rainbedraggled Bridie Kelly stands.) BRIDIE Hatch street. Any good in your mind? (With a squeak she flaps her bat shawl and runs. A burly rough pursues with booted strides. He stumbles on the steps, recovers, plunges into gloom. Weak squeaks of laughter are heard, weaker.) THE BAWD (Her wolfeyes shining.) He's getting his pleasure. You won't get a virgin in the flash houses. Ten shillings. Don't be all night before the polis in plain clothes sees us. Sixtyseven is a bitch. (Leering Gerty MacDowell limps forward. She draws from behind ogling, and shows coyly her bloodied clout.) GERTY With all my worldly goods I thee and thou. (She murmurs.) You did that. I hate you. BLOOM I? When? You're dreaming. I never saw you. THE BAWD Leave the gentleman alone, you cheat. Writing the gentleman false letters. Streetwalking and soliciting. Better for your mother take the strap to you at the bedpost, hussy like you. GERTY (To Bloom.) When you saw all the secrets of my bottom drawer. (She paws his sleeve, slobbering.) Dirty married man! I love you for doing that to me. (She slides away crookedly. Mrs Breen in man's frieze overcoat with loose bellows pockets, stands in the causeway, her roguish eyes wideopen, smiling in all her herbivorous buckteeth.) MRS BREEN Mr. BLOOM (Coughs gravely.) Madam, when we last had this pleasure by letter dated the sixteenth instant . MRS BREEN Mr Bloom! You down here in the haunts of sin! I caught you nicely! Scamp! BLOOM (Hurriedly.) Not so loud my name. Whatever do you think me? Don't give me away. Walls have hears. How do you do? It's ages since I. You're looking splendid. Absolutely it. Seasonable weather we are having this time of year. Black refracts heat. Short cut home here. Interesting quarter. Rescue of fallen women Magdalen asylum. I am the secretary... MRS BREEN (Holds up a finger.) Now don't tell a big fib! I know somebody won't like that. O just wait till I see Molly! (Slily.) Account for yourself this very minute or woe betide you! BLOOM (Looks behind.) She often said she'd like to visit. Slumming. The exotic, you see. Negro servants too in livery if she had money. Othello black brute. Eugene Stratton. Even the bones and cornerman at the Livermore christies. Bohee brothers. Sweep for that matter. (Tom and Sam Bohee, coloured coons in white duck suits, scarlet socks, upstarched Sambo chokers and lace scarlet asters in their buttonholes leap out. Each has his banjo slung. Their paler smaller negroid hands jingle the twingtwang wires. Flashing white Kaffir eyes and tusks they rattle through a breakdown in clumsy clogs, twinging, singing, back to back, toe heel, heel toe, with smackfatclacking nigger lips.) There's someone in the house with Dina There's someone in the house, I know, There's someone in the house with Dina Playing on the old banjo. (They whisk black masks from raw babby faces: then, chuckling, chortling, trumming, twanging they diddle diddle cakewalk dance away.) BLOOM (With a sour tenderish smile.) A little frivol, shall we, if you are so inclined? Would you like me perhaps to embrace you just for a fraction of a second? MRS BREEN (Screams gaily.) O, you ruck! You ought to see yourself! BLOOM For old sake'sake. I only meant a square party, a mixed marriage mingling of our different little conjugials. You know I had a soft corner for you. (Gloomily.) 'Twas I sent you that valentine of the dear gazelle. MRS BREEN Glory Alice, you do look a holy show! Killing simply. (She puts out her hand inquisitively.) What are you hiding behind your back? Tell us, there's a dear. BLOOM (Seizes her wrist with his free hand.) Josie Powell that was, prettiest deb in Dublin. How time flies by! Do you remember, harking back in a retrospective arrangement, Old Christmas night Georgina Simpson's housewarming while they were playing the Irving Bishop game, finding the pin blindfold and thoughtreading? Subject, what is in this snuff box? MRS BREEN You were the lion of the night with your seriocomic recitation and you looked the part. You were always a favourite with the ladies. BLOOM (Squire of dames, in dinner jacket, with watered-silk facings, blue masonic badge in his buttonhole, black bow and mother-of-pearl studs, a prismatic champagne glass tilted in his hand.) Ladies and gentlemen, I give you Ireland, home and beauty. MRS BREEN The dear dead days beyond recall. Love's old sweet song. BLOOM (Meaningfully dropping his voice.) I confess I'm teapot with curiosity to find out whether some person's something is a little teapot at present. MRS BREEN (Gushingly.) Tremendously teapot! London's tea pot and I'm simply teapot all over me. (She rubs sides with him.) After the parlour mystery games and the crackers from the tree we sat on the staircase ottoman. Under the mistletoe. Two is company. BLOOM (Wearing a purple Napoleon hat with an amber halfmoon, his fingers and thumbs passing slowly down to her soft moist meaty palm which she surrenders gently.) The witching hour of night. I took the splinter out of this hand, carefully, slowly. (Tenderly, as he slips on her finger a ruby ring.) Là ci darem la mano. MRS BREEN (In a onepiece eveningfrock executed in moonlight blue, a tinsel sylph's diadem on her brow with her dancecard fallen beside her moonblue satin slipper curves her palm softly, breathing quickly.) Voglio e non. You're hot! You're scalding! The left hand nearest the heart. BLOOM When you made your present choice they said it was beauty and the beast. I can never forgive you for that. (His clenched fist at his brow.) Think what it means. All you meant to me then. (Hoarsely.) Woman, it's breaking me! (Dennis Breen, whitetallhatted, with Wisdom Hely's sandwich board, shuffles past them in cadet slippers, his dull beard thrust out, muttering to right and left. Little Alf Bergan, cloaked in the pall of the ace of spaces, dogs him to left and right, doubled in laughter.) ALF BERGAN (Points jeering at the sandwich boards.) U.p.: Up. MRS BREEN (To Bloom.) High jinks below stairs. (She gives him the glad eye.) Why didn't you kiss the spot to make it well? You wanted to. BLOOM (Shocked.) Molly's best friend! Could you? MRS BREEN (Her pulpy tongue between her lips, offers a pigeon kiss.) Hnhn. The answer is a lemon. Have you a little present for me there? BLOOM (Off handedly.) Kosher. A snack for supper. The home without potted meat is incomplete. I was at Leah. Mrs Bandman Palmer. Trenchant exponent of Shakespeare. Unfortunately threw away the programme. Rattling good place round there for pig's feet. Feel. (Richie Goulding, three ladies' hats pinned on his head, appears weighted to one side by the black legal bag of Collis and Ward on which a skull and crossbones are painted in white limewash. He ins it and shows it full of polonies, kippered, herrings, Findon haddies and tightpacked pills.) RICHIE Best value in Dub. (Bald Pat, bothered beetle, stands on the curbstone, folding his napkin, waiting to wait.) PAT (Advances with a tilted dish of spillspilling gravy.) Steak and kidney. Bottle of lager. Hee hee hee. Wait till I wait. RICHIE Goodgod. Inev erate inall... (With hanging head he marches doggedly forward. The navvy, lurching by, gores him with his flaming pronghorn.) RICHIE (With a cry of pain, his hand to his back) Ah! Bright's! Lights! BLOOM (Points to the navvy.) A spy. Don't attract attention. I hate stupid crowds. I am not on pleasure bent. I am in a grave predicament. MRS BREEN Humbugging and delutbering as per usual with your cock and bull story. BLOOM I want to tell you a little secret about how I came to be here. But you must never tell. Not even Molly. I have a most particular reason. MRS BREEN (All agog.) O, not for worlds. BLOOM Let's walk on. Shall us? MRS BREEN Let's. (The bawd makes an unheeded sign. Bloom walks on with Mrs Breen. The terrier follows, whining piteously, wagging his tail.) THE BAWD Jewman's melt! BLOOM (In an oatmeal sporting suit, a sprig of woodbine in the lapel, tony buff shirt, shepherd's plaid Saint Andrew's cross scarftie, white spats, fawn dustcoat on his arm, tawny red brogues, fieldglasses in bandolier and a grey billycock hat.) Do you remember a long long time, years and years ago, just after Milly, Marionette we called her, was weaned when we all went together to Fairyhouse races, was it? MRS BREEN (In smart Saxe tailormade, white velours hat and spider veil.) Leopardstown. BLOOM I mean, Leopardstown. And Molly won seven shillings on a three year old named Nevertell and coming home along by Foxrock in that old fiveseater shanderadan of a waggonette you were in your heyday then and you had on that new hat of white velours with a surround of molefur that Mrs Hayes advised you to buy because it was marked down to nineteen and eleven, a bit of wire and an old rag of velveteen, and I'll lay you what you like she did it on purpose... MRS BREEN She did, of course, the cat! Don't tell me! Nice adviser! BLOOM Because it didn't suit you one quarter as well as the other ducky little tammy toque with the bird of paradise wing in it that I admired on you and you honestly looked just too fetching in it though it was a pity to kill it, you cruel creature, little mite of a thing with a heart the size of a fullstop. MRS BREEN (Squeezes his arm, simpers.) Naughty cruel I was. BLOOM (Low, secretly, ever more rapidly.) And Molly was eating a sandwich of spiced beef out of Mrs Joe Gallaher's lunch basket. Frankly, though she had her advisers or admirers, I never cared much for her style. She was . MRS BREEN Too. BLOOM Yes. And Molly was laughing because Rogers and Maggot O'Reilly were mimicking a cock as we passed a farmhouse and Marcus Tertius Moses, the tea merchant, drove past us in a gig with his daughter, Dancer Moses was her name, and the poodle in her lap bridled up and you asked me if I ever heard or read or knew or came across . MRS BREEN (Eagerly.) Yes, yes, yes, yes, yes, yes, yes. (She fades from his side. Followed by the whining dog he walks on towards hellsgates. In an archway a standing woman, bent forward, her feet apart, pisses cowily. Outside a shuttered pub a bunch of loiterers listen to a tale which their broken snouted gaffer rasps out with raucous humour. An armless pair of them flop wrestling, growling, in maimed sodden playfight.) THE GAFFER (Crouches, his voice twisted in his snout.) And when Cairns came down from the scaffolding in Beaver Street what was he after doing it into only into the bucket of porter that was there waiting on the shavings for Derwan's plasterers. THE LOITERERS (Guffaw with cleft palates.) O jays! (Their paintspeckled hats wag. Spattered with size and lime of their lodges they frisk limblessly about him.) BLOOM Coincidence too. They think it funny. Anything but that. Broad daylight. Trying to walk. Lucky no woman. THE LOITERERS Jays, that's a good one. Glauber salts. O jays, into the men's porter. (Bloom passes. Cheap whores, singly, coupled, shawled, dishevelled, call from lanes, doors, corners.) THE WHORES Are you going far, queer fellow? How's your middle leg? Got a match on you? Eh, come here till I stiffen it for you. (He plodges through their sump towards the lighted street beyond. From a bulge of window curtains a gramophone rears a battered brazen trunk. In the shadow a shebeenkeeper haggles with the navvy and the two redcoats.) THE NAVVY (Belching.) Where's the bloody house? THE SHEBEENKEEPER Purdon street. Shilling a bottle of stout. Respectable woman. THE NAVVY (Gripping the two redcoats, staggers forward with them.) Come on, you British army! PRIVATE CARR (Behind his back.) He aint half balmy. PRIVATE COMPTON (LAughs.) What ho! PRIVATE CARR (To the navvy.) Portobello barracks canteen. You ask for Carr. Just Carr. THE NAVVY (Shouts.) We are the boys. Of Wexford. PRIVATE COMPTON Say! What price the sergeantmajor? PRIVATE CARR Bennett? He's my pal. I love old Bennett. THENAVVY (Shouts.) The galling chain. And free our native land. (He staggers forward, dragging them with him. Bloom stops, at fault. The dog approaches, his tongue outlolling, panting.) BLOOM Wildgoose chase this. Disorderly houses. Lord knows where they are gone. Drunks cover distance double quick. Nice mixup. Scene at Westland row. Then jump in first class with third ticket. Then too far. Train with engine behind. Might have taken me to Malahide or a siding for the night or collision. Second drink does it. Once is a dose. What am I following him for? Still, he's the best of that lot. If I hadn't heard about Mrs Beaufoy Purefoy I wouldn't have gone and wouldn't have met. Kismet. He'll lose that cash. Relieving office here. Good biz for cheapjacks, organs. What do ye lack? Soon got, soon gone. Might have lost my life too with that mangongwheeltracktrolleyglarejuggernaut only for presence of mind. Can't always save you, though. If I had passed Truelock's window that day two minutes later would have been shot. Absence of body. Still if bullet only went through my coat get damages for shock, five hundred pounds. What was he? Kildare street club toff. God help his gamekeeper. (He gazes ahead reading on the wall a scrawled chalk legend Wet Dream and a phallic design.) Odd! Molly drawing on the frosted carriagepane at Kingstown. What's that like? (Gaudy dollwomen loll in the lighted doorways, in window embrasures, smoking birdseye cigarettes. The odour of the sicksweet weed floats towards him in slow round ovalling wreaths.) THE WREATHS Sweet are the sweets. Sweets of sin. BLOOM My spine's a bit limp. Go or turn? And this food? Eat it and get all pigsticky. Absurd I am. Waste of money. One and eightpence too much. (The retriever drives a cold snivelling muzzle against his hand, wagging his tail.) Strange how they take to me. Even that brute today. Better speak to him first. Like women they like rencontres. Stinks like a polecat. Chacun son goût. He might be mad. Fido. Uncertain in his movements. Good fellow! Garryowen! (The wolfdog sprawls on his back, wriggling obscenely with begging paws, his long black tongue lolling out.) Influence of his surroundings. Give and have done with it. Provided nobody. (Calling encouraging words he shambles back with a furtive poacher's tread, dogged by the setter into a dark stalestunk corner. He unrolls one parcel and goes to dump the crubeen softly but holds back and feels the trotter.) Sizeable for threepence. But then I have it in my left hand. Calls for more effort. Why? Smaller from want of use. O, let it slide. Two and six. (With regret he lets unrolled crubeen and trotter slide. The mastiff mauls the bundle clumsily and gluts himself with growling greed, crunching the bones. Two raincaped watch approach, silent, vigilant. They murmur together.) THE WATCH Bloom. Of Bloom. For Bloom. Bloom. (Each lays a hand on Blooms shoulder.) FIRST WATCH Caught in the act. Commit no nuisance. BLOOM (Stammers.) I am doing good to others. (A covey of gulls, storm petrels, rises hungrily from Liffey slime with Banbury cakes in their beaks.) THE GULLS Kaw kave kankury kake. BLOOM The friend of man. Trained by kindness. (He points. Bob Doran, toppling from a high bars tool, sways over the munching spaniel.) BOB DORAN Towser. Give us the paw. Give the paw. (The bulldog growls, his scruff standing, a gobbet of pigs knuckle between his molars through which rabid scrumspittle dribbles. Bob Doran falls silently into an area.) SECOND WATCH Prevention of cruelty to animals. BLOOM (Enthusiastically.) A noble work! I scolded that tramdriver on Harold's cross bridge for illusing the poor horse with his harness scab. Bad French I got for my pains. Of course it was frosty and the last tram. All tales of circus life are highly demoralising. (Signor Maffei, passion pale, in liontamer's costume with diamond studs in his shirtfront, steps forward, holding a circus paper hoop, a curling carriagewhip and a revolver with which he covers the going boarhound.) SIGNOR MAFFEI (With a sinister smile.) Ladies and gentlemen, my educated greyhound. It was I broke in the bucking broncho Ajax with my patent spiked saddle for carnivores. Lash under the belly with a knotted thong. Block tackle and a strangling pully will bring your lion to heel, no matter how fractious, even Leo ferox there, the Libyan maneater. A redhot crowbar and some liniment rubbing on the burning part produced Fritz of Amsterdam, the thinking hyena. (He glares.) I possess the Indian sign. The glint of my eye does it with these breastsparklers. (With a bewitching smile.) I now introduce Mademoiselle Ruby, the pride of the ring. FIRST WATCH Come. Name and address. BLOOM I have forgotten for the moment. Ah, yes! (He takes off his high grade hat, saluting.) Dr Bloom, Leopold, dental surgeon. You have heard of von Bloom Pasha. Umpteen mil lions. Donnerwetter! Owns half Austria. Egypt. Cousin. FIRST WATCH Proof. (A card falls from inside the leather headband of Bloom's hat.) BLOOM (In red fez, cadi's dress coat with broad green sash, wearing a false badge of the Legion of Honour, picks up the card hastily and offers it.) Allow me. My club is the Junior Army and Navy. Solicitors: Messrs John Henry Menton, 27 Bachelor's Walk. FIRST WATCH (Reads.) Henry Flower. No fixed abode. Un lawfully watching and besetting. SECOND WATCH An alibi. You are cautioned. BLOOM (Produces from his heartpocket a crumpled yellow flower.) This is the flower in question. It was given me by a man I don't know his name. (Plausibly.) You know that old joke, rose of Castille. Bloom. The change of name Virag. (He murmurs privately and confidentially.) We are engaged you see, sergeant. Lady in the case. Love entanglement. (He shoulders the second watch gently.) Dash it all. It's a way we gallants have in the navy. Uniform that does it. (He turns gravely to the first watch.) Still, of course, you do get your Waterloo sometimes. Drop in some evening and have a glass of old Burgundy. (To the second watch gaily.) I'll introduce you, inspector. She's game. Do it in shake of a lamb's tail. (A dark mercurialised face appears, leading a veiled figure.) THE DARK MERCURY The Castle is looking for him. He was drummed out of the army. MARTHA (Thickveiled, a crimson halter round her neck, a copy of the Irish Times in her hand, in tone of reproach, pointing.) Henry! Leopold! Leopold! Lionel, thou lost one! Clear my name. FIRST WATCH (Sternly.) Come to the station. BLOOM (Scared, hats himself steps back, then, plucking at his heart and lifting his right forearm on the square, he gives the sign and dueguard of fellowcraft.) No, no, worshipful master, light of love. Mistaken identity. The Lyons mail. Lesurques and Dubosc. You remember the Childs fratricide case. We medical men. By striking him dead with a hatchet. I am wrongfully accused. Better one guilty escape than ninetynine wrongfully condemned. MARTHA (Sobbing behind her veil.) Breach of promise. My real name is Peggy Griffin. He wrote to me that he was miserable. I'll tell my brother, the Bective rugger fullback, on you, heartless flirt. BLOOM (Behind his hand.) She's drunk. The woman is inebriated. (He murmurs vaguely the past of Ephraim.) Shitbroleeth. SECOND WATCH (Tears in his eyes, to Bloom.) You ought to be thoroughly well ashamed of yourself. BLOOM Gentleman of the jury, let me explain. A pure mare's nest. I am a man misunderstood. I am being made a scapegoat of. I am a respectable married man, without a stain on my character. I live in Eccles street. My wife, I am the daughter of a most distinguished commander, a gallant upstanding gentleman, who do you call him, Majorgeneral Brian Tweedy, one of Britain's fighting men who helped to win our battles. Got his majority for the heroic defence of Rorke's Drift. FIRST WATCH Regiment. BLOOM (Turns to the gallery.) The royal Dublins, boys, the salt of the earth, known the world over. I think I see some old comrades in arms up there among you. The R. D. F. With our own Metropolitan police, guardians of our homes, the pluckiest lads and the finest body of men, as physique, in the service of our sovereign. A VOICE Turncoat! Up the Boers! Who booed Joe Chamberlain? BLOOM (His hand on the shoulder of the first watch.) My old dad too was a J.P. I'm as staunch a Britisher as you are, sir. I fought with the colours for king and country in the absentminded war under General Gough in the park and was disabled at Spion Kop and Bloemfontein, was mentioned in dispatches. I did all a white man could. (With quiet feeling.) Jim Bludso. Hold her nozzle again the bank. FIRST WATCH Profession or trade. BLOOM Well, I follow a literary occupation. Author-journalist. In fact we are just bringing out a collection of prize stories of which I am the inventor, something that is an entirely new departure. I am connected with the British and Irish press. If you ring up... (Myles Crawford strides out jerkily, a quill between his teeth. His scarlet beak blazes within the aureole of his straw hat. He dangles a hank of Spanish onions in one hand and holds with the other hand a telephone receiver nozzle to his ear.) MYLES CRAWFORD (His cock's wattles wagging.) Hello, seventyseven eightfour. Hello. Freeman's Urinal and Weekly Arse wiper here. Paralyse Europe. You which? Bluebags? Who writes? Is it Bloom? (Mr Philip Beaufoy, palefaced, stands in the witnessbox, in accurate morning dress, outbreast pocket with peak of handkerchief showing, creased lavender trousers and patent boots. He cames a lace portfolio labelled Matcham's Masterstrokes.) BEAUFOY (Drawls.) No, you aren't, not by a long shot if I know it. I don't see it, that's all. No born gentleman, no one with the most rudimentary promptings of a gentleman would stoop to such particularly loathsome conduct. One of those, my lord. A plagiarist. A soapy sneak masquerading as a literateur. It's perfectly obvious that with the most inherent baseness he has cribbed some of my bestselling books, really gorgeous stuff, a perfect gem, the love passages in which are beneath suspicion. The Beaufoy books of love and great possessions with which your lordship is doubtless familiar, are a household word throughout the kingdom. BLOOM (Murmurs with hangdog meekness.) That bit about the laughing witch hand in hand I take exception to, if I may... ? BEAUFOY (His lip upcurled, smiles superciliously on the court.) You funny ass, you! You're too beastly awfully weird for words! I don't think you need over excessively disincommodate yourself in that regard. My literary agent Mr J. B. Pinker is in attendance. I presume, my lord, we shall receive the usual witnesses' fees, shan't we? We are considerably out of pocket over this bally pressman johnny, this jackdaw of Rheims, who has not even been to a university. BLOOM (Indistinctly.) University of life. Bad art. BEAUFOY (Shouts.) It's a damnably foul lie showing the moral rottenness of the man! (He extends his portfolio.) We have here damning evidence, the corpus delicti, my lord, a specimen of my maturer work disfigured by the hallmark of the beast. A VOICE FROM THE GALLERY Moses, Moses, king of the jews, Wiped his arse in the Daily News. BLOOM (Bravely.) Overdrawn. BEAUFOY You low cad! You ought to be ducked in the horsepond, you rotter! (To the court.) Why, look at the man's private life! Leading a quadruple existence! Street angel and house devil. Not fit to be mentioned in mixed society. The arch conspirator of the age. BLOOM (To the court.) And he, a bachelor, how. FIRST WATCH The King versus Bloom. Call the woman Driscoll. THE CRIER Mary Driscoll, scullerymaid! (Mary Driscoll, a slipshod servant girl, approaches. She has a bucket on the crook of her arm and a scouringbrush in her hand.) SECOND WATCH Another! Are you of the unfortunate class? MARY DRISCOLL (Indignantly.) I'm not a bad one. I bear a respectable character and was four months in my last place. I was in a situation, six pounds a year and my chances with Fridays out, and I had to leave owing to his carryings on. FIRST WATCH What do you tax him with? MARY DRISCOLL He made a certain suggestion but I thought more of myself as poor as I am. BLOOM (In housejacket of ripplecloth, flannel trousers, heelless slippers, unshaven, his hair rumpled softly.) I treated you white. I gave you mementoes, smart emerald garters far above your station. Incautiously I took your part when you were accused of pilfering. There's a medium in all things. Play cricket. MARY DRISCOLL (Excitedly.) As God is looking down on me this night if ever I laid a hand to them oysters! FIRST WATCH The offence complained of? Did something happen? MARY DRISCOLL He surprised me in the rere of the premises, your honour, when the missus was out shopping one morning with a request for a safety pin. He held me and I was discoloured in four places as a result. And he interfered twice with my clothing. BLOOM She counterassaulted. MARY DRISCOLL (Scornfully.) I had more respect for the scouringbrush, so I had. I remonstrated with him, your lord, and he remarked: Keep it quiet! (General laughter.) GEORGES FOTTRELL (Clerk of the crown and peace, resonantly.) Order in court! The accused will now make a bogus statement. (Bloom, pleading not guilty and holding a fullblown waterlily, begins a long unintelligible speech. They would hear what counsel had to say in his stirring address to the grand-jury. He was down and out but, though branded as a black sheep, if he might say so, he meant to reform, to retrieve the memory of the past in a purely sisterly way and return to nature as a purely domestic animal. A seven months' child, he had been carefully brought up and nurtured by an aged bedridden parent. There might have been lapses of an erring father but he wanted to turn over a new leaf and now, when at long last in sight of the whipping post, to lead a homely life in the evening of his days, permeated by the affectionate surroundings of the heaving bosom of the family. An acclimatised Britisher he had seen that summer eve from the footplate of an engine cab of the Loop line railway company while the rain refrained from falling glimpses, as it were, through the windows of loveful households in Dublin city and urban district of scenes truly rural of happiness of the better land with Dockrell's wallpaper at one and ninepence a dozen, innocent British born bairns lisping prayers to the Sacred Infant, youthful scholars grappling with their pensums, model young ladies playing on the pianoforte or anon all with fervour reciting the family rosary round the crackling Yulelog while in the boreens and green lanes the colleens with their swains strolled what times the strains of the organtoned melodeon Britannia metalbound with four acting stops and twelvefold bellows, a sacrifice, greatest bargain ever... ) (Renewed laughter. He mumbles incoherently. Reporters complain that they cannot hear.) LONGHAND AND SHORTHAND (Without looking up from their notebooks.) Loosen his boots. PROFESSOR MACHUGH (From the presstable, coughs and calls.) Cough it up, man. Get it out in bits. (The crossexamination proceeds re Bloom and the bucket. A lace bucket. Bloom himself Bowel trouble. In Beaver street. Gripe, yes. Quite bad. A plasterers bucket. By walking stifflegged. Suffered untold misery. Deadly agony. About noon. Love or burgundy. Yes, some spinach. Crucial moment. He did not look in the bucket. Nobody. Rather a mess. Not completely. A Titbits back number.) (Uproar and catcalls. Bloom, in a torn frockcoat stained with whitewash, dinged silk hat sideways on his head, a strip of sticking-plaster across his nose, talks inaudibly.) J. J. O'MOLLOY (In barrister's grey wig and stuffgown, speaking with a voice of pained protest.) This is no place for indecent levity at the expense of an erring mortal disguised in liquor. We are not in a beargarden nor at an Oxford rag nor is this a travesty of justice. My client is an infant, a poor foreign immigrant who started scratch as a stowaway and is now trying to turn an honest penny. The trumped up misdemeanour was due to a momentary aberration of heredity, brought on by hallucination, such familiarities as the alleged guilty occurrence being quite permitted in my client's native place, the land of the Pharaoh. Prima facie, I put it to you that there was no attempt at carnally knowing. Intimacy did not occur and the offence complained of by Driscoll, that her virtue was solicited, was not repeated. I would deal inespecial with atavism. There have been cases of shipwreck and somnambulism in my client's family. If the accused could speak he could a tale unfold one of the strangest that have ever been narrated between the covers of a book. He himself, my lord, is a physical wreck from cobbler's weak chest. His submission is that he is of Mongolian extraction and irresponsible for his actions. Not all there, in fact. BLOOM (Barefoot, pigeonbreasted, in lascar's vest and trousers, apologetic toes turned in, opens his tiny mole's eyes and looks about him dazedly, passing a slow hand across his forehead. Then he hitches his belt sailor fashion and with a shrug of oriental obeisance salutes the court, pointing one thumb heavenward.) Him makee velly muchee fine night. (He begins to lilt simply.) Li li poo lil chile, Blingee pigfoot evly night. Payee two shilly... (He is howled down.) J. J. O'MOLLOY (Hotly to the populace.) This is a lonehand fight. By Hades, I will not have any client of mine gagged and badgered in this fashion by a pack of curs and laughing hyenas. The Mosaic code has superseded the law of the jungle. I say it and I say it emphatically without wishing for one moment to defeat the ends of justice, accused was not accessory before the act and prosecutrix has not been tampered with. The young person was treated by defendant as if she were his very own daughter. (Bloom takes J. J. O'Molloy's hand and raises it to his lips.) I shall call rebutting evidence to prove up to the hilt that the hidden hand is again at its old game. When in doubt persecute Bloom. My client, an innately bashful man, would be the last man in the world to do anything ungentlemanly which injured modesty could object to or cast a stone at a girl who took the wrong turning when some dastard, responsible for her condition, had worked his own sweet will on her. He wants to go straight. I regard him as the whitest man I know. He is down on his luck at present owing to the mortgaging of his extensive property at Agendath Netaim in faraway Asia Minor, slides of which will now be shown. (To Bloom.) I suggest that you will do the handsome thing. BLOOM A penny in the pound. (The mirage of the lake of Kinnereth with blurred cattle cropping in silver haze is projected on the wall. Moses Dlugacz, ferreteyed albino, in blue dungarees, stands up in the gallery, holding in each hand an orange citron and a pork kidney.) DLUGACZ (Hoarsely.) Bleibtreustrasse, Berlin, W. 13. (J. J. O'Molloy steps on to a low plinth and holds the lapel of his coat with solemnity. His face lengthens, grows pale and bearded, with sunken eyes, the blotches of phthisis and hectic cheekbones of John F. Taylor. He applies his handkerchief to his mouth and scrutinises the galloping tide of rosepink blood.) J. J. O'MOLLOY (Almost voicelessly.) Excuse me, I am suffering from a severe chill, have recently come from a sickbed. A few wellchosen words. (He assumes the avine head, foxy moustache and proboscidal eloquence of Seymour Bushe.) When the angel's book comes to be opened if aught that the pensive bosom has inaugurated of soultransfigured and of soultransfiguring deserves to live I say accord the prisoner at the bar the sacred benefit of the doubt. (A paper with something written on it is handed into court.) BLOOM (In court dress.) Can give best references. Messrs Callan, Coleman. Mr Wisdom Hely J. P. My old chief Joe Cuffe. Mr V. B. Dillon, ex-lord mayor of Dublin. I have moved in the charmed circle of the highest . Queens of Dublin Society. (Carelessly.) I was just chatting this afternoon at the viceregal lodge to my old pals, sir Robert and lady Ball, astronomer royal, at the levee. Sir Bob, I said... MRS YELVERTON BARRY (In lowcorsaged opal balldress and elbowlength ivory gloves, wearing a sabletrimmed brick quilted dolman, a comb of brilliants and panache of osprey in her hair.) Arrest him constable. He wrote me an anonymous letter in prentice backhand when my husband was in the North Riding of Tipperary on the Munster circuit, signed James Lovebirch. He said that he had seen from the gods my peerless globes as I sat in a box of the Theatre Royal at a command performance of La Cigale. I deeply inflamed him, he said. He made improper overtures to me to misconduct myself at half past four p.m. on the following Thursday, Dunsink time. He offered to send me through the post a work of fiction by Monsieur Paul de Kock, entitled The Girl with the Three Pairs of Stays. MRS BELLINGHAM (In cap and seal coneymantle, wrapped up to the nose, steps out of her brougham and scans through tortoiseshell quizzingglasses which she takes from inside her huge opossum muff.) Also to me. Yes, I believe it is the same objectionable person. Because he closed my carriage door outside sir Thornley Stoker's one sleety day during the cold snap of February ninetythree when even the grid of the wastepipe and ballstop in my bath cistern were frozen. Subsequently he enclosed a bloom of edelweiss culled on the heights, as he said, in my honour. I had it examined by a botanical expert and elicited the information that it was a blossom of the homegrown potato plant purloined from a forcingcase of the model farm. MRS YELVERTON BARRY Shame on him! (A crowd of sluts and ragamuffins sues forward.) THE SLUTS AND RAGAMUFFINS (Screaming.) Stop thief! Hurrah there, Bluebeard! Three cheers for Ikey Mo! SECOND WATCH (Produces handcuffs.) Here are the darbies. MRS BELLINGHAM He addressed me in several handwritings with fulsome compliments as a Venus in furs and alleged profound pity for my frostbound coachman Balmer while in the same breath he expressed himself as envious of his earflaps and fleecy sheepskins and of his fortunate proximity to my person, when standing behind my chair wearing my livery and the armorial bearings of the Bellingham escutcheon garnished sable, a buck's head couped or. He lauded almost extravagantly my nether extremities, my swelling calves in silk hose drawn up to the limit, and eulogised glowingly my other hidden treasures in priceless lace which, he said, he could conjure up. He urged me, stating that he felt it his mission in life to urge me, to defile the marriage bed, to commit adultery at the earliest possible opportunity. THE HONOURABLE MRS MERVYN TALBOYS (In amazon costume, hard hat, jackboots cockspurred, vermilion waistcoat, fawn musketeer gauntlets with bra idea drums, long train held up and hunting crop with which she strikes her welt constantly.) Also me. Because he saw me on the polo ground of the Phoenix park at the match All Ireland versus the Rest of Ireland. My eyes, I know, shone divinely as I watched Captain Slogger Dennehy of the Inniskillings win the final chukkar on his darling cob Centaur. This plebeian Don Juan observed me from behind a hackney car and sent me in double envelopes an obscene photograph, such as are sold after dark on Paris boulevards, insulting to any lady. I have it still. It represents a partially nude senorita, frail and lovely (his wife as he solemnly assured me, taken by him from nature), practising illicit intercourse with a muscular torero, evidently a blackguard. He urged me to do likewise, to misbehave, to sin with officers of the garrison. He implored me to soil his letter in an unspeakable manner, to chastise him as he richly deserves, to bestride and ride him, to give him a most vicious horsewhipping. MRS BELLINGHAM Me too. MRS YELVERTON BARRY Me too. (Several highly respectable Dublin ladies hold up improper letters received from Bloom.) THE HONOURABLE MRS MERVYN TALBOYS (Stamps her jingling spurs in a sudden paroxysm of sudden fury.) I will, by the God above me. I'll scourge the pigeonlivered cur as long as I can stand over him. I'll flay him alive. BLOOM (His eyes closing, quails expectantly.) Here? (He squirms.) Again! (He pants cringing.) I love the danger. THE HONOURABLE MRS MERVYN TALBOYS Very much so! I'll make it hot for you. I'll make you dance Jack Latten for that. MRS BELLINGHAM Tan his breech well, the upstart! Write the stars and stripes on it! MRS YELVERTON BARRY Disgraceful! There's no excuse for him! A married man! BLOOM All these people. I meant only the spanking idea. A warm tingling glow without effusion. Refined birching to stimulate the circulation. THE HONOURABLE MRS MERVYN TALBOYS (Laughs derisively.) O, did you, my fine fellow? Well, by the living God, you'll get the surprise of your life now, believe me, the most unmerciful hiding a man ever bargained for. You have lashed the dormant tigress in my nature into fury. MRS BELLINGHAM (Shakes her muff and quizzing-glasses vindictively.) Make him smart, Hanna dear. Give him ginger. Thrash the mongrel within an inch of his life. The cat-o' nine-tails. Geld him. Vivisect him. BLOOM (Shuddering, shrinking, joins his hands with hangdog mien.) O cold! O shivery! It was your ambrosial beauty. Forget, forgive. Kismet. Let me off this once. (He offers the other cheek.) MRS YELVERTON BARRY (Severely.) Don't do so on any account, Mrs Talboys! He should be soundly trounced! THE HONOURABLE MRS MERVYN TALBOYS (Unbuttoning her gauntlet violently.) I'll do no such thing. Pig dog and always was ever since he was pupped! To dare address me! I'll flog him black and blue in the public streets. I'll dig my spurs in him up to the rowel. He is a wellknown cuckold. (She swishes her hunting crop savagely in the air.) Take down his trousers without loss of time. Come here, sir! Quick! Ready? BLOOM (Trembling, beginning to obey.) The weather has been so warm. (Davy Stephens, ringleted, passes with a bevy of barefoot newsboys.) DAVY STEPHENS Messenger of the Sacred Heart and Evening Telegraph with Saint Patrick's Day Supplement. Containing the new addresses of all the cuckolds in Dublin. (The very reverend Canon O'Hanlon in cloth of gold cope elevates and exposes a marble timepiece. Before him Father Conroy and the reverend John Hughes S.J. bend low.) THE TIMEPIECE (Unportalling.) Cuckoo Cuckoo Cuckoo (The brass quoits of a bed are heard to jingle.) THE QUOITS Jigjag, Jigajiga. Jigjag. (A panel of fog rolls back rapidly, revealing rapidly in the jurybox the faces of Martin Cunningham, foreman silkhatted, Jack Power Simon Dedalus, Tom Kernan, Ned Lambert, John Henry Menton, Myles Crawford, Lenehan, Paddy Leonard Nosey Flynn, M'Coy and the featureless face of a Nameless One.) THE NAMELESS ONE Bareback riding. Weight for age. Gob, he organised her. THE JURORS (All their heads turned to his voice.) Really? THE NAMELESS ONE (Snarls.) Arse over tip. Hundred shillings to five. THE JURORS (All their heads lowered in assent.) Most of us thought as much. FIRST WATCH He is a marked man. Another girl's plait cut. Wanted: Jack the Ripper. A thousand pounds reward. SECOND WATCH (Awed, whispers.) And in black. A mormon. Anarchist. THE CRIER (Loudly.) Whereas Leopold Bloom of no fixed abode is a well-known dynamitard, forger, bigamist, bawd and cuckold ad a public nuisance to the citizens of Dublin and whereas at this commission of assizes the most honourable. (His Honour sir Frederick Falkiner recorder of Dublin, in judicial garb of grey stone rises from the bench, stonebearded. He bears in his arms an umbrella sceptre. From his forehead arise starkly the Mosaic ramshorns.) THE RECORDER I will put an end to this white slave traffic and rid Dublin of this odious pest. Scandalous! (He dons the black cap.) Let him be taken, Mr Subsheriff, from the dock where he now stands and detained in custody in Mountjoy prison during His Majesty's pleasure and there be hanged by the neck until he is dead and therein fail not at your peril or may the Lord have-mercy on your soul. Remove him. (A black skullcap descends upon his head.) (The subsheriff long John Fanning appears, smoking a pungent Henry Clay.) LONG JOHN FANNING (Scowls and calls with rich rolling utterance.) Who'll hang Judas Iscariot? (H. Rumbold, master barber in a bloodcoloured jerk in and tanner's apron, a rope coiled over his shoulder mounts the block. A life preserver and a nailstudded bludgeon are stuck in his belt. He rubs grimly his grapping hands, knobbed with knuckledusters.) RUMBOLD (To the recorder with sinister familiarity.) Hanging Harry, your Majesty, the Mersey terror. Five guineas a jugular. Neck or nothing. (The bells of George's church toll slowly, loud dark iron.) THE BELLS Heigho! Heigho! BLOOM (Desperately.) Wait. Stop. Gulls. Good heart. I saw. Innocence. Girl in the monkeyhouse. Zoo. Lewd chimpanzees. (Breathlessly.) Pelvic basin. Her artless blush unmanned me. (Overcome with emotion.) I left the precincts. (He turns to a figure in the crowd, appealing.) Hynes, may I speak to you? You know me. That three shillings you can keep. If you want a little more . HYNES (Coldly.) You are a perfect stranger. SECOND WATCH (Points to the corner.) The bomb is here. FIRST WATCH Infernal machine with a time fuse. BLOOM No, no. Pig's feet. I was at a funeral. FIRST WATCH (Draws his truncheon.) Liar! (The beagle lifts his snout, showing the grey scorbutic face of Paddy Dignam. He has gnawed all. He exhales a putrid carcasefed breath. He grows to human size and shape. His dachshund coat becomes a brown mortuary habit. His green eyeflashes bloodshot. Half of one ear all the nose and both thumbs are ghouleaten.) PADDY DIGNAM (In a hollow voice.) It is true. It was my funeral. Doctor Finucane pronounced life extinct when I succumbed to the disease from natural causes. (He lifts his mutilated ashen face moonwards and bays lugubriously.) BLOOM (In triumph.) You hear? PADDY DIGNAM Bloom, I am Paddy Dignam's spirit. List, list, O list! BLOOM The voice is the voice of Esau. SECOND WATCH (Blesses himself.) How is that possible? FIRST WATCH It is not in the penny catechism. PADDY DIGNAM By metempsychosis. Spooks. A VOICE O rocks. PADDY DIGNAM (Earnestly.) Once I was in the employ of Mr J. H. Menton, solicitor, commissioner for oaths and affidavits, of 27 Bachelor's Walk. Now I am defunct, the wall of the heart hypertrophied. Hard lines. The poor wife was awfully cut up. Dow is she bearing it? Keep her off that bottle of sherry. (He looks round him.) A lamp. I must satisfy an animal need. That buttermilk didn't agree with me. (The portly figure of John O'Connell, caretaker stands forth, holding a bunch of keys tied with crape. Beside him stands Father Coffey, chaplain, toad bellied, wrynecked, in a surplice and bandanna nightcap, holding sleepily a staff of twisted poppies.) FATHER COFFEY (Yawns, then chants with a hoarse croak.) Namine. Jacobs Vobiscuits. Amen. (Foghorns stormily through his megaphone.) Dignam, Patrick T., deceased. PADDY DIGNAM (With pricked up ears, winces.) Overtones. (He wriggles forward, places an ear to the ground.) My masters' voice! JOHN O'CONNELL Burial docket letter number U. P. Eightyfive thousand. Field seventeen. House of Keys. Plot, one hundred and one. (Paddy Dignam listens with visible effort, thinking, his tailstiffpointed, his ears cocked.) PADDY DIGNAM Pray for the repose of his soul. (He worms down through a coal hole, his brown habit trailing its tether over rattling pebbles. After him toddles an obese grandfather rat on fungus turtle paws under a grey carapace. Dignam's voice, muffled, is heard baying under ground: Dignam's dead and gone below. Tom Rochford, robinredbreasted, in cap and breeches, jumps from his two-columned machine.) TOM ROCHFORD (A hand to his breastbone, bows.) Reuben J. A florin I find him. (He fixes the manhole with a resolute stare.) My turn now on. Follow me up to Carlow. (He executes a daredevil salmon leap in the air and is engulfed in the coalhole. Two discs on the columns wobble eyes of nought. All recedes. Bloom plodges forward again. He stands before a lighted house, listening. The kisses, winging from their bowers, fly about him, twittering, warbling, cooing.) THE KISSES (Warbling.) Leo! (Twittering.) Icky licky micky sticky for Leo! (Cooing.) Coo coocoo! Yummyumm Wom worn! (Warbling.) Big comebig! Pirouette! Leopopold! (Twittering.) Leeolee! (Warbling.) O Leo! (They rustle, flutter upon his garments, alight, bright giddyflecks, silvery sequins.) BLOOM A man's touch. Sad music. Church music. Perhaps here. (Zoe Higgins, a young whore in a sapphire slip, closed with three bronze buckles, a slim black velvet fillet round her throat, nods, trips down the steps and accosts him.) ZOE Are you looking for someone? He's inside with his friend. BLOOM Is this Mrs Mack's? ZOE No, eightyone. Mrs Cohen's. You might go farther and fare worse. Mother Slipperslapper. (Familiarly.) She's on the job herself tonight with the vet, her tipster, that gives her all the winners and pays for her son in Oxford. Working overtime but her luck's turned today. (Suspiciously.) You're not his father, are you? BLOOM Not I! ZOE You both in black. Has little mousey any tickles tonight? (His skin, alert, feels her fingertips approach. A hand slides over his left thigh.) ZOE How's the nuts? BLOOM Off side. Curiously they are on the right. Heavier I suppose. One in a million my tailor, Mesias, says. ZOE (In sudden alarm.) You've a hard chancre. BLOOM Not likely. ZOE I feel it. (Her hand slides into his left trouser pocket and brings out a hard black shrivelled potato. She regards it and Bloom with dumb moist lips.) BLOOM A talisman. Heirloom. ZOE For Zoe? For keeps? For being so nice, eh? (She puts the potato greedily into a pocket, then links his arm, cuddling him with supple warmth. He smiles uneasily. Slowly, note by note, oriental music is played. He gazes in the tawny crystal of her eyes, ringed with kohol. His smile softens.) ZOE You'll know me the next time. BLOOM (Forlornly.) I never loved a dear gazelle but it was sure to. (Gazelles are leaping, feeding on the mountains. Near are lakes. Round their shores file shadows black of cedargroves. Aroma rises, a strong hairgrowth of resin. It burns, the orient, a sky of sapphire, cleft by the bronze flight of eagles. Under it lies the womancity, nude, white, still, cool, in luxury. A fountain murmurs among damask roses. Mammoth roses murmur of scarlet winegrapes. A wine of shame, lust, blood exudes, strangely murmuring.) ZOE (Murmuring singsong with the music, her odalisk lips lusciously smeared with salve of swinefat and rosewater.) Schorach ani wenowach, benoith Hierushaloim. BLOOM (Fascinated.) I thought you were of good stock by your accent. ZOE And you know what thought did? (She bites his ear gently with little goldstopped teeth sending on him a cloying breath of stale garlic. The roses draw apart, disclose a sepulchre of the gold of kings and their mouldering bones.) BLOOM (Draws back, mechanically caressing her right bub with a flat awkward hand.) Are you a Dublin girl? ZOE (Catches a stray hair deftly and twists it to her coil.) No bloody fear. I'm English. Have you a swaggerroot? BLOOM (As before.) Rarely smoke, dear. Cigar now and then. Childish device. (Lewdly.) The mouth can be better engaged than with a cylinder of rank weed. ZOE Go on. Make a stump speech out of it. BLOOM (In workman's corduroy overalls, black gansy with red floating tie and apache cap.) Mankind is incorrigible. Sir Walter Raleigh brought from the new world that potato and that weed, the one a killer of pestilence by absorption, the other a poisoner of the ear, eye, heart, memory, will, understanding, all. That is to say, he brought the poison a hundred years before another person whose name I forget brought the food. Suicide. Lies. All our habits. Why, look at our public life! (Midnight chimes from distant steeples.) THE CHIMES Turn again, Leopold! Lord Mayor of Dublin! BLOOM (In alderman's gown and chain.) Electors of Arran Quay, Inns Quay, Rotunda, Mountjoy and North Dock, better run a tramline, I say, from the cattlemarket to the river. That's the music of the future. That's my programme. Cui Bono? But our buccaneering Vanderdeckens in their phantom ship of finance... AN ELECTOR Three times three for our future chief magistrate! (The aurora borealis of the torchlight procession leaps.) THE TORCH BEARERS Hooray! (Several wellknown burgesses, city magnates and freemen of the city shake hands with Bloom and congratulate him. Timothy Harrington, late thrice Lord Mayor of Dublin, imposing in mayoral scarlet, gold chain and white silk tie, confers with councillor Lorcan Sherlock, locum tenens. They nod vigorously in agreement.) LATE LORD MAYOR HARRINGTON (In scarlet robe with mace, gold mayoral chain and lace white silk scarf) That alder man sir Leo Bloom's speech be printed at the expense of the ratepayers. That the house in which he was born be ornamented with a commemorative tablet and that the thoroughfare hitherto known as Cow Parlour off Cork street be henceforth designated Boulevard Bloom. COUNCILLOR LORCAN SHERLOCK Carried unanimously. BLOOM (Impassionedly.) These flying Dutchmen or lying Dutchmen as they recline in their upholstered poop, casting dice, what reck they? Machines is their cry, their chimera, their panacea. Laboursaving apparatuses, supplanters, bug-bears, manufactured monsters for mutual murder, hideous hobgoblins produced by a horde of capitalistic lusts upon our prostituted labour. The poor man starves while they are grassing their royal mountain stags or shooting peasants and phartridges in their purblind pomp of pelf and power. But their reign is rover for rever and ever and ev... (Prolonged applause. Venetian masts, maypoles and festal arches spring up. A streamer bearing the legends Cead Mille Failte and Mah Ttob Melek Israel spans the street. All the windows are thronged with sightseers, chiefly ladies. Along the route the regiments of the royal Dublin Fusiliers, the Kings Own Scottish Boraerers, the Cameron Highlanders and the Welsh Fusiliers, standing to attention, keep back the crowd. Boys from High school are perched on the lampposts, telegraph poles, windowsills, cornices, gutters, chimneypots, railings, rainspouts, whistling and cheering. The pillar of the cloud appears. A fife and drum band is heard in the distance playing the Kol Nidre. The beaters approach with imperial eagles hoisted, trailing banners and waving oriental palms. The chryselephantine papal standard rises high, surrounded by pennons of the civic flag. The van of the procession appears headed by John Howard Parnell, city marshal, in a chessboard tabard, the Athlone Poursuivant and Ulster King of Arms. They are followed by the Right Honourable Joseph Hutchinson, lord mayor of Dublin, the lord mayor of Cork, their worships the mayors of Limerick, Galway, Sligo and Watedord, twentyeight Irish representative peers, sirdars, grandees and maharajahs bearing the cloth of estate, the Dublin Metropolitan Fire Brigade, the chapter of the saints of finance in their plutocratic order of precedence, the bishop of Down and Connor His Eminence Michael cardinal Logue archbishop of Armagh, primate of all Ireland, His Grace, the most reverend Dr William Alexander archbishop of Armagh, primate of all Ireland, the chief rabbi, the presbyterian moderator, the heads of the baptist, anabaptist, methodist and Moravian chapels and the honorary secretary of the society of friends. her them march the guilds and trades and trainbands with flying colours: coopen, bird fanciers, millwrights, newspaper canvassers, law scriveners, masseurs, vintners, trussmakers, chimney sweeps, lard refiners, tabinet and poplin weavers, farriers, Italian warehousemen, church decorators, bootjack manufacturers, undertaken, silk mercers, lapidaries, salesmasters, corkcutters, assessors of fire losses, dyers and cleaners, export bottlers, fellmongers, ticketwriters, heraldic seal engravers, horse repository hands, bullion broken, cricket and archery outfitters, riddlemakers, egg and potato factors, hosiers and glovers, plumbing contractors. After them march gentlemen of the bed chamber Black Rod, Deputy Garter Gold Stick, the master of hone, the lord great chamberlain, the earl marshal, the high constable carrying the sword of state, saint Stephen's iron crown, the chalice and bible. Four buglers on foot blow a sennet. Beefeaten reply, winding clarions of welcome. Under an arch of triumph Bloom appears bareheaded, in a crimson velvet mantle trimmed with ermine, bearing Saint Edward's staff the orb and sceptre with the dove, the curtana. He is seated on a milkwhite hone with long flowing crimson tail, richly caparisoned, with golden heads tall. Wild excitement. The ladies from their balconies throw down rosepetals. The air is perfumed with essences. The men cheer. Bloom's boys run amid the bystanders with branches of hawthorn and wrenbushes.) BLOOM'S BOYS The wren, the wren, The king of all birds, Saint Stephen's his day, Was caught in the furze. A BLACKSMITH (Murmurs.) For the Honour of God! And is that Bloom? He scarcely looks thirtyone. A PAVIOR AND FLAGGER That's the famous Bloom now, the world's greatest reformer. Hats off! (All uncover their heads. Women whisper eagerly.) A MILLIONAIRESS (Richly.) Isn't he simply wonderful? A NOBLEWOMAN (Nobly.) All that man has seen! A FEMINIST (Masculinely.) And done! A BELLHANGER A classic face! He has the forehead of a thinker. (Bloom's weather. A sunburst appears in the northwest.) THE BISHOP OF DOWN AND CONNOR I here present your un doubted emperor president and king chairman, the most serene and potent and very puissant ruler of this realm. God save Leopold the First! ALL God save Leopold the First! BLOOM (In dalmatic and purple mantle, to the bishop of Down and Connor with dignity.) Thanks, somewhat eminent sir. WILLIAM, ARCHBISHOP OF ARMAGH (In purple stock and shovel hat.) Will you to your power cause law and mercy to be executed in all your judgments in Ireland and territories thereunto belonging? BLOOM (Placing his right hand on his testicles, swears.) So may the Creator deal with me. All this I promise to do. MICHAEL, ARCHBISHOP OF ARMAGH (Pours a cruse of hair oil over Bloom's head.) Gaudium magnum annuntio vobis. Habemus carneficem. Leopold, Patrick, Andrew, David, George, be thou anointed! (Bloom assumes a mantle of cloth of gold and puts on a ruby ring. He ascends and stands on the stone of destiny. The representative peers put on at the same time their twentyeight crowns. Joybells ring in Christ church, Saint Patrick's, George's and gay Malahide. Mirus bazaar fireworks go up from all sides with symbolical phallopyrotechnic designs. The peers do homage, one by one, approaching and genuflecting.) THE PEERS I do become your liege man of life and limb to earthly worship. (Bloom holds up his right hand on which sparkles the Koh-i-Noor diamond. His palfrey neighs. Immediate silence. Wireless intercontinental and interplanetary transmitters are set for reception of message.) BLOOM My subjects! We hereby nominate our faithful charger Copula Felix hereditary Grand Vizier and announce that we have this day repudiated our former spouse and have bestowed our royal hand upon the princess Selene, the splendour of night. (The former morganatic spouse of Bloom is hastily removed in the Black Maria. The princess Selene, in moon blue robes, a silver crescent on her head, descends from a Sedan chair borne by two giants. An outburst of cheering.) JOHN HOWARD PARNELL (Raises the royal standard.) Illustrious Bloom! Successor to my famous brother! BLOOM (Embraces John Howard Parnell.) We thank you from our heart, John, for this right royal welcome to green Erin, the promised land of our common ancestors. (The freedom of the city is presented to him embodied in a charter. The keys of Dublin, crossed on a crimson cushion, are given to him. He shows all that he is wearing green socks.) TOM KERNAN You deserve it, your honour. BLOOM On this day twenty years ago we overcame the hereditary enemy at Ladysmith. Our howitzers and camel swivel guns played on his lines with telling effect. Half a league onward! They charge! All is lost now! Do we yield? No! We drive them headlong! Lo! We charge! Deploying to the left our light horse swept across the heights of Plevna and, uttering their warcry, Bonafide Sabaoth, sabred the Saracen gunners to a man. THE CHAPEL OF FREEMAN TYPESETTERS Hear! Hear! JOHN WYSE NOLAN There's the man that got away James Stephens. A BLUECOAT SCHOOLBOY Bravo! AN OLD RESIDENT You're a credit to your country, sir, that's what you are. AN APPLEWOMAN He's a man like Ireland wants. BLOOM My beloved subjects, a new era is about to dawn. I, Bloom, tell you verily it is even now at hand. Yea, on the word of a Bloom, ye shall ere long enter into the golden city which is to be, the new Bloomusalem in the Nova Hibernia of the future. (Thirtytwo workmen wearing rosettes, from all the counties of Ireland, under the guidance of Derwan the builder construct the new Bloomusalem. It is a colossal edifice, with crystal roof built in the shape of a huge pork kidney, containing forty thousand rooms. In the course of its extension several buildings and monuments are demolished. Government offices are temporarily transferred to railway sheds. Numerous houses are razed to the ground. The inhabitants are lodged in barrels and boxes, all marked in red with the letters: L. B. Several paupers fall from a ladder. A part of the walls of Dublin, crowded with loyal sightseers, collapses.) THE SIGHTSEERS (Dying) Morituri te salutant. (They die.) (A man in a brown macintosh springs up through a trap-door. He points an elongated finger at Bloom.) THE MAN IN THE MACINTOSH Don't you believe a word he Says. That man is Leopold M'Intosh, the notorious fireraiser. His real name is Higgins. BLOOM Shoot him! Dog of a christian! So much for M'Intosh! (A cannonshot. The man in the macintosh disappears. Bloom with his sceptre strikes down poppies. The instantaneous deaths of many powerful enemies, graziers, members of parliament, members of standing committees, are reported. Bloom's bodyguard distribute Maundy money, commemoration medals, loaves and fishes, temperance badges, expensive Henry Clay cigars, free cowbones for soup, rubber preservatives, in sealed envelopes tied with gold thread, butter scotch, pineapple rock, billets doux in the form of cocked hats, readymade suits, porringers of toad in the hole, bottles of Jeyes' Fluid, purchase stamps, 40 days' indulgences, spurious coins, dairyfed pork sausages, theatre passes, season tickets available for all tram lines, coupons of the royal and privileged Hungarian lottery, penny dinner counters, cheap reprints of the World's Twelve Worst Books: Froggy and Fritz (politic), Care of the Baby (infantilic), So Meals for 7/6 (culinic), Was Jesus a Sun Myth? (historic), Expel that Pain (medic), Infant's Compendium of the Universe (cosmic), Let's All Chortle (hilaric), Canvasser's Vade Mecum (journalic), love-letters of Mother Assistant (erotic), Who's Who in Space (astric), Songs that Reached Our Heart (melodic), Pennywise's Way to Wealth (parsimonic). A general rush and scramble. Women press forward to touch the hem of Bloom's robe. The lady Gwendolen Dubedat bursts through the throng, leaps on his horse and kisses him on both cheeks amid great acclamation. A magnesium flashlight photograph is taken. Babes and sucklings are held up.) THE WOMEN Little father! Little father! THE BABES AND SUCKLINGS Clap clap hands till Poldy comes home, Cakes in his pocket for Leo alone. (Bloom, bending down, pokes Baby Boardman gently in the stomach.) BABY BOARDMAN (Hiccups, curdled milk flowing from his mouth.) Hajajaja. BLOOM (Shaking hands with a blind stripling.) My more than Brother! (Placing his arms round the shoulders of an old couple.) Dear old friends! (He plays pussy fourcorners with ragged boys and girls.) Peep! Bopeep! (He wheels twins in a perambulator.) Ticktacktwo wouldyousetashoe? (He performs juggler's tricks, draws red, orange, yellow, green, blue, indigo and violet silk handkerchiefs from his mouth.) Roygbiv. 32 feet per second. (He consoles a widow.) Absence makes the heart grow younger. (He dances the Highland fling with grotesque antics.) Leg it, ye devils! (He kisses the bedsores of a palsied veteran.) Honourable wounds! (He trips up a fat policeman.) U.p.: up. U.p.: up. (He whispers in the ear of a blushing waitress and laughs kindly.) Ah, naughty, naughty! (He eats a raw turnip offered him by Maurice Butterly, farmer.) Fine! Splendid! (He refuses to accept three shillings offered him by Joseph Hynes, journalist.) My dear fellow, not at all! (He gives his coat to a beggar.) Please accept. (He takes part in a stomach race with elderly male and female cripples.) Come on, boys! Wriggle it, girls! THE CITIZEN (Choked with emotion, brushes aside a tear in his emerald muffler.) May the good God bless him! (The rams' horns sound for silence. The standard of Zion is hoisted.) BLOOM (Uncloaks impressively, revealing obesity, unrolls a paper and reads solemnly.) Aleph Beth Ghimel Daleth Hagadah Tephilim Kosher Yom Kippur Hanukah Ros chaschana Beni Brith Bar Mitzvah Mazzoth Askenazim Meshuggah Talith. (An official translation is read by Jimmy Henry, assistant town clerk.) JIMMY HENRY The Court of Conscience is now open. His Most Catholic Majesty will now administer open air justice. Free medical and legal advice, solution of doubles and other problems. All cordially invited. Given at this our loyal city of Dublin in the year I of the Paradisiacal Era. PADDY LEONARD What am I to do about my rates and taxes? BLOOM Pay them, my friend. PADDY LEONARD Thank you. NOSEY FLYNN Can I raise a mortgage on my fire insurance? BLOOM (Obdurately.) Sirs, take notice that by the law of torts you are bound over in your own recognisances for six months in the sum of five pounds. J.J. O'MOLLY A Daniel did I say? Nay! A Peter O'Brien! NOSEY FLYNN Where do I draw the five pounds? PISSER BURKE For bladder trouble? BLOOM Acid. nit. hydrochlor dil., 20 minims, Tinct. mix. vom., 4 minims. Extr. taraxel. lig., 30 minims. Aq. dis. ter in die. CHRIS CALLINAN What is the parallax of the subsolar ecliptic of Aldebaran? BLOOM Pleased to hear from you, Chris. K. II. JOE HYNES Why aren't you in uniform? BLOOM When my progenitor of sainted memory wore the uniform of the Austrian despot in a dank prison where was yours? BEN DOLLARD Pansies? BLOOM Embellish (beautify) suburban gardens. BEN DOLLARD When twins arrive? BLOOM Father (pater, dad) starts thinking. LARRY O'ROURKE An eight day licence for my new premises. You remember me, sir Leo, when you were in number seven. I'm sending around a dozen of stout for the missus. BLOOM (Coldly.) You have the advantage of me. Lady Bloom accepts no presents. CROFTON This is indeed a festivity. BLOOM (Solemnly.) You call it a festivity. I call it a sacrament. ALEXANDER KEYES When will we have our own house of keys? BLOOM I stand for the reform of municipal morals and the plain ten commandments. New worlds for old. Union of all, jew, moslem and gentile. Three acres and a cow for all children of nature. Saloon motor hearses. Compulsory manual labour for all. All parks open to the public day and night. Electric dishscrubbers. Tuberculosis, lunacy, war and mendicancy must now cease. General amnesty, weekly carnival, with masked licence, bonuses for all, esperanto the universal brotherhood. No more patriotism of barspongers and dropsical impostors. Free money, free love and a free lay church in a free lay state. O'MADDEN BURKE Free fox in a free henroost. DAVY BYRNE (Yawning.) Iiiiiiiiiaaaaaaach! BLOOM Mixed races and mixed marriage. LENEHAN What about mixed bathing? (Bloom explains to those near him his schemes for social regeneration. All agree with him. The keeper of the Kildare Street Museum appears, dragging a lorry on which are the shaking statues of several naked goddesses, Venus Callipyge, Venus Pandemos Venus Metempsychosis, and plaster figures, also naked, representing the new nine muses, Commerce, Operatic Music, Amor Publicity, Manufacture, liberty of Speech, Plural Voting, Gastronomy, Private Hygiene, Seaside Concert Entertainments, Painless Obstetrics and Astronomy for the People.) FATHER FARLEY He is an episcopalian, an agnostic, an any thingarian seeking to overthrow our holy faith. MRS RIORDAN (Tears up her will.) I'm disappointed in you! You bad man! MOTHER GROGAN (Removes her boot to throw it at Bloom.) You beast! You abominable person! NOSEY FLYNN Give us a tune, Bloom. One of the old sweet songs. BLOOM (With rollicking humour.) I vowed that I never would leave her, She turned out a cruel deceiver. With my tooraloom tooraloom tooralcom tooraloom. HOPPY HOLOHAN Good old Bloom! There's nobody like him after all. PADDY LEONARD Stage Irishman! BLOOM What railway opera is like a tramline in Gibraltar? The Rows of Casteele. (Laughter.) LENEHAN Plagiarist! Down with Bloom! THE VEILED SIBYL (Enthusiastically.) I'm a Bloomite and I glory in it. I believe in him in spite of all. I'd give my life for him, the funniest man on earth. BLOOM (Winks at the bystanders.) I bet she's a bonny lassie. THEODORE PUREFOY (In fishing cap and oilskin jacket.) He employs a mechanical device to frustrate the sacred ends of nature. THE VEILED SIBYL (Stabs herself.) My hero god! (She dies.) (Many most attractive and enthusiastic women also commit suicide by stabbing, drowning, drinking prussic acid, aconite, arsenic, opening their veins, refusing food, casting themselves under steamrollers, from the top of Nelson's Pillar, into the great vat of Guinness's brewery, asphyxiating themselves by placing their heads in gas ovens, hanging themselves in stylish garters, leaping from windows of different storeys.) ALEXANDER J. DOWIE (Violently.) Fellowchristians and antiBloomites, the man called Bloom is from the roots of hell, a disgrace to christian men. A fiendish libertine from his earliest years this stinking goat of Mendes gave precocious signs of infantile debauchery recalling the cities of the plain, with a dissolute granddam. This vile hypocrite, bronzed with infamy, is the white bull mentioned in the Apocalypse. A worshipper of the Scarlet Woman, intrigue is the very breath of his nostrils. The stake faggots and the caldron of boiling oil are for him. Caliban! THE MOB Lynch him! Roast him! He's as bad as Parnell was. Mr Fox! (Mother Grogan throws her boot at Bloom. Several shopkeepers from upper and lower Dorset street throw objects of little or no commercial value, hambones, condensed milk tins, unsaleable cabbage, stale bread, sheeps' tails, odd pieces of fat.) BLOOM (Excitedly.) This is midsummer madness, some ghastly joke again. By heaven, I am guiltless as the unsunned snow! It was my brother Henry. He is my double. He lives in number 2 Dolphin's Barn. Slander, the viper, has wrongfully accused me. Fellowcountrymen, sgenl inn ban bata coisde gan capall. I call on my old friend, Dr Malachi Mulligan, sex specialist to give medical testimony on my behalf. DR MULLIGAN (In motor jerkin, green motoroggles on his brow.) Dr Bloom is bisexually abnormal. He has recently escaped from Dr Eustace's private asylum for demented gentlemen. Born out of bedlock hereditary epilepsy is present, the consequence of unbridled lust. Traces of elephantiasis have been discovered among his ascendants. There are marked symptoms of chronic exhibitionism. Ambidexterity is also latent. He is prematurely bald from selfabuse, perversely idealistic in consequence, a reformed rake, and has metal teeth. In consequence of a family complex he has temporarily lost his memory and I believe him to be more sinned against than sinning. I have made a pervaginal examination and, after application of the acid test to 5427 anal, axillary, pectoral and pubic hairs, I declare him to be virgo intacta. (Bloom holds his high grade hat over his genital organs.) DR MADDEN Hypsospadia is also marked. In the interest of coming generations I suggest that the parts affected should be preserved in spirits of wine in the national teratological museum. DR CROTTHERS I have examined the patient's urine. It is albuminoid. Salivation is insufficient, the patellar reflex intermittent. DR PUNCH COSTELLO The fetor judaicus is most perceptible. DR DIXON (Reads a bill of health.) Professor Bloom is a finished example of the new womanly man. His moral nature is simple and lovable. Many have found him a dear man, a dear person. He is a rather quaint fellow on the whole, coy though not feeble-minded in the medical sense. He has written a really beautiful letter, a poem in itself, to the court missionary of the Reformed Priests' Protection Society which clears up everything. He is practically a total abstainer and I can affirm that he sleeps on a straw litter and eats the most Spartan food, cold dried grocer's peas. He wears a hairshirt winter and summer and scourges himself every Saturday. He was, I understand, at one time a firstclass misdemeanant in Glencree reformatory. Another report states that he was a very posthumous child. I appeal for clemency in the name of the most sacred word our vocal organs have ever been called upon to speak. He is about to have a baby. (General commotion and compassion. Women faint. A wealthy American makes a street collection for Bloom. Gold and silver coins, bank cheques, banknotes, jewels, treasury bonds, maturing bills of exchange, I.O.U.s, wedding rings' watch-chains, lockets, necklaces and bracelets are rapidly collected.) BLOOM O, I so want to be a mother. MRS THORNTON (In nursetender's gown.) Embrace me tight, dear. You'll be soon over it. Tight, dear. (Bloom embraces her tightly and bears eight male yellow and white children. They appear on a redcarpeted staircase adorned with expensive plants. All are handsome, with valuable metallic faces, wellmade, respectably dressed and wellconducted, speaking five modern languages fluently and interested in various arts and sciences. Each has his name printed in legible letters on his shirtfront: Nasodoro, Goldfinger, Chrysostomos, Maindorée, Silversmile, Silberselber Vifargent, Panargros. They are immediately appointed to positions of high public trust in several different countries as managing directors of banks, traffic managers of railways, chairmen of limited liability companies, vice chairmen of hotel syndicates.) A VOICE Bloom, are you the Messiah ben Joseph or ben David? BLOOM (Darkly.) You have said it. BROTHER BUZZ Then perform a miracle. BANTAM LYONS Prophesy who will win the Saint Leger. (Bloom walks on a net, covers his left eye with his left ear, passes through several walls, climbs Nelson's Pillar, hangs from the the ledge by his eyelids, eats twelve dozen oysters (shells included), heals several sufferers from kings evil, contracts his face so as to resemble many historical personages, lord Beaconsfield, lord Byron, Wat Tyler, Moses of Egypt, Moses Maimonides, Moses Mendelssohn, Henry Irving, Rip van Winkle, Rossuth, Jean Jacques Rousseau, Baron Leopold Rothschild, Robinson Crusoe, Sherlock Holmes, Pasteur, turns each foot simultaneously in different directions, bids the tide turn back, eclipses the sun by extending his little finger.) BRINI, PAPAL NUNCIO (In papal zouave's uniform, steel cuirasses as breastplate, armplates, thighplates, legplates, large profane moustaches and brown paper mitre.) Leopoldi autem generatio. Moses begat Noah and Noah begat Eunuch and Eunuch begat O'Halloran and O'Halloran begat Guggenheim and Guggenheim begat Agendath and Agendath begat Netaim and Netaim begat Le Hirsch and Le Hirsch begat Jesurum and Jesurum begat MacKay and MacKay begat Ostrolopsky and Ostrolopsky begat Smerdoz and Smerdoz begat Weiss and Weiss begat Schwarz and Schwarz begat Adrianopoli and Adrianopoli began Aranjuez and Aranjuez begat Lewy Lawson and Lewy Lawson begat Ichabudonosor and Ichabudonosor begat O'Donnell Magnus and O'Donnell Magnus begat Christbaum and Christbaum begat Ben Maimun and Ben Maimun begat Dusty Rhodes and Dusty Rhodes begat Benamor and Benamor begat Jones-Smith and Jones-Smith begat Savorgnanovich and Savorgnanovich begat Jasperstone and Jasperstone begat Vingtetunieme and Vingtetunieme begat Szombathely and Szombathely begat Virag and Virag begat Bloom et vocabitur nomen eius Emmanuel. A DEADHAND (Writes on the wall.) Bloom is a cod. A CRAB (In bush ranger's kit.) What did you do in the cattlecreep behind Kilbarrack? A FEMALE INFANT (Shakes a rattle.) And under Ballybough bridge? A HOLLYBUSH And in the devil's glen? BLOOM (Blushes furiously all over from front to nates, three tears falling from his left eye.) Spare my past. THE IRISH EVICTED TENANTS (In bodycoats, kneebreeches, with Donnybrook fair shillelaghs.) Sjambok him! (Bloom with asses' ears seats himself in the pillory with crossed arms, his feet protruding. He whistles Don Giovanni, a cenar teco. Artane orphans, joining hands, caper round him. Girls of the Prison Gate Mission, joining hands, caper round in the opposite direction.) THE ARTANE ORPHANS You big, you bog, you dirty dog! You think the ladies love you! THE PRISON GATE GIRLS If you see kay Tell him he may See you in tea Tell him from me. HORNBLOWER (In ephod and huntingcap, announces.) And he shall carry the sins of the people to Azazel, the spirit which is in the wilderness, and to Lilith, the nighthag. And they shall stone him and defile him, yea, all from Agendath Netaim and from Mizraim, the land of Ham. (All the people cast soft pantomime stones at Bloom. Many bonafide travellers and ownerless dogs come near him and defile him. Mastiansky and Citron approach in gaberdines, wearing long earlocks. They wag their beards at Bloom.) MASTIANSKY AND CITRON Belial! Laemlein of Istria! the false Messiah! Abulafia! (George S. Mesias, Bloom's tailor, appears, a tailor's goose under his arm, presenting a bill.) MESIAS To alteration one pair trousers eleven shillings. BLOOM (Rubs his hands cheerfully.) Just like old times. Poor Bloom! (Reuben J. Dodd, black bearded Iscariot, bad shepherd, bearing on his shoulders the drowned corpse of his son, approaches the pillory.) REUBEN J. (Whispers hoarsely.) The squeak is out. A split is gone for the flatties. Nip the first rattler. THE FIRE BRIGADE Pflaap! BROTHER BUZZ (Invests Bloom in a yellow habit with embroidery of painted flames and high pointed hat. He places a bag of gunpowder round his neck and hands him over to the civil power, saying.) Forgive him his trespasses. (Lieutenant Myers of the Dublin Fire Brigade by general request sets fire to Bloom. Lamentations.) THE CITIZEN Thank heaven! BLOOM (In a seamless garment marked I. H. S. stands upright amid phoenix flames.) Weep not for me, O daughters of Erin. (He exhibits to Dublin reporters traces of burning. The daughters of Erin, in black garments with lace prayerbooks and long lighted candles in their hands, kneel down and pray.) THE DAUGHTERS OF ERIN Kidney of Bloom, pray for us. Flower of the Bath, pray for us. Mentor of Menton, pray for us. Canvasser for the Freeman, pray for us. Charitable Mason, pray for us. Wandering Soap, pray for us. Sweets of Sin, pray for us. Music without Words, pray for us. Reprover of the Citizen, pray for us. Friend of all Frillies, pray for us. Midwife Most Merciful, pray for us. Potato Preservative against Plague and Pestilence, pray for us. (A choir of six hundred voices, conducted by Mr Vincent O'Brien, sings the Alleluia chorus, accompanied on the organ by Joseph Glynn. Bloom becomes mute, shrunken, carbonised.) ZOE Talk away till you're black in the face. BLOOM (In caubeen with clay pipe stuck in the band, dusty brogues, an emigrant's red handkerchief bundle in his hand, leading a black bogoak pig by a sugaun, with a smile in his eye.) Let me be going now, woman of the house, for by all the goats in Connemara I'm after having the father and mother of a bating. (With a tear in his eye.) All insanity. Patriotism, sorrow for the dead, music, future of the race. To be or not to be. Life's dream is o'er. End it peacefully. They can live on. (He gazes far away mournfully.) I am ruined. A few pastilles of aconite. The blinds drawn. A letter. Then lie back to rest. (He breathes softly.) No more. I have lived. Fare. Farewell. ZOE (Stiffly, her finger in her neckfillet.) Honest? Till the next time. (She sneers.) Suppose you got up the wrong side of the bed or came too quick with your best girl. O, I can read your thoughts. BLOOM (Bitterly.) Man and woman, love, what is it? A cork and bottle. ZOE (In sudden sulks.) I hate a rotter that's insincere. Give a bleeding whore a chance. BLOOM (Repentantly.) I am very disagreeable. You are a necessary evil. Where are you from? London? ZOE (Glibly.) Hog's Norton where the pigs play the organs. I'm Yorkshire born. (She holds his hand which is feeling for her nipple.) I say, Tommy Tittlemouse. Stop that and begin worse. Have you cash for a short time? Ten shillings? BLOOM (Smiles, nods slowly.) More, houri, more. ZOE And more's mother? (She pats him offhandedly with velvet paws.) Are you coming into the musicroom to see our new pianola? Come and I'll peel off. BLOOM (Feeling his occiput dubiously with the unparalleled embarrassment of a harassed pedlar gauging the symmetry of her peeled pears.) Somebody would be dreadfully jealous if she knew. The greeneyed monster. (Earnestly.) You know how difficult it is. I needn't tell you. ZOE (Flattered.) What the eye can't see the heart can't grieve for. (She pats him.) Come. BLOOM Laughing witch! The hand that rocks the cradle. ZOE Babby! BLOOM (In babylinen and pelisse, bigheaded, with a caul of dark hair, fixes big eyes on her fluid slip and counts its bronze buckles with a chubby finger, his moist tongue tolling and lisping.) One two tlee: tlee tlwo tlone. THE BUCKLES Love me. Love me not. Love me. ZOE Silent means consent. (With little parted talons she captures his hand, her forefinger giving to his palm the pass touch of secret monitor, luring him to doom.) Hot hands cold gizzard. (He hesitates amid scents, music, temptations. She leads him towards the steps, drawing him by the odour of her armpits, the vice of her painted eyes, the rustle of her slip in whose sinuous folds lurks the lion reek of all the male brutes that have possessed her.) THE MALE BRUTES (Exhaling sulphur of rut and dung and ramping in their loosebox, faintly roaring, their drugged heads swaying to and fro.) Good! (Zoe and Bloom reach the doorway where two sister whores are seated. They examine him curiously from under their pencilled brows and smile to his hasty bow. He trips awkwardly.) ZOE (Her lucky hand instantly saving him.) Hoopsa! Don't fall upstairs. BLOOM The just man falls seven times. (He stands aside at the threshold.) After you is good manners. ZOE Ladies first, gentlemen after. (She crosses the threshold. He hesitates. She turns and, holding out her hands, draws him over. He hops. On the an tiered rack of the hall hang a man's hat and waterproof Bloom uncovers himself but, seeing them, frowns, then smiles, preoccupied. A door on the return landing is thrown open. A man in purple shirt and grey trousers, brownsocked, passes with an apes gait, his bald head and goatee beard upheld, hugging a full waterjugjar his twotailed black braces dangling at heels. Averting his face quickly Bloom bends to examine on the halltable the spaniel eyes of a running fox: then, his lifted head sniffing, follows Zoe into the musicroom. A shade of mauve tissuepaper dims the light of the chandelier. Round and round a moth flies, colliding, escaping. The floor is covered with an oilcloth mosaic of jade and azure and cinnabar rhomboids. Footmarks are stamped over it in all senses, heel to heel, heel to hollow, toe to toe, feet locked, a morris of shuffling feet without body phantoms, all in a scrimmage higgledypiggledy. The walls are tapes-tried with a paper of yewfronds and clear glades. In the grate is spread a screen of peacock feathers. Lynch squats crosslegged on the hearth rug of matted hair, his cap back to the front. With a wand he beats time slowly. Kitty Ricketts, a bony pallid whore in navy costume, doeskin gloves rolled back from a coral wristlet, a chain purse in her hand, sits perched on the edge of the table swinging her leg and glancing at herself in the gilt mirror over the mantelpiece. A tag of her corset lace hangs slightly below her jacket. Lynch indicates mockingly the couple at the piano.) KITTY (Coughs behind her hand.) She's a bit imbecilic. (She signs with a waggling forefinger.) Blemblem. (Lynch lifts up her skirt and white petticoat with the wand. She settles them down quickly.) Respect yourself. (She hiccups, then bends quickly her sailor hat under which her hair glows, red with henna.) O, excuse! ZOE More limelight, Charley. (She goes to the chandelier and turns the gas full cock.) KITTY (Peers at the gasjet.) What ails it tonight? LYNCH (Deeply.) Enter a ghost and hobgoblins. ZOE Clap on the back for Zoe. (The wand in Lynch's hand flashes: a brass poker. Stephen stands at the pianola on which sprawl his hat and ashplant. With two fingers he repeats once more the series of empty fifths. Florry Talbot, a blond feeble goosefat whore in a tatterdemalion gown of mildewed strawberry, lolls spreadeagle in the sofa corner, her limp forearm pendent over the bolster, listening. A heavy stye droops over her sleepy eyelid.) KITTY (Hiccups again with a kick of her horsed foot.) O, excuse! ZOE (Promptly.) Your boy's thinking of you. Tie a knot on your shift. (Kitty Ricketts bends her head. Her boa uncoils, slides, glides over her shoulder, back, arm, chair to the ground. Lynch lifts the curled caterpillar on his wand. She snakes her neck, nestling. Stephen glances behind at the squatted figure with its cap back to the front.) STEPHEN As a matter of fact it is of no importance whether Benedetto Marcello found it or made it. The rite is the poet's rest. It may be an old hymn to Demeter or also illustrate Coela enarrant gloriam Domini. It is susceptible of nodes or modes as far apart as hyperphrygian and mixolydian and of texts so divergent as priests haihooping round David's that is Circe's or what am I saying Ceres' altar and David's tip from the stable to his chief bassoonist about his almightiness. Mais, nom de nom, that is another pair of trousers. Jetez la gourme. Faut que jeunesse se passe. (He stops, points at Lynch's cap, smiles, laughs.) Which side is your knowledge bump? THE CAP (With saturnine spleen.) Bah! It is because it is. Woman's reason. Jewgreek is greekjew. Extremes meet. Death is the highest form of life. Bah! STEPHEN You remember fairly accurately all my errors, boasts, mistakes. How long shall I continue to close my eyes to disloyalty? Whetstone! THE CAP Bah! STEPHEN Here's another for you. (He frowns.) The reason is because the fundamental and the dominant are separated by the greatest possible interval which . THE CAP Which? Finish. You can't. STEPHEN (With on effort.) Interval which. Is the greatest possible ellipse. Consistent with. The ultimate return. The octave. Which. THE CAP Which? (Outside the gramophone begins to blare The Holy City.) STEPHEN (Abruptly.) What went forth to the ends of the world to traverse not itself. God, the sun, Shakespeare, a commercial traveller, having itself traversed in reality itself, becomes that self. Wait a moment. Wait a second. Damn that fellow's noise in the street. Self which it itself was ineluctably preconditioned to become. Ecco! LYNCH (With a mocking whinny of laughter grins at Bloom and Zoe Higgins.) What a learned speech, eh? ZOE (Briskly.) God help your head, he knows more than you have forgotten. (With obese stupidity Florry Talbot regards Stephen.) FLORRY They say the last day is coming this summer. KITTY No! ZOE (Explodes in laughter.) Great unjust God! FLORRY (Offended.) Well, it was in the papers about Anti christ. O, my foot's tickling. (Ragged barefoot newsboys, jogging a wagtail kite, patterpast, yelling.) THE NEWSBOYS Stop press edition. Result of the rockinghorse races. Sea serpent in the royal canal. Safe arrival of Antichrist. (Stephen turns and sees Bloom.) STEPHEN A time, times and half a time. (Reuben J. Antichrist, wanderingjew, a clutching hand open on his spine, stumps forward. Across his loins is slung a pilgrims wallet from which protrude promissory notes and dishonoured bills. Aloft over his shoulder he bears a long boatpole from the hook of which the sodden huddled mass of his only son, saved from Liffey waters, hangs from the slack of its breeches. A hobgoblin in the image of Punch Costello, hipshot, crookbacked, hydrocephalic, prognathic with receding forehead and Ally Sloper nose, tumbles in somersaults through the gathering darkness.) ALL What? THE HOBGOBLIN (His jaws chattering, capers to and fro, goggling his eyes, squeaking, kangaroohopping, with outstretched clutching arms, then all at once thrusts his lipless face through the fork of his thighs.) Il vient! C'est moi! L'homme qui rit! L'homme primigene! (He whirls round and round with dervish howls.) Sieurs et dames, faites vos jeux! (He crouches juggling. Tiny roulette planets fly from his hands.) Les jeux son! faits! (The planets rush together, uttering crepitant cracks.) Rien n'va plus. (The planets, buoyant balloons, sail swollen up and away. He springs off into vacuum.) FLORRY (Sinking into torpor, crosses herself secretly.) The end of the world! (A female tepid effluvium leaks out from her. Nebulous obscurity occupies space. Through the drifting fog without the gramophone blares over coughs and feetshuffling.) THE GRAMOPHONE Jerusalem! Open your gates and sing Hosanna... (A rocket rushes up the sky and bursts. A white star falls from it, proclaiming the consummation of all things and second coming of Elijah. Along an infinite invisible tight-rope taut from zenith to nadir the End of the World, a two headed octopus in gillies kilts, busby and tartan filibegs, whirls through the murk, head over heels, in the fob of the Three Lugs of Man.) THE END OF THE WORLD (With a Scotch accent.) Wha'll dance the keel row, the keel row, the keel row? (Over the passing drift and choking breathcoughs, Elijah's voice, harsh as a corncrakes, jars on high. Perspiring in a loose lawn surplice with funnel sleeves he is seen, vergefaced above a rostrum about which the banner of old glory is draped. He thumps the parapet.) ELIJAH No yapping, if you please, in this booth. Jake Crane, Creole Sue, Dave Campbell, Abe Kirschner, do your coughing with your mouths shut. Say, I am operating all this trunk line. Boys, do it now. God's time is 12.25. Tell mother you'll be there. Rush your order and you play a slick ace. Join on right here! Book through to eternity junction, the nonstop run. Just one word more. Are you a god or a doggone clod? If the second advent came to Coney Island are we ready? Florry Christ, Stephen Christ, Zoe Christ, Bloom Christ, Kitty Christ, Lynch Christ, it's up to you to sense that cosmic force. Have we cold feet about the cosmos? No. Be on the side of the angels. Be a prism. You have that something within, the higher self. You can rub shoulders with a Jesus, a Gautama, an Ingersoll. Are you all in this vibration? I say you are. You once nobble that, congregation, and a buck joyride to heaven becomes a back number. You got me? It's a lifebrightener, sure. The hottest stuff ever was. It's the whole pie with jam in. It's just the cutest snappiest line out. It is immense, supersumptuous. It restores. It vibrates. I know and I am some vibrator. Joking apart and getting down to bedrock, A. J. Christ Dowie and the harmonial philosophy, have you got that? O.K. Seventyseven west sixtyninth street. Got me? That's it. You call me up by sunphone any old time. Bumboosers, save your stamps. (He shouts.) Now then our glory song. All join heartily in the singing. Encore! (He sings.) Jeru... THE GRAMOPHONE (Drowning his voice.) Whorusalaminyour highhohhhh. (The disc rasps gratingly against the needle.) THE THREE' WHORES (Covering their ears, squawk.) Ahhkkk! ELIJAH (In rolledup shirtsleeves, black in the face, shouts at the top of his voice, his arms uplifted.) Big Brother up there, Mr President, you hear what I done just been saying to you. Certainly, I sort of believe strong in you, Mr President. I certainly am thinking now Miss Higgins and Miss Ricketts got religion way inside them. Certainly seems to me I don't never see no wusser scared female than the way you been, Miss Florry, just now as I done seed you. Mr President, you come long and help me save our sisters dear. (He winks at his audience.) Our Mr President, he twig the whole lot and he ain't saying nothing. KITTY-KATE I forgot myself. In a weak moment I erred and did what I did on Constitution hill. I was confirmed by the bishop. My mother's sister married a Montmorency. It was a working plumber was my ruination when I was pure. ZOE-FANNY I let him larrup it into me for the fun of it. FLORRY-TERESA It was in consequence of a portwine beverage on top of Hennessy's three stars I was guilty with Whelan when he slipped into the bed. STEPHEN In the beginning was the word, in the end the world without end. Blessed be the eight beatitudes. (The beatitudes, Dixon, Madden, Crotthers, Costello, Lenehan, Bannon, Mulligan and Lynch in white surgical students' gowns, four abreast, goosestepping, tramp fast past in noisy marching.) THE BEATITUDES (Incoherently.) Beer beef battledog buybull businum barnum buggerum bishop. LYSTER (In quakergrey kneebreeches and broadbrimmed hat, says discreetly.) He is our friend. I need not mention names. Seek thou the light. (He corantos by. Best enters in hairdresser attire, shinily laundered, his locks in curlpapers. He leads John Eglinton who wears a mandarin's kimono of Nankeen yellow, lizard-lettered, and a high pagoda hat.) BEST (Smiling, lifts the hat and displays a shaven poll from the crown of which bristles a pigtail toupee tied with an orange topknot.) I was just beautifying him, don't you know. A thing of beauty, don't you know. Yeats says, or I mean, Keats says. (Produces a greencapped dark lantern and flashes it towards a corner; with carping accent.) Esthetics and cosmetics are for the boudoir. I am out for truth. Plain truth for a plain man. Tanderagee wants the facts and means to get them. (In the cone of the search light behind the coalscuttle, ollave, holyeyed, the bearded figure of Mananaan MacLir broods, chin on knees. He rises slowly. A cold seawind blows from his druid mantle. About his head writhe eels and elvers. He is encrusted with weeds and shells. His right hand holds a bicycle pump. His left hand grasps a huge crayfish by its two talons.) MANANAAN MACLIR (With a voice of waves.) Aum! Hek! Wal! Ak! Lub! Mor! Ma! White yoghin of the Gods. Occult pimander of Hermes Trismegistos. (With a voice of whistling seawind.) Punarjanam patsypunjaub! I won't have my leg pulled. It has been said by one: beware the left, the cult of Shakti. (With a cry of stormbirds.) Shakti, Shiva! Dark hidden Father! (He smites with his bicycle pump the crayfish in his left hand. On its co-operative dial glow the twelve signs of the zodiac. He wails with the vehemence of the ocean.) Aum! Baum! Pyjaum! I am the light of the homestead, I am the dreamery creamery butter. (A skeleton judas hand strangles the light. The green light wanes to mauve. The gasjet wails whistling.) THE GASJET Pooah! Pfuiiiiii! (Zoe runs to the chandelier and, crooking her leg, adjusts the mantle.) ZOE Who has a fag as I'm here? LYNCH (Tossing a cigarette on to the table.) Here. ZOE (Her head perched aside in mock pride.) Is that the way to hand the pot to a lady? (She stretches up to light the cigarette over the flame, twirling it slowly, showing the brown tufts of her armpits. Lynch with his poker lifts boldly a side of her slip. Bare from her garters up her flesh appears under the sapphire a nixie's green. She puffs calmly at her cigarette.) Can you see the beauty spot of my behind? LYNCH I'm not looking. ZOE (Makes sheep's eyes.) No? You wouldn't do a less thing. Would you suck a lemon? (Squinting in mock shame she glances with sidelong meaning at Bloom, then twists round towards him, pulling her slip free of the poker. Blue fluid again flows over her flesh. Bloom stands, smiling desirously, twirling his thumbs. Kitty Ricketts licks her middle finger with her spittle and gazing in the mirror, smooths both eyebrows. Lipoti Virag, basilicogrammate, chutes rapidly down through the chimneyflue and struts two steps to the left on gawky pink stilts. He is sausaged into several overcoats and wears a brown macintosh under which he holds a roll of parchment. In his left eye flashes the monocle of Cashel Boyle O'Connor Fitzmaurice Tisdall Farrell. On his head is perched an Egyptian pshent. Two quills project over his ears.) VIRAG (Heels together bows.) My name is Virag Lipoti, of Szombathely. (He coughs thoughtfully, drily.) Promiscuous nakedness is much in evidence hereabouts, eh? Inadvertently her backview revealed the fact that she is not wearing those rather intimate garments of which you are a particular devotee. The injection mark on the thigh I hope you perceived? Good. BLOOM Granpapachi. But... VIRAG Number two on the other hand, she of the cherry rouge and coiffeuse white, whose hair owes not a little to our tribal elixir of gopherwood, is in walking costume and tightly staysed by her sit, I should opine. Backbone in front, so to say. Correct me but I always understood that the act so performed by skittish humans with glimpses of lingerie appealed to you in virtue of its exhibitionististicicity. In a word. Hippogriff. Am I right? BLOOM She is rather lean. VIRAG (Not unpleasantly.) Absolutely! Well observed and those pannier pockets of the skirt and slightly pegtop effect are devised to suggest bunchiness of hip. A new purchase at some monster sale for which a gull has been mulcted. Meretricious finery to deceive the eye. Observe the attention to details of dustspecks. Never put on you tomorrow what you can wear today. Parallax! (With a nervous twitch of his head.) Did you hear my brain go snap? Pollysyllabax! BLOOM (An elbow resting in a hand, a forefinger against his cheek.) She seems sad. VIRAG (Cynically, his weasel teeth bared yellow, draws down his left eye with a finger and barks hoarsely.) Hoax! Beware of the flapper and bogus mournful. Lily of the alley. All possess bachelor's button discovered by Rualdus Colombus. Tumble her. Columble her. Chameleon. (More genially.) Well then, permit me to draw your attention to item number three. There is plenty of her visible to the naked eye. Observe the mass of oxygenated vegetable matter on her skull. What ho, she bumps! The ugly duckling of the party, longcasted and deep in keel. BLOOM (Regretfully.) When you come out without your gun. VIRAG We can do you all brands, mild, medium and strong. Pay your money, take your choice. How happy could you be with either... BLOOM With?... VIRAG (His tongue upcurling.) Lyum! Look. Her beam is broad. She is coated with quite a considerable layer of fat. Obviously mammal in weight of bosom you remark that she has in front well to the fore two protuberances of very respectable dimensions, inclined to fall in the noonday soupplate, while on her rere lower down are two additional protuberances, suggestive of potent rectum and tumescent for palpation which leave nothing to be desired save compactness. Such fleshy parts are the product of careful nurture. When coopfattened their livers reach an elephantine size. Pellets of new bread with fennygreek and gumbenjamin swamped down by potions of green tea endow them during their brief existence with natural pincushions of quite colossal blubber. That suits your book, eh? Fleshhotpots of Egypt to hanker after. Wallow in it. Lycopodium. (His throat twitches.) Slapbang! There he goes again. BLOOM The stye I dislike. VIRAG (Arches his eyebrows.) Contact with a goldring, they say. Argumentum ad feminam, as we said in old Rome and ancient Greece in the consulship of Diplodocus and Ichthyo saurus. For the rest Eve's sovereign remedy. Not for sale. Hire only. Huguenot. (He twitches.) It is a funny sound. (He coughs encouragingly.) But possibly it is only a wart. I presume you shall have remembered what I will have taught you on that head? Wheatenmeal with honey and nutmeg. BLOOM (Reflecting.) Wheatenmeal with lycopodium and syllabax. This searching ordeal. It has been an unusually fatiguing day, a chapter of accidents. Wait. I mean, wartsblood spreads warts, you said . VIRAG (Severely, his nose hardhumped, his side eye winking.) Stop twirling your thumbs and have a good old thunk. See, you have forgotten. Exercise your mnemotechnic. La causa è santa. Tara. Tara. (Aside.) He will surely remember. BLOOM Rosemary also did I understand you to say or will power over parasitic tissues. Then nay no I have an inkling. The touch of a deadhand cures. Mnemo? VIRAG (Excitedly.) I say so. I say so. E'en so. Technic. (He taps his parchmentroll energetically.) This book tells you how to act with all descriptive particulars. Consult index for agitated fear of aconite, melancholy of muriatic, priapic pulsatilla. Virag is going to talk about amputation. Our old friend caustic. They must be starved. Snip off with horsehair under the denned neck. But, to change the venue to the Bulgar and the Basque, have you made up your mind whether you like or dislike women in male habiliments? (With a dry snigger.) You intended to devote an entire year to the study of the religious problem and the summer months of 1882 to square the circle and win that million. Pomegranate! From the sublime to the ridiculous is but a step. Pyjamas, let us say? Or stockingette gusseted knickers, closed? Or, put we the case, those complicated combinations, camiknickers? (He crows derisively.) Keekeereekee! (Bloom surveys uncertainly the three whores, then gazes at the veiled mauve light, hearing the everflying moth.) BLOOM I wanted then to have now concluded. Nightdress was never. Hence this. But tomorrow is a new day will be. Past was is today. What now is will then tomorrow as now was be past yester. VIRAG (Prompts into his ear in a pig's whisper.) Insects of the day spend their brief existence in reiterated coition, lured by the smell of the inferiorly pulchritudinous female possessing extendified pudendal verve in dorsal region. Pretty Poll! (His yellow parrotbeak gabbles nasally.) They had a proverb in the Carpathians in or about the year five thousand five hundred and fifty of our era. One tablespoonful of honey will attract friend Bruin more than half a dozen barrels of first choice malt vinegar. Bear's buzz bothers bees. But of this apart. At another time we may resume. We were very pleased, we others. (He coughs and, bending his brow, rubs his nose thoughtfully with a scooping hand.) You shall find that these night insects follow the light. An illusion for remember their complex unadjustable eye. For all these knotty points see the seventeenth book of my Fundamentals of Sexology or the Love Passion which Doctor L. B. says is the book sensation of the year. Some, to example, there are again whose movements are automatic. Perceive. That is his appropriate sun. Nightbird nightsun nighttown. Chase me, Charley! Buzz! BLOOM Bee or bluebottle too other day butting shadow on wall dazed self then me wandered dazed down shirt good job I... VIRAG (His face impassive, laughs in a rich feminine key.) Splendid! Spanish fly in his fly or mustard plaster on his dibble. (He gobbles gluttonously with turkey wattles.) Bubbly jock! Bubbly jock! Where are we? Open Sesame! Cometh forth! (He unrolls his parchment rapidly and reads, his glowworm's nose running backwards over the letters which he claws.) Stay, good friend. I bring thee thy answer Redbank oysters will shortly be upon us. I'm the best o'cook. Those succulent bivalves may help us and the truffles of Perigord, tubers dislodged through mister omnivorous porker, were unsurpassed in cases of nervous debility or viragitis. Though they stink yet they sting. (He wags head with cackling raillery.) Jocular. With my eyeglass in my ocular. BLOOM (Absently.) Ocularly woman's bivalve case is worse. Always open sesame. The cloven sex. Why they fear vermin, creeping things. Yet Eve and the serpent contradict. Not a historical fact. Obvious analogy to my idea. Serpents too are gluttons for woman's milk. Wind their way through miles of omnivorous forest to sucksucculent her breast dry. Like those bubblyjocular Roman matrons one reads of in Elephantuliasis. VIRAG (His mouth projected in hard wrinkles, eyes stonily forlornly closed, psalms in outlandish monotone.) That the cows with their those distended udders that they have been the known... BLOOM I am going to scream. I beg your pardon. Ah? So. (He repeats.) Spontaneously to seek out the saurian's lair in order to entrust their teats to his avid suction. Ant milks aphis. (Profoundly.) Instinct rules the world. In life. In death. VIRAG (Head askew, arches his back and hunched wing- shoulders, peers at the moth out of blear bulged eyes, points a homing claw and cries.) Who's Ger Ger? Who's dear Gerald? O, I much fear he shall be most badly burned. Will some pleashe pershon not now impediment so catastrophics mit agitation of firstclass tablenumpkin? (He mews.) Luss puss puss puss! (He sighs, draws back and stares sideways down with dropping underjaw.) Well, well. He doth rest anon. I'm a tiny tiny thing Ever flying in the spring Round and round a ringaring. Long ago I was a king, Now I do this kind of thing On the wing, on the wing! Bing! (He rushes against the mauve shade flapping noisily.) Pretty pretty pretty pretty pretty pretty petticoats. (From left upper entrance with two sliding steps Henry Flower comes forward to left front centre. He wears a dark mantle and drooping plumed sombrero. He carries a silverstringed inlaid dulcimer and a longstemmed bamboo Jacobs pipe, its clay bowl fashioned as a female head. He wears dark velvet hose and silverbuckled pumps. He has the romantic Saviour's face with flowing locks, thin beard and moustache. His spindlelegs and sparrow feet are those of the tenor Mario, prince of Candia. He settles down his goffered ruffs and moistens his lips with a passage of his amorous tongue.) HENRY (In a low dulcet voice, touching the strings of his guitar.) There is a flower that bloometh. (Virag truculent, his jowl set, stares at the lamp. Grave Bloom regards Zoe's neck. Henry gallant turns with pendent dewlap to the piano.) STEPHEN (To himself.) Play with your eyes shut. Imitate pa. Filling my belly with husks of swine. Too much of this. I will arise and go to my. Expect this is the. Steve, thou art in a parlous way. Must visit old Deasy or telegraph. Our interview of this morning has left on me a deep impression. Though our ages. Will write fully tomorrow. I'm partially drunk, by the way. (He touches the keys again.) Minor chord comes now. Yes. Not much however. (Almidano Artifoni holds out a batonroll of music with vigorous moustachework.) ARTIFONI Ci rifletta. Lei rovina tutto. FLORRY Sing us something. Love's old sweet song. STEPHEN No voice. I am a most finished artist. Lynch, did I show you the letter about the lute? FLORRY (Smirking.) The bird that can sing and won't sing. (The Siamese twins, Philip Drunk and Philip Sober two Oxford dons with lawnmowers, appear in the window embrasure. Both are masked with Matthew Arnold's face.) PHILIP SOBER Take a fool's advice. All is not well. Work it out with the buttend of a pencil, like a good young idiot. Three pounds twelve you got, two notes, one sovereign, two crowns, if youth but knew. Mooney's en ville, Mooney's sur mer, the Moira, Larchet's, Holles street hospital, Burke's. Eh? I am watching you. PHILIP DRUNK (Impatiently.) Ah, bosh, man. Go to hell! I paid my way. If I could only find out about octaves. Reduplication of personality. Who was it told me his name? (His lawnmower begins to purr.) Aha, yes. Zoe mou sas agapo. Have a notion I was here before. When was it not Atkinson his card I have somewhere? Mac somebody. Unmack I have it. He told me about, hold on, Swinburne, was it, no? FLORRY And the song? STEPHEN Spirit is willing but the flesh is weak. FLORRY Are you out of Maynooth? You're like someone I knew once. STEPHEN Out of it now. (To himself.) Clever. PHILIP DRUNK AND PHILIP SOBER (Their lawnmowers purring with a rigadoon of grasshalms.) Clever ever. Out of it. Out of it. By the by have you the book, the thing, the ashplant? Yes, there it, yes. Cleverever outofitnow. Keep in condition. Do like us. ZOE There was a priest down here two nights ago to do his bit of business with his coat buttoned up. You needn't try to hide, I says to him. I know you've a Roman collar. VIRAG Perfectly logical from his standpoint. Fall of man. (Harshly, his pupils waxing.) To hell with the pope! Nothing new under the sun. I am the Virag who disclosed the sex secrets of monks and maidens. Why I left the Church of Rome. Read the Priest, the Woman and the Confessional. Penrose. Flipperty Jippert. (He wriggles.) Woman, undoing with sweet pudor her belt of rushrope, offers her allmoist yoni to man's lingam. Short time after man presents woman with pieces of jungle meat. Woman shows joy and covers herself with featherskins. Man loves her yoni fiercely with big lingam, the stiff one. (He cries.) Coactus volui. Then giddy woman will run about. Strong man grasps woman's wrist. Woman squeals, bites, spucks. Man, now fierce angry, strikes woman's fat yadgana. (He chases his tail.) Piffpaff! Popo! (He stops, sneezes.) Pchp! (He worries his butt.) Prrrrrht! LYNCH I hope you gave the good father a penance. Nine glorias for shooting a bishop. ZOE (Spouts walrus smoke through her nostrils.) He couldn't get a connection. Only, you know, sensation. A dry rush. BLOOM Poor man! ZOE (Lightly.) Only for what happened him. BLOOM How? VIRAG (A diabolic rictus of black luminosity contracting his visage, cranes his scraggy neck forward. He lifts a mooncalf nozzle and howls.) Verfluchte Goim! He had a father, forty fathers. He never existed. Pig God! He had two left feet. He was Judas Iacchias, a Libyan eunuch, the pope's bastard. (He leans out on tortured forepaws, elbows bent rigid, his eye agonising in his flat skullneck and yelps over the mute world.) A son of a whore. Apocalypse. KITTY And Mary Shortall that was in the lock with the pox she got from Jimmy Pidgeon in the blue caps had a child off him that couldn't swallow and was smothered with the convulsions in the mattress and we all subscribed for the funeral. PHILIP DRUNK (Gravely.) Qui vous a mis dans cette fichue position, Philippe? PHILIP SOBER (Gaily.) C'était le sacré pigeon, Philippe. (Kitty unpins her hat and sets it down calmly, patting her henna hair. And a prettier, a daintier head of winsome curls was never seen on a whores shoulders. Lynch puts on her hat. She whips it off.) LYNCH (Laughs.) And to such delights has Metchnikoff inoculated anthropoid apes. FLORRY (Nods.) Locomotor ataxy. ZOE (Gaily.) O, my dictionary. LYNCH Three wise virgins. VIRAG (Agueshaken, profuse yellow spawn foaming over his bony epileptic lips.) She sold lovephiltres, whitewax, orange flower. Panther, the Roman centurion, polluted her with his genitories. (He sticks out a flickering phosphorescent scorpion tongue, his hand on his fork.) Messiah! He burst her tympanum. (With gibbering baboon's cries he jerks his hips in the cynical spasm.) Hik! Hek! Hak! Hok! Huk! Kok! Kuk! (Ben Jumbo Dollard, rubicund, musclebound, hairynostrilled, hugebearded, cabbageeared, shaggychested, shockmaned, fatpapped, stands forth, his loins and genitals tightened into a pair of black bathing bagslops.) BEN POLLARD (Nakkering castanet bones in his huge padded paws, yodels jovially in base barreltone.) When love absorbs my ardent soul. (The virgins, Nurse Callan and Nurse Quigley, burst through the ringkeepers and the ropes and mob him with open arms.) THE VIRGINS (Gushingly.) Big Ben! Ben MacChree! A VOICE Hold that fellow with the bad breeches. BEN DOLLARD (Smites his thigh in abundant laughter.) Hold him now. HENRY (Caressing on his breast a severed female head, murmurs.) Thine heart, mine love. (He plucks his lutestrings.) When first I saw. VIRAG (Sloughing his skins, his multitudinous plumage moulting.) Rats! (He yawns; showing a coalblack throat and closes his jaws by an upward push of his parchment roll.) After having said which I took my departure. Farewell. Fare thee well. Dreck! (Henry Flower combs his moustache and beard rapidly with a pocketcomb and gives a cows lick to his hair. Steered by his rapier, he glides to the door his wild had slung behind him. Virag reaches the door in two ungainly stilthops, his tail cocked, and deftly claps sideways on the wall a pusyellow flybill, butting it with his head.) THE FLYBILL K. 11. post no bills. Strictly confidential. Dr Hy Franks. HENRY All is lost now. (Virag unscrews his head in a trice and holds it under his arm.) VIRAG'S HEAD Quack! (Exeunt severally.) STEPHEN (Over his shoulder to Zoe.) You would have preferred the fighting parson who founded the protestant error. But beware Antisthenes, the dog sage, and the last end of Anus Heresiarchus. The agony in the closet. LYNCH All one and the same God to her. STEPHEN (Devoutly.) And Sovereign Lord of all things. FLORRY (To Stephen.) I'm sure you are a spoiled priest. Or a monk. LYNCH He is. A Cardinal's son. STEPHEN Cardinal sin. Monks of the screw. (His Eminence, Simon Stephen Cardinal Dedalus, Primate of all Ireland, appears in the doorway, dressed in red soutane, sandals and socks. Seven dwarf simian acolytes, also in red, cardinal sins, uphold his train, peeping under it. He wears a battered silk hat sideways on his head. His thumbs are stuck in his armpits and his palms outspread. Round his neck hangs a rosary of corks ending on his breast in a corkscrew cross. Releasing his thumbs, he invokes grace from on high with lace wave gestures and proclaims with bloated pomp.) THE CARDINAL Conservio lies captured. He lies in the lowest dungeon With manacles and chains around his limbs Weighing upwards of three tons. (He looks at all for a moment, his right eye closed tight, his left cheek puffed out. Then, unable to repress his merriment, he rocks to and fro, ads akimbo, and sings with broad rollicking humour.) O, the poor little fellow Hi-hi-hi-hi-his legs they were yellow He was plump, fat and heavy and brisk as a snake But some bloody savage To graize his white cabbage He murdered Nell Flaherty's duckloving drake. (A multitude of midges swarms over his robe. He scratches himself with crossed arms at his ribs, grimacing, and exclaims.) I'm suffering the agony of the damned. By the hoky fiddle, thanks be to Jesus those funny little chaps are not unanimous. If they were they'd walk me off the face of the bloody globe. (His head aslant, he blesses curtly with fore and middle fingers, imparts the Easter kiss and doubleshuffles off comically, swaying his hat from side to side, shrinking quickly to the size of his train bearers. The dwarf acolytes, giggling, peeping, nudging, ogling, Easterkissing, zigzag behind him. His voice is heard mellow from afar, merciful, male, melodious.) Shall carry my heart to thee, Shall carry my heart to thee, And the breath of the balmy night Shall carry my heart to thee. (The trick doorhandle turns.) THE DOORHANDLE Theeee. ZOE The devil is in that door. (A male form passes down the creaking staircase and is heard taking the waterproof and hat from the rack. Bloom starts forward involuntarily and, half closing the door as he passes, takes the chocolate from his pocket and offers it nervously to Zoe.) ZOE (Sniffs his hair briskly.) Hum. Thank your mother for the rabbits. I'm very fond of what I like. BLOOM (Hearing a male voice in talk with the whores on the doorstep, pricks his ears.) If it were he? After? Or because not? Or the double event? ZOE (Tears open the silverfoil.) Fingers was made before forks. (She breaks off and nibbles a piece, gives a piece to Kitty Ricketts and then turns kittenishly to Lynch.) No objection to French lozenges? (He nods. She taunts him.) Have it now or wait till you get it? (He opens his mouth, his head cocked. She whirls the prize in left circle. His head follows. She whirls it back in right circle. He eyes her.) Catch. (She tosses a piece. With an adroit snap he catches it and bites it through with a crack.) KITTY (Chewing.) The engineer I was with at the bazaar does have lovely ones. Full of the best liqueurs. And the viceroy was there with his lady. The gas we had on the Toft's hobbyhorses. I'm giddy still. BLOOM (In Svengali's fur overcoat, with folded arms and Napoleonic forelock, frowns in ventriloquial exorcism with piercing eagle glance towards the door. Then, rigid, with left foot advanced, he makes a swift pass with impelling fingers and gives the sign of past master, drawing his right arm downwards from his left shoulder.) Go, go, go, I conjure you, whoever you are. (A male cough and tread are heard passing through the mist outside. Blooms features relax. He places a hand in his waistcoat, posing calmly. Zoe offers him chocolate.) BLOOM (Solemnly.) Thanks. ZOE Do as you're bid. Here. (A firm heelclacking is heard on the stairs.) BLOOM (Takes the chocolate.) Aphrodisiac? But I thought it. Vanilla calms or? Mnemo. Confused light confuses memory. Red influences lupus. Colours affect women's characters, any they have. This black makes me sad. Eat and be merry for tomorrow. (He eats.) Influence taste too, mauve. But it is so long since I. Seems new. Aphro. That priest. Must come. Better late than never. Try truffles at Andrews. (The door opens. Bella Cohen, a massive whoremistress enters. She is dressed in a threequarter ivory gown, fringed round the hem with tasselled selvedge, and cools herself flirting a black horn fan like Minnie Hauck in Carmen. On her left hand are wedding and keeper rings. Her eyes are deeply carboned. She has a sprouting moustache. Her olive face is heavy, slightly sweated and fullnosed, with orangetainted nostrils. She has lace pendant beryl eardrops.) BELLA My word! I'm all of a mucksweat. (She glances around her at the couples. Then her eyes rest on Bloom with hard insistence. Her lace fan winnows wind towards her heated face, neck and embonpoint. Her falcon eyes glitter.) THE FAN (Flirting quickly, then slowly.) Married, I see. BLOOM Yes... Partly, I have mislaid . THE FAN (Half opening, then closing.) And the missus is master. Petticoat government. BLOOM (Looks down with a sheepish grin.) That is so. THE FAN (Folding together, rests against her eardrop.) Have you forgotten me? BLOOM Yes. No. THE FAN (Folded akimbo against her waist.) Is me her was you dreamed before? Was then she him you us since knew? Am all them and the same now we? (Bella approaches, gently tapping with the fan.) BLOOM (Wincing.) Powerful being. In my eyes read that slumber which women love. THE FAN (Tapping.) We have met. You are mine. It is fate. BLOOM (Cowed.) Exuberant female. Enormously I desiderate your domination. I am exhausted, abandoned, no more young. I stand, so to speak, with an unposted letter bearing the extra regulation fee before the too late box of the general postoffice of human life. The door and window open at a right angle cause a draught of thirtytwo feet per second according to the law of falling bodies. I have felt this instant a twinge of sciatica in my left glutear muscle. It runs in our family. Poor dear papa, a widower, was a regular barometer from it. He believed in animal heat. A skin of tabby lined his winter waistcoat. Near the end, remembering king David and the Sunamite, he shared his bed with Athos, faithful after death. A dog's spittle, as you probably... (He winces.) Ah! RICHIE GOULDING (Bagweighted, passes the door.) Mocking is catch. Best value in Dub. Fit for a prince's liver and kidney. THE FAN (Tapping.) All things end. Be mine. Now. BLOOM (Undecided.) All now? I should not have parted with my talisman. Rain, exposure at dewfall on the sea rocks, a peccadillo at my time of life. Every phenomenon has a natural cause. THE FAN (Points downwards slowly.) You may. BLOOM (Looks downwards and perceives her unfastened bootlace. ) We are observed. THE FAN (Points downwards quickly.) You must. BLOOM (With desire, with reluctance.) I can make a true black knot. Learned when I served my time and worked the mail order line for Kellet's. Experienced hand. Every knot says a lot. Let me. In courtesy. I knelt once before today. Ah! (Bella raises her gown slightly and, steadying her pose, lifts to the edge of a chair a plump buskined hoof and a full pastern, silksocked. Bloom, stifflegged ageing, bends over her hoof and with gentle fingers draws out and in her laces.) BLOOM (Murmurs lovingly.) To be a shoefitter in Mansfield's was my love's young dream, the darling joys of sweet buttonhooking, to lace up crisscrossed to kneelength the dressy kid footwear satinlined, so incredibly small, of Clyde Road ladies. Even their wax model Raymonde I visited daily to admire her cobweb hose and stick of rhubarb toe, as worn in Paris. THE HOOF Smell my hot goathide. Feel my royal weight. BLOOM (Crosslacing.) Too tight? THE HOOF If you bungle, Handy Andy, I'll kick your football for you. BLOOM Not to lace the wrong eyelet as I did the night of the bazaar dance. Bad luck. Nook in wrong tache of her... person you mentioned. That night she met... Now! (He knots the lace. Bella places her foot on the floor. Bloom raises his head. Her heavy face, her eyes strike him in mid-brow. His eyes grow dull, darker and pouched, his nose thickens.) BLOOM (Mumbles.) Awaiting your further orders, we remain, gentlemen. BELLO (With a hard basilisk stare, in a baritone voice.) Hound of dishonour! BLOOM (Infatuated.) Empress! BELLO (His heavy cheekchops sagging.) Adorer of the adulterous rump! BLOOM (Plaintively.) Hugeness! BELLO Dungdevourer! BLOOM (With sinews semiflexed.) Magnificence. BELLO Down! (He taps her on the shoulder with his fan.) Incline feet forward! Slide left foot one pace back. You will fall. You are falling. On the hands down! BLOOM (Her eyes upturned in the sign of admiration, closing.) Truffles! (With a piercing epileptic cry she sinks on all fours, grunting, snuffling, rooting at his feet, then lies, shamming dead with eyes shut tight, trembling eyelids, bowed upon the ground in the attitude of most excellent master.) BELLO (With bobbed hair purple gills, fat moustache rings round his shaven mouth, in mountaineer's puttees, green silverbuttoned coat, sport skirt and alpine hat with moor cock's feather, his hands stuck deep in his breeches pockets, places his heel on her neck and grinds it in.) Feel my entire weight. Bow, bondslave, before the throne of your despot's glorious heels, so glistening in their proud erectness. BLOOM (Enthralled, bleats.) I promise never to disobey. BELLO (Laughs loudly.) Holy smoke! You little know what's in store for you. I'm the tartar to settle your little lot and break you in! I'll bet Kentucky cocktails all round I shame it out of you, old son. Cheek me, I dare you. If you do tremble in anticipation of heel discipline to be inflicted in gym costume. (Bloom creeps under the sofa and peers out through the fringe. ZOE (Widening her slip to screen her.) She's not here. BLOOM (Closing her eyes.) She's not here. FLORRY (Hiding her with her gown.) She didn't mean it, Mr Bello. She'll be good, sir. KITTY Don't be too hard on her, Mr Bello. Sure you won't, ma'amsir. BELLO (Coaxingly.) Come, ducky dear. I want a word with you, darling, just to administer correction. Just a little heart to heart talk, sweety. (Bloom puts out her timid head.) There's a good girly now. (Bello grabs her hair violently and drags her forward.) I only want to correct you for your own good on a soft safe spot. How's that tender behind? O, ever so gently, pet. Begin to get ready. BLOOM (Fainting.) Don't tear my. BELLO (Savagely.) The nosering, the pliers, the bastinado, the hanging hook, the knout I'll make you kiss while the flutes play like the Nubian slave of old. You're in for it this time. I'll make you remember me for the balance of your natural life. (His forehead veins swollen, his face congested.) I shall sit on your ottoman saddleback every morning after my thumping good breakfast of Matterson's fat ham rashers and a bottle of Guinness's porter. (He belches.) And suck my thumping good Stock Exchange cigar while I read the Licensed Victualler's Gazette. Very possibly I shall have you slaughtered and skewered in my stables and enjoy a slice Of you with crisp crackling from the baking tin basted and baked like sucking pig with rice and lemon or currant sauce. It will hurt you. (He twists her arm. Bloom squeaks, turning turtle.) BLOOM Don't be cruel, nurse! Don't! BELLO (Twisting.) Another! BLOOM (Screams.) O, it's hell itself! Every nerve in my body aches like mad! BELLO (Shouts.) Good, by the rumping jumping general! That's the best bit of news I heard these six weeks. Here, don't keep me waiting, damn you. (He slaps her face.) BLOOM (Whimpers.) You're after hitting me. I'll tell... BELLO Hold him down, girls, till I squat on him. ZOE Yes. Walk on him! I will. FLORRY I will. Don't be greedy. KITTY No, me. Lend him to me. (The brothel cook, Mrs Keogh, wrinkled, greybearded, in a greasy bib, men's grey and green socks and brogues, flour-smeared, a rollingpin stuck with raw pastry in her bare red arm and hand, appears at the door.) MRS KEOCH (Ferociously.) Can I help? (They hold and pinion Bloom.) BELLO (Squats, with a grunt, on Bloom's upturned face, puffing cigar-smoke, nursing a fat leg.) I see Keating Clay is elected chairman of the Richmond Asylum and bytheby Guinness's preference shares are at sixteen three quarters. Curse me for a fool that I didn't buy that lot Craig and Gardner told me about. Just my infernal luck, curse it. And that Goddamned outsider Throwaway at twenty to one. (He quenches his cigar angrily on Bloom's ear.) Where's that Goddamned cursed ashtray? BLOOM (Goaded, buttocksmothered.) O! O! Monsters! Cruel one! BELLO Ask for that every ten minutes. Beg, pray for it as you never prayed before. (He thrusts out a figged fist and foul cigar.) Here, kiss that. Both. Kiss. (He throws a leg astride and, pressing with horseman's knees, calls in a hard voice.) Gee up! A cockhorse to Banbury cross. I'll ride him for the Eclipse stakes. (He bends sideways and squeezes his mount's testicles roughly, shouting.) Ho! off we pop! I'll nurse you in proper fashion. (He horserides cockhorse, leaping in the saddle.) The lady goes a pace a pace and the coachman goes a trot a trot and the gentleman goes a gallop a gallop a gallop a gallop. FLORRY (Pulls at Bello.) Let me on him now. You had enough. I asked before you. ZOE (Pulling at Florry.) Me. Me. Are you not finished with him yet, suckeress? BLOOM (Stifling.) Can't. BELLO Well, I'm not. Wait. (He holds in his breath.) Curse it. Here. This bung's about burst. (He uncorks himself behind: then, contorting his features, farts loudly.) Take that! (He recorks himself) Yes, by Jingo, sixteen three quarters. BLOOM (A sweat breaking out over him.) Not man. (He sniffs.) Woman. BELLO (Stands up.) No more blow hot and cold. What you longed for has come to pass. Henceforth you are unmanned and mine in earnest, a thing under the yoke. Now for your punishment frock. You will shed your male garments, you understand, Ruby Cohen? and don the shot silk luxuriously rustling over head and shoulders and quickly too. BLOOM (Shrinks.) Silk, mistress said! O crinkly! scrapy! Must I tip-touch it with my nails? BELLO (Points to his whores.) As they are now, so will you be, wigged, singed, perfumesprayed, ricepowdered, with smoothshaven armpits. Tape measurements will be taken next your skin. You will be laced with cruel force into vicelike corsets of soft dove coutille, with whalebone busk, to the diamond trimmed pelvis, the absolute outside edge, while your figure, plumper than when at large, will be restrained in nettight frocks, pretty two ounce petticoats and fringes and things stamped, of course, with my houseflag, creations of lovely lingerie for Alice and nice scent for Alice. Alice will feel the pullpull. Martha and Mary will be a little chilly at first in such delicate thighcasing but the frilly flimsiness of lace round your bare knees will remind you... BLOOM (A chafing soubrette with dauby cheeks, mustard hair and lace male hands and nose, leering mouth.) I tried her things on only once, a small prank, in Holles street. When we were hardup I washed them to save the laundry bill. My own shirts I turned. It was the purest thrift. BELLO (Jeers.) Little jobs that make mother pleased, eh! and showed off coquettishly in your domino at the mirror behind close-drawn blinds your unskirted thighs and hegoat's udders, in various poses of surrender, eh? Ho! Ho! I have to laugh! That secondhand black operatop shift and short trunk leg naughties all split up the stitches at her last rape that Mrs Miriam Dandrade sold you from the Shelbourne Hotel, eh? BLOOM Miriam, Black. Demimondaine. BELLO (Guffaws.) Christ Almighty, it's too tickling, this! You were a nicelooking Miriam when you clipped off your backgate hairs and lay swooning in the thing across the bed as Mrs Dandrade, about to be violated by Lieutenant Smythe Smythe, Mr Philip Augustus Blockwell, M.P., Signor Laci Daremo, the robust tenor, blueeyed Bert, the liftboy, Henry Fleury of Gordon Bennett fame, Sheridan, the quadroon Cr&Aelig;sus, the varsity wetbob eight from old Trinity, Ponto, her splendid Newfoundland and Bobs, dowager duchess of Manorhamilton. (He guffaws again.) Christ, wouldn't it make a Siamese cat laugh? BLOOM (Her hands and features working.) It was Gerald converted me to be a true corsetlover when I was female impersonator in the High School play Vice Versa. It was dear Gerald. He got that kink, fascinated by sister's stays. Now dearest Gerald uses pinky greasepaint and gilds his eyelids. Cult of the beautiful. BELLO (With wicked glee.) Beautiful! Give us a breather! When you took your seat with womanish care, lifting your billowy flounces, on the smoothworn throne. BLOOM Science. To compare the various joys we each enjoy. (Earnestly.) And really it's better the position... because often I used to wet. BELLO (Sternly.) No insubordination. The sawdust is there in the corner for you. I gave you strict instructions, didn't I? Do it standing, sir! I'll teach you to behave like a jinkleman! If I catch a trace on your swaddles. Aha! By the ass of the Dorans you'll find I'm a martinet. The sins of your past are rising against you. Many. Hundreds. THE SINS OF THE PAST (In a medley of voices.) He went through a form of clandestine marriage with at least one woman in the shadow of the Black Church. Unspeakable messages he telephoned mentally to Miss Dunn at an address in d'Olier Street while he presented himself indecently to the instrument in the callbox. By word and deed he encouraged a nocturnal strumpet to deposit fecal and other matter in an unsanitary outhouse attached to empty premises. In five public conveniences he wrote pencilled messages offering his nuptial partner to all strongmembered males. And by the offensively smelling vitriol works did he not pass night after night by loving courting couples to see if and what and how much he could see? Did he not lie in bed, the gross boar, gloating over a nauseous fragment of wellused toilet paper presented to him by a nasty harlot, stimulated by gingerbread and a postal order? BELLO (Whistles loudly.) Say! What was the most revolting piece of obscenity in all your career of crime? Go the whole hog. Puke it out. Be candid for once. (Mute inhuman faces throng forward, leering, vanishing, gibbering, Eooloohoom. Poldy Hock, Bootlaces a penny, cassidy's hag, blind stripling, Larry Rhinoceros, the girl, the woman, the whore, the other the... ) BLOOM Don't ask me. Our mutual faith. Pleasants street. I only thought the half of the... I swear on my sacred oath... BELLO (Peremptorily.) Answer. Repugnant wretch! I insist on knowing. Tell me something to amuse me, smut or a bloody good-ghoststory or a line of poetry, quick, quick, quick! Where? How? What time? With how many? I give you just three seconds. One! Two! Thr... ! BLOOM (Docile, gurgles.) I rererepugnosed in rerererepugnant... BELLO (Imperiously.) O get out, you skunk! Hold your tongue! Speak when you're spoken to. BLOOM (Bows.) Master! Mistress! Mantamer! (He lifts his arms. His bangle bracelets fall.) BELLO (Satirically.) By day you will souse and bat our smelling underclothes, also when we ladies are unwell, and swab out our latrines with dress pinned up and a dishclout tied to your tail. Won't that be nice? (He places a ruby ring on her finger.) And there now! With this ring I thee own. Say, thank you, mistress. BLOOM Thank you, mistress. BELLO You will make the beds, get my tub ready, empty the pisspots in the different rooms, including old Mrs Keogh's the cook's, a sandy one. Ay, and rinse the seven of them well, mind, or lap it up like champagne. Drink me piping hot. Hop! you will dance attendance or I'll lecture you on your misdeeds, Miss Ruby, and spank your bare bot right well, miss, with the hairbrush. You'll be taught the error of your ways. At night your wellcreamed braceleted hands will wear fortythreebutton gloves newpowdered with talc and having delicately scented fingertips. For such favours knights of old laid down their lives. (He chuckles.) My boys will be no end charmed to see you so ladylike, the colonel, above all. When they come here the night before the wedding to fondle my new attraction in gilded heels. First, I'll have a go at you myself. A man I know on the turf named Charles Alberta Marsh (I was in bed with him just now and another gentleman out of the Hanaper and Petty Bag office) is on the lookout for a maid of all work at a short knock. Swell the bust. Smile. Droop shoulders. What offers? (He points.) For that lot trained by owner to fetch and carry, basket in mouth. (He bares his arm and plunges it elbowdeep in Bloom's vulva.) There's fine depth for you! What, boys? That give you a hardon? (He shoves his arm in a bidder's face.) Here, wet the deck and wipe it round! A BIDDER A florin! (Dillon's lacquey rings his handbell.) A VOICE One and eightpence too much. THE LACQUEY Barang! CHARLES ALBERTA MARSH Must be virgin. Good breath. Clean. BELLO (Gives a rap with his gavel.) Two bar. Rockbottom figure and cheap at the price. Fourteen hands high. Touch and examine his points. Handle him. This downy skin, these soft muscles, this tender flesh. If I had only my gold piercer here! And quite easy to milk. Three newlaid gallons a day. A pure stock getter, due to lay within the hour. His sire's milk record was a thousand gallons of whole milk in forty weeks. Whoa, my jewel! Beg up! Whoa! (He brands his initial Con Bloom's croup.) So! Warranted Cohen! What advance on two bob, gentlemen? A DARKVISAGED MAN (In disguised accent.) Hoondert punt sterlink. VOICES (Subdued.) For the Caliph Haroun Al Raschid. BELLO (Gaily.) Right. Let them all come. The scanty, daringly short skirt, riding up at the knee to show a peep of white pantalette, is a potent weapon and transparent stockings, emeraldgartered, with the long straight seam trailing up beyond the knee, appeal to the better instincts of the blasé man about town. Learn the smooth mincing walk on four inch Louis XV heels, the Grecian bend with provoking croup, the thighs fluescent, knees modestly kissing. Bring all your power of fascination to bear on them. Pander to their Gomorrahan vices. BLOOM (Bends his blushing face into his armpit and simpers with forefinger in mouth.) O, I know what you're hinting at now. BELLO What else are you good for, an impotent thing like you? (He stoops and, peering, pokes with his fan rudely under the fat suetfolds of Bloom's haunches.) Up! Up! Manx cat! What have we here? Where's your curly teapot gone to or who docked it on you, cockyolly? Sing, birdy, sing. It's as limp as a boy of six's doing his pooly behind a cart. Buy a bucket or sell your pump. (Loudly.) Can you do a man's job? BLOOM Eccles Street. BELLO (Sarcastically.) I wouldn't hurt your feelings for the world but there's a man of brawn in possession there. The tables are turned, my gay young fellow! He is something like a fullgrown outdoor man. Well for you, you muff, if you had that weapon with knobs and lumps and warts all over it. He shot his bolt, I can tell you! Foot to foot, knee to knee, belly to belly, bubs to breast! He's no eunuch. A shock of red hair he has sticking out of him behind like a furzebush! Wait for nine months, my lad! Holy ginger, it's kicking and coughing up and down in her guts already! That makes you wild, don't it? Touches the spot? (He spits in contempt.) Spittoon! BLOOM I was indecently treated, I... inform the police. Hundred pounds. Unmentionable. I. BELLO Would if you could, lame duck. A downpour we want, not your drizzle. BLOOM To drive me mad! Moll! I forgot! Forgive! Moll!... We... Still... BELLO (Ruthlessly.) No, Leopold Bloom, all is changed by woman's will since you slept horizontal in Sleepy Hollow your night of twenty years. Return and see. (Old Sleepy Hollow calls over the wold.) SLEEPY HOLLOW Rip Van Winkle! Rip Van Winkle! BLOOM (In tattered moccasins with a rusty fowlingpiece, tip toeing, fingertipping, his haggard bony bearded face peering through the diamond panes, cries out.) I see her! It's she! The first night at Mat Dillon's! But that dress, the green! And her hair is dyed gold and he. BELLO (Laughs mockingly.) That's your daughter, you owl, with a Mullingar student. (Milly Bloom, fairhaired, greenvested, slimsandalled, her bluescab in the seawind simply swirling, breaks from the arms of her lover and calls, her young eyes wonderwide.) MILLY My! It's Papli! But. O Papli, how old you've grown! BELLO Changed, eh? Our whatnot, our writing table where we never wrote, Aunt Hegarty's armchair, our classic reprints of old masters. A man and his men friends are living there in clover. The Cuckoos' Rest! Why not? How many women had you, say? Following them up dark streets, flatfoot, exciting them by your smothered grunts. What, you male prostitute? Blameless dames with parcels of groceries. Turn about. Sauce for the goose, my gander, O. BLOOM They... I BELLO (Cuttingly.) Their heelmarks will stamp the Brusselette carpet you bought at Wren's auction. In their horseplay with Moll the romp to find the buck flea in her breeches they will deface the little statue you carried home in the rain for art for art's sake. They will violate the secrets of your bottom drawer. Pages will be torn from your handbook of astronomy to make them pipespills. And they will spit in your ten shilling brass fender from Hampton Leedom's. BLOOM Ten and six. The act of low scoundrels. Let me go. I will return. I will prove... A VOICE Swear! (Bloom clenches his fists and crawls forward, a bowie knife between his teeth.) BELLO As a paying guest or a kept man? Too late. You have made your secondbest bed and others must lie in it. Your epitaph is written. You are down and out and don't you forget it, old bean. BLOOM Justice! All Ireland versus one! Has nobody... ? (He bites his thumb.) BELLO Die and be damned to you if you have any sense of decency or grace about you. I can give you a rare old wine that'll send you skipping to hell and back. Sign a will and leave us any coin you have. If you have none see you damn well get it, steal it, rob it! We'll bury you in our shrubbery jakes where you'll be dead and dirty with old Cuck Cohen, my stepnephew I married, the bloody old gouty procurator and sodomite with a crick in his neck, and my other ten or eleven husbands, what ever the buggers' names were, suffocated in the one cess pool. (He explodes in a loud phlegmy laugh.) We'll manure you, Mr Flower! (He pipes scoffingly.) Byby, Poldy! Byby, Papli! BLOOM (Clasps his head.) My will power! Memory! I have sinned! I have suff... (He weeps tearlessly.) BELLO (Sneers.) Crybabby! Crocodile tears! (Bloom, broken, closely veiled for the sacrifice, sobs, his face to the earth. The passing bell is heard. Darkshawled figures of the circumcised, in sackcloth and ashes, stand by the wailing wall. M. Shulomowitz, Joseph Goldwater Moses Herzog, Harris Rosenberg, M. Moisel, J. Citron, Minnie Watchman, 0. Mastiansky, the Reverend Leopold Abramovitz, Chazen. With swaying arms they wail in pneuma over the recreant Bloom.) THE CIRCUMCISED (In a dark guttural chant as they cast dead sea fruit upon him, no flowers.) Shema Israel Adonai Elohenu Adonai Echad. VOICES (Sighing.) So he's gone. Ah, yes. Yes, indeed. Bloom? Never heard of him. No? Queer kind of chap. There's the widow. That so? Ah, yes. (From the suttee pyre the flame of gum camphire ascends. The pall of incense smoke screens and disperses. Out of her oak frame a nymph with hair unbound, lightly clad in teabrown art colours, descends from her grotto and passing under interlacing yews, stands over Bloom.) THE YEWS (Their leaves whispering.) Sister. Our sister. Ssh. THE NYMPH (Softly.) Mortal! (Kindly.) Nay, dost not weepest! BLOOM (Crawls jellily forward under the boughs, streaked by sunlight, with dignity.) This position. I felt it was expected of me. Force of habit. THE NYMPH Mortal! You found me in evil company, high kickers, coster picnic makers, pugilists, popular generals, immoral panto boys in flesh tights and the nifty shimmy dancers, La Aurora and Karini, musical act, the hit of the century. I was hidden in cheap pink paper that smelt of rock oil. I was surrounded by the stale smut of clubmen, stories to disturb callow youth, ads for transparencies, truedup dice and bustpads, proprietary articles and why wear a truss with testimonial from ruptured gentleman. Useful hints to the married. BLOOM (Lifts a turtle head towards her lap.) We have met before. On another star. THE NYMPH (Sadly.) Rubber goods. Neverrip. Brand as sup plied to the aristocracy. Corsets for men. I cure fits or money refunded. Unsolicited testimonials for Professor Waldmann's wonderful chest exuber. My bust developed four inches in three weeks, reports Mrs Gus Rublin with photo. BLOOM You mean Photo Bits? THE NYMPH I do. You bore me away, framed me in oak and tinsel, set me above your marriage couch. Unseen, one summer eve, you kissed me in four places. And with loving pencil you shaded my eyes, my bosom and my shame. BLOOM (Humbly kisses her long hair.) Your classic curves, beautiful immortal. I was glad to look on you, to praise you, a thing of beauty, almost to pray. THE NYMPH During dark nights I heard your praise. BLOOM (Quickly.) Yes, yes. You mean that I... Sleep reveals the worst side of everyone, children perhaps excepted. I know I fell out of my bed or rather was pushed. Steel wine is said to cure snoring. For the rest there is that English invention, pamphlet of which I received some days ago, incorrectly addressed. It claims to afford a noiseless inoffensive vent. (He sighs.) 'Twas ever thus. Frailty, thy name is marriage. THE NYMPH (Her fingers in her ears.) And words. They are not in my dictionary. BLOOM You understood them? THE YEWS Ssh. THE NYMPH (Covers her face with her hand.) What have I not seen in that chamber? What must my eyes look down on? BLOOM (Apologetically.) I know. Soiled personal linen, wrong side up with care. The quoits are loose. From Gibraltar by long sea, long ago. THE NYMPH (Bends her head.) Worse! Worse! BLOOM (Reflects precautiously.) That antiquated commode. It wasn't her weight. She scaled just eleven stone nine. She put on nine pounds after weaning. It was a crack and want of glue. Eh? And that absurd orangekeyed utensil which has only one handle. (The sound of a waterfall is heard in bright cascade.) THE WATERFALL Poulaphouca Poulaphouca Poulaphouca Poulaphouca. THE YEWS (Mingling their boughs.) Listen. Whisper. She is right, our sister. We grew by Poulaphouca waterfall. We gave shade on languorous summer days. JOHN WYSE NOLAN (In the background, in Irish National For ester's uniform, doffs his plumed hat.) Prosper! Give shade on languorous days, trees of Ireland! THE YEWS (Murmuring.) Who came to Poulaphouca with the high school excursion? Who left his nutquesting classmates to seek our shade? BLOOM (Pigeonbreasted, bottleshouldered, padded, in nondescript juvenile grey and black striped suit, too small for him, white tennis shoes, bordered stockings with turnover tops, and a red school cap with badge.) I was in my teens, a growing boy. A little then sufficed, a jolting car, the mingling odours of the ladies' cloakroom and lavatory, the throng penned tight on the old Royal stairs, for they love crushes, instincts of the herd, and the dark sexsmelling theatre unbridles vice. Even a pricelist of their hosiery. And then the heat. There were sunspots that summer. End of school. And tipsycake. Halcyon days. (Halcyon Days, high school boys in blue and white football jerseys and shorts, Master Donald Turnbull, Master Abraham Chatterton, Master Owen Goldberg, Master Jack Meredith, Master Percy Apjohn, stand in a clearing of the trees and shout to Master Leopold Bloom.) THE HALCYON DAYS Mackerel! Live us again. Hurray! (They cheer.) BLOOM (Hobbledehoy, warmgloved, mammamufflered, stunned with spent snowballs, struggles to rise.) Again! I feel sixteen! What a lark! Let's ring all the bells in Montague Street. (He cheers feebly.) Hurray for the High School! THE ECHO Fool! THE YEWS (Rustling.) She is right, our sister. Whisper. (Whispered kisses are heard in all the wood. Faces of hamadryads peep out from the boles and among the leaves and break blossoming into bloom.) Who profaned our silent shade? THE NYMPH (Coyly through parting fingers.) There! In the open air? THE YEWS (Sweeping downward.) Sister, yes. And on our virgin sward. THE WATERFALL Poulaphouca Poulaphouca Phoucaphouca Phoucaphouca. THE NYMPH (With wide fingers.) O! Infamy! BLOOM I was precocious. Youth. The fauns. I sacrificed to the god of the forest. The flowers that bloom in the spring. It was pairing time. Capillary attraction is a natural phenomenon. Lotty Clarke, flaxenhaired, I saw at her night toilette through ill-closed curtains, with poor papa's operaglasses. The wanton ate grass wildly. She rolled downhill at Rialto Bridge to tempt me with her flow of animal spirits. She climbed their crooked tree and I... A saint couldn't resist it. The demon possessed me. Besides, who saw? (Staggering Bob, a whitepolled calf thrusts a ruminating head with humid nostrils through the foliage.) STAGGERING BOB Me. Me see. BLOOM Simply satisfying a need. (With pathos.) No girl would when I went girling. Too ugly. They wouldn't play. (High on Ben Howth through rhododendrons a nannygoat passes, plumpuddered, buttytailed, dropping curvants.) THE NANNYGOAT (Bleats.) Megegaggegg! Nannannanny! BLOOM (Hatless, flushed, covered with burn of thistledown and gotrepine.) Regularly engaged. Circumstances alter cases. (He gazes intently downwards on the water.) Thirtytwo head over heels per second. Press nightmare. Giddy Elijah. Fall from cliff. Sad end of government printer's clerk. (Through silversilent summer air the dummy of Bloom, rolled in a mummy, rolls rotatingly from the Lion's Head cliff into the purple Waiting waters.) THE DUMMYMUMMY Bbbbblllllbbblblodschbg? (Far out in the bay between Bailey and Kish lights the Erin's King sails, sending a broadening plume of coalsmoke from her funnel towards the land.) COUNCILLOR NANNETI (Alone on deck, in dark alpaca, yellow kitefaced, his hand in his waistcoat opening, declaims.) When my country takes her place among the nations of the earth, then, and not till then let my epitaph be written. I have... BLOOM Done. Prff. THE NYMPH (Loftily.) We immortals, as you saw today, have not such a place and no hair there either. We are stonecold and pure. We eat electric light. (She arches her body in lascivious crispation, placing her forefinger in her mouth.) Spoke to me. Heard from behind. How then could you... ? BLOOM (Pacing the heather abjectly.) O, I have been a perfect pig. Enemas too I have administered. One third of a pint of quassia, to which add a tablespoonful of rocksalt. Up the fundament. With Hamilton Long's syringe, the ladies' friend. THE NYMPH In my presence. The powderpuff. (She blushes and makes a knee.) And the rest. BLOOM (Dejected.) Yes. Peccavi! I have paid homage on that living altar where the back changes name. (With sudden fervour.) For why should the dainty scented jewelled hand, the hand that rules... ? (Figures wind serpenting in slow woodland pattern around the treestems, cooeeing.) THE VOICE OF KITTY (In the thicket.) Show us one of them cushions. THE VOICE OF FLORRY Here. (A grouse wings clumsily through the underwood.) THE VOICE OF LYNCH (In the thicket.) Whew! Piping hot! THE VOICE OF ZOE (From the thicket.) Came from a hot place. THE VOICE OF VIRAG (A birdchief bluestreaked and feathered in war panoply with his assegai, striding through a crackling canebrake over beechmast and acorns.) Hot! Hot! Ware Sitting Bull! BLOOM It overpowers me. The warm impress of her warm form. Even to sit where a woman has sat, especially with divaricated thighs, as though to grant the last favours, most especially with previously well uplifted white sateen coatpans. So womanly full. It fills me full. THE WATERFALL Phillaphulla Poulaphouca Poulaphouca Poulaphouca. THE YEWS Ssh! Sister, speak! THE NYMPH (Eyeless, in nun's white habit, coif and huge winged wimple, softly, with remote eyes.) Tranquilia convent. Sister Agatha. Mount Carmel, the apparitions of Knock and Lourdes. No more desire. (She reclines her head, sighing.) Only the ethereal. Where dreamy creamy gull waves o'er the waters dull. (Bloom half rises. His back trousers button snaps.) THE BUTTON Bip! (Two sluts of the Coombe dance rainily by, shawled, yelling flatly.) THE SLUTS O Leopold lost the pin of his drawers He didn't know what to do, To keep it up, To keep it up. BLOOM (Coldly.) You have broken the spell. The last straw. If there were only ethereal where would you all be, postulants and novices? Shy but willing, like an ass pissing. THE YEWS (Their silverfoil of leaves precipitating, their skinny arms ageing and swaying.) Deciduously! THE NYMPH Sacrilege! To attempt my virtue! (A large moist stain appears on her robe.) Sully my innocence! You are not fit to touch the garment of a pure woman. (She clutches in her robe.) Wait, Satan. You'll sing no more lovesongs. Amen. Amen. Amen. Amen. (She draws a poniard and, clad in the sheathmail of an elected knight of nine, strikes at his loins.) Nekum! BLOOM (Starts up, seizes her hand.) Hoy! Nebrakada! Cat of nine lives! Fair play, madam. No pruning knife. The fox and the grapes, is it? What do we lack with your barbed wire? Crucifix not thick enough? (He clutches her veil.) A holy abbot you want or Brophy, the lame gardener, or the spoutless statue of the watercarrier or good Mother Alphonsus, eh Reynard? THE NYMPH (With a cry, flees from him unveiled, her plaster cast cracking, a cloud of stench escaping from the cracks.) Poli... ! BLOOM (Calls after her.) As if you didn't get it on the double yourselves. No jerks and multiple mucosities all over you. I tried it. Your strength our weakness. What's our stud fee? What will you pay on the nail? You fee men dancers on the Riviera, I read. (The fleeing nymph raises a keen.) Eh! I have sixteen years of black slave labour behind me. And would a jury give me five shillings alimony tomorrow, eh? Fool someone else, not me. (He sniffs.) But. Onions. Stale. Sulphur. Grease. (The figure of Bella Cohen stands before him.) BELLA You'll know me the next time. BLOOM (Composed, regards her.) Passée. Mutton dressed as lamb. Lone in the tooth and superfluous hairs. A raw onion the last thing at night would benefit your complexion. And take some double chin drill. Your eyes are as vapid as the glass eyes of your stuffed fox. They have the dimensions of your other features, that's all. I'm not a triple screw propeller. BELLA (Contemptuously.) You're not game, in fact. (Her sowcunt barks.) Fohracht! BLOOM (Contemptuously.) Clean your nailless middle finger first, the cold spunk of your bully is dripping from your cockscomb. Take a handful of hay and wipe yourself. BELLA I know you, canvasser! Dead cod! BLOOM I saw him, kipkeeper! Pox and gleet vendor! BELLA (Turns to the piano.) Which of you was playing the dead march from Saul? ZOE Me. Mind your cornflowers. (She darts to the piano and bangs chords on it with crossed arms.) The cat's ramble through the slag. (She glances back.) Eh? Who's making love to my sweeties? (She darts back to the table.) What's yours is mine and what's mine is my own. (Kitty disconcerted coats her teeth with the silver paper. Bloom approaches Zoe.) BLOOM (Gently.) Give me back that potato, will you? Zoe Forfeits, a fine thing and a superfine thing. BLOOM (With feeling.) It is nothing, but still a relic of poor mamma. ZOE Give a thing and take it back God'll ask you where is that You'll say you don't know God'll send you down below. BLOOM There is a memory attached to it. I should like to have it. STEPHEN To have or not to have, that is the question. ZOE Here. (She hauls up a reef of her slip, revealing her bare thigh and unrolls the potato from the top of her stocking.) Those that hides knows where to find. BELLA (Frowns.) Here. This isn't a musical peepshow. And don't you smash that piano. Who's paying here? (She goes to the pianola. Stephen fumbles in his pocket and, taking out a banknote by its corner, hands it to her.) STEPHEN (With exaggerated politeness.) This silken purse I made out of the sow's ear of the public. Madam, excuse me. If you allow me. (He indicates vaguely Lynch and Bloom.) We are all in the same sweepstake, Kinch and Lynch. Dans ce bordel où tenons nostre état. LYNCH (Calls from the hearth.) Dedalus! Give her your blessing for me. STEPHEN (Hands Bella a coin.) Gold. She has it. BELLA (Looks at the money, then at Zoe, Florry and Kitty.) Do you want three girls? It's ten shillings here. STEPHEN (Delightedly.) A hundred thousand apologies. (He fumbles again and takes out and hands her two crowns.) Permit, brevi manu, my sight is somewhat troubled. (Bella goes to the table to count the money while Stephen talks to himself in monosyllables. Zoe bounds over to the table. Kitty leans over Zoe's neck. Lynch gets up, rights his cap and, clasping Kitty's waist, adds his head to the group.) FLORRY (Strives heavily to rise.) Ow! My foot's asleep. (She limps over to the table. Bloom approaches.) BELLA, ZOE. KITTY, LYNCH, BLOOM (Chattering and squabbling.) The gentleman... ten shillings... paying for the three allow me a moment... this gentleman pays separate who's touching it?... ow... mind who you're pinching... are you staying the night or a short time? who did?... you're a liar, excuse me... the gentle man paid down like a gentleman... drink... it's long after eleven. STEPHEN (At the pianola, making a gesture of abhorrence.) No bottles! What, eleven? A riddle. ZOE (Lifting up her pettigown and folding a half sovereign into the top of her stocking.) Hard earned on the flat of my back. LYNCH (Lifting Kitty from the table.) Come! KITTY Wait. (She clutches the two crowns.) FLORRY And me? LYNCH Hoopla! (He lifts her carries her and bumps her down on the sofa.) STEPHEN The fox crew, the cocks flew, The bells in heaven Were striking eleven. 'Tis time for her poor soul To get out of heaven. BLOOM (Quietly lays a half sovereign on the table between Bella and Florry.) So. Allow me. (He takes up the pound note.) Three times ten. We're square. BELLA (Admiringly.) You're such a slyboots, old cocky. I could kiss you. ZOE (Points.) Hum? Deep as a drawwell. (Lynch bends Kitty back over the sofa and kisses her. Bloom goes with the poundnote to Stephen.) BLOOM This is yours. STEPHEN How is that? Le distrait or absentminded beggar. (He fumbles again in his pocket and draws out a handful of coins. An object falls.) That fell. BLOOM (Stooping, picks up and hands a box of matches.) This. STEPHEN Lucifer. Thanks. BLOOM (Quietly.) You had better hand over that cash to me to take care of. Why pay more? STEPHEN (Hands him all his coins.) Be just before you are generous. BLOOM I will but is it wise? (He counts.) One, seven, eleven, and five. Six. Eleven. I don't answer for what you may have lost. STEPHEN Why striking eleven? Proparoxyton. Moment before the next Lessing says. Thirsty fox. (He laughs loudly.) Burying his grandmother. Probably he killed her. BLOOM That is one pound six and eleven. One pound seven, say. STEPHEN Doesn't matter a rambling damn. BLOOM No, but... STEPHEN (Comes to the table.) Cigarette, please. (Lynch tosses a cigarette from the sofa to the table.) And so Georgina Johnson is dead and married. (A cigarette appears on the table. Stephen looks at it.) Wonder. Parlour magic. Married. Hm. (He strikes a match and proceeds to light the cigarette with enigmatic melancholy.) LYNCH (Watching him.) You would have a better chance of lighting it if you held the match nearer. STEPHEN (Brings the match nearer his eye.) Lynx eye. Must get glasses. Broke them yesterday. Sixteen years ago. Distance. The eye sees all flat. (He draws the match away. It goes out.) Brain thinks. Near: far. Ineluctable modality of the visible. (He frowns mysteriously.) Hm. Sphinx. The beast that has two backs at midnight. Married. ZOE It was a commercial traveller married her and took her away with him. FLORRY (Nods.) Mr Lambe from London. STEPHEN Lamb of London, who takest away the sins of our world. LYNCH (Embracing Kitty on the sofa, chants deeply.) Dona nobis pacem. (The cigarette slips from Stephens fingers. Bloom picks it up and throws it into the grate.) BLOOM Don't smoke. You ought to eat. Cursed dog I met. (To Zoe.) You have nothing? ZOE Is he hungry? STEPHEN (Extends his hand to her smiling and chants to the air of the bloodoath in the Dusk of the Gods.) Hangende Hunger, Fragende Frau, Macht uns alle kaput. ZOE (Tragically.) Hamlet, I am thy father's gimlet! (She takes his hand.) Blue eyed beauty, I'll read your hand. (She points to his forehead.) No wit, no wrinkles. (She counts.) Two, three, Mars, that's courage. (Stephen shakes his head.) No kid. LYNCH Sheet lightning courage. The youth who could not shiver and shake. (To Zoe.) Who taught you palmistry? ZOE (Turns.) Ask my ballocks that I haven't got. (To Stephen.) I see it in your face. The eye, like that. (She frowns with lowered head.) LYNCH (Laughing, slaps Kitty behind twice.) Like that. Pandy bat. (Twice loudly a pandybat cracks, the coffin of the pianola flies open, the bald little round jack-in-the-box head of Father Dolan springs up.) FATHER DOLAN Any boy want flogging? Broke his glasses? Lazy idle little schemer. See it in your eye. (Mild, benign, rectorial, reproving, the head of Don John Conmee rises from the pianola coffin.) DON JOHN CONMEE Now, Father Dolan! Now. I'm sure that Stephen is a very good little boy. ZOE (Examining Stephen's palm.) Woman's hand. STEPHEN (Murmurs.) Continue. Lie. Hold me. Caress. I never could read His handwriting except His criminal thumbprint on the haddock. ZOE What day were you born? STEPHEN Thursday. Today. ZOE Thursday's child has far to go. (She traces lines on his hand.) Line of fate. Influential friends. FLORRY (Pointing.) Imagination. ZOE Mount of the moon. You'll meet with a... (She peers at his hands abruptly.) I won't tell you what's not good for you. Or do you want to know? BLOOM (Detaches her fingers and offers his palm.) More harm than good. Here. Read mine. BELLA Show. (She turns up Bloom's hand.) I thought so. Knobby knuckles, for the women. ZOE (Peering at Bloom's palm.) Gridiron. Travels beyond the sea and marry money. BLOOM Wrong. ZOE (Quickly.) O, I see. Short little finger. Henpecked husband. That wrong? (Black Liz, a huge rooster hatching in a chalked circle, rises, stretches her wings and clucks.) BLACK LIZ Gara. Klook. Klook. Klook. (She sidles from her newlaid egg and waddles off.) BLOOM (Points to his hand.) That weal there is an accident. Fell and cut it twenty-two years ago. I was sixteen. ZOE I see, says the blind man. Tell us news. STEPHEN See? Moves to one great goal. I am twenty two too. Sixteen years ago I twentytwo tumbled, twentytwo years ago he sixteen fell off his hobbyhorse. (He winces.) Hurt my hand somewhere. Must see a dentist. Money? (Zoe whispers to Florry. They giggle. Bloom releases his hand and writes idly on the table in backhand, pencilling slow curves.) FLORRY What? (A hackneycar number three hundred and twentyfour, with a gallantbuttocked mare, driven by James Barton, Harmony Avenue, Donnybrook, trots past. Blazes Boylan and Lenehan sprawl swaying on the sideseats. The Ormond boots crouches behind on the axle. Sadly over the crossblind Lydia Douce and Mina Kennedy gaze.) THE BOOTS (Jogging, mocks them with thumb and wriggling wormfingers.) Haw, haw, have you the horn? (Bronze by gold they whisper.) ZOE (To Florry.) Whisper. (They whisper again.) (Over the well of the car Blazes Boylan leans, his boater straw set sideways, a red flower in his mouth. Lenehan, in a yachtsman's cap and white shoes, officiously detaches a long hair from Blazes Boylan s shoulder.) LENEHAN Ho! What do I here behold? Were you brushing the cobwebs off a few quims? BOYLAN (Seated, smiles.) Plucking a turkey. LENEHAN A good night's work. BOYLAN (Holding up four thick bluntungulated fingers, winks.) Blazes Kate! Up to sample or your money back. (He holds out a forefinger.) Smell that. LENEHAN (Smells gleefully.) Ah! Lobster and mayonnaise. Ah! ZOE AND FLORRY (Laugh together.) Ha ha ha ha. BOYLAN bumps surely from the car and calls loudly for all to hear. ) Hello, Bloom! Mrs Bloom up yet? BLOOM (In a flunkey's plum plush coat and kneebreeches, buff stockings and powdered wig.) I'm afraid not, sir, the last articles... BOYLAN (Tosses him sixpence.) Here, to buy yourself a gin and splash. (He hangs his hat smartly on a peg of Bloom's antlered head.) Show me in. I have a little private business with your wife. You understand? BLOOM Thank you, sir. Yes, sir, Madam Tweedy is in her bath, sir. MARION He ought to feel himself highly honoured. (She plops splashing out of the water.) Raoul, darling, come and dry me. I'm in my pelt. Only my new hat and a carriage sponge. BOYLAN (A merry twinkle in his eye.) Topping! BELLA What? What is it? (Zoe whispers to her.) MARION Let him look, the pishogue! Pimp! And scourge himself! I'll write to a powerful prostitute or Bartholomona, the bearded woman, to raise weals out on him an inch thick and make him bring me back a signed and stamped receipt. BELLA (Laughing.) Ho ho ho ho. BOYLAN (To Bloom, over his shoulder.) You can apply your eye to the keyhole and play with yourself while I just go through her a few times. BLOOM Thank you, sir, I will, sir. May I bring two men chums to witness the deed and take a snapshot? (He holds an ointment jar.) Vaseline, sir? Orangeflower?... Lukewarm water?... KITTY (From the sofa.) Tell us, Florry. Tell us. What. (Florry whispers to her. Whispering lovewords murmur lip-lapping loudly, poppysmic plopslop.) MINA KENNEDY (Her eyes upturned.) O, it must be like the scent of geraniums and lovely peaches! O, he simply idolises every bit of her! Stuck together! Covered with kisses! LYDIA DOUCE (Her mouth opening.) Yumyum. O, he's carrying her round the room doing it! Ride a cock horse. You could hear them in Paris and New York. Like mouthfuls of strawberries and cream. KITTY (Laughing.) Hee hee hee. BOYLAN'S VOICE (Sweetly, hoarsely, in the pit of his stomach.) Ah! Gooblazqruk brukarchkrasht! MARION'S VOICE (Hoarsely, sweetly rising to her throat.) O! Weeshwashtkissima, pooisthnapoohuck! BLOOM (His eyes wildly dilated, clasps himself) Show! Hide! Show! Plough her! More! Shoot! BELLA, ZOE, FLORRY. KITTY Ho ho! Ha ha! Hee hee! LYNCH (Points.) The mirror up to nature. (He laughs.) Hu hu hu hu hu hu. (Stephen and Bloom gaze in the mirror. The face of William Shakespeare, beardless, appears there, rigid in facial paralysis, crowned by the reflection of the reindeer antlered hatrack in the hall.) SHAKESPEARE (In dignified ventriloquy.) 'Tis the loud laugh bespeaks the vacant mind. (To Bloom.) Thou thoughtest as how thou wastest invisible. Gaze. (He crows with a black capon's laugh.) Iagogo! How my Oldfellow chokit his Thursdaymomun. Iagogogo! BLOOM (Smiles yellowly at the whores.) When will I hear the joke? ZOE Before you're twice married and once a widower. BLOOM Lapses are condoned. Even the great Napoleon, when measurements were taken near the skin after his death... (Mrs Dignam, widow woman, her snubnose and cheeks flushed with deathtalk, tears and Tunny's tawny sherry, hurries by in her weeds, her bonnet awry, rouging and powdering her cheeks, lips and nose, a pen chivvying her brood of cygnets. Beneath her skirt appear her late husband's everyday trousers and turnedup boots, lace eights. She holds a Scottish widow's insurance policy and lace marqueeumbrella under which her brood runs with her, Patsy hopping on one short foot, his collar loose, a hank of porksteaks dangling, Freddy whimpering, Susy with a crying cods mouth, Alice struggling with the baby. She cuffs them on, her streamers flaunting aloft.) FREDDY Ah, ma, you're dragging me along! SUSY Mamma, the beeftea is fizzing over! SHAKESPEARE (With paralytic rage.) Weda seca whokilla farst. (The face of Martin Cunningham, bearded, refeatures Shakespeares beardless face. The marqueeumbrella sways drunkenly, the children run aside. Under the umbrella appears Mrs Cunningham in Merry Widow hat and kimono gown. She glides sidling and bowing, twisting japanesily.) MRS CUNNINGHAM (Sings.) And they call me the jewel of Asia. MARTIN CUNNINGHAM (Gazes on her impassive.) Immense! Most bloody awful demirep! STEPHEN Et exaltabuntur cornua iusti. Queens lay with prize bulls. Remember Pasiphae for whose lust my grandoldgross father made the first confessionbox. Forget not Madam Grissel Steevens nor the suine scions of the house of Lambert. And Noah was drunk with wine. And his ark was open. BELLA None of that here. Come to the wrong shop. LYNCH Let him alone. He's back from Paris. ZOE (Runs to Stephen and links him.) O go on! Give us some parleyvoo. (Stephen claps hat on head and leaps over to the fireplace, where he stands with shrugged shoulders, finny hands outspread, a painted smile on his face.) LYNCH (Pommelling on the sofa.) Rmm Rmm Rmm Rrr rrrmmmmm. STEPHEN (Gobbles, with marionette jerks. ) Thousand places of entertainment to expenses your evenings with lovely ladies saling gloves and other things perhaps her heart beerchops perfect fashionable house very eccentric where lots cocottes beautiful dressed much about princesses like are dancing cancan and walking there parisian clowneries extra foolish for bachelors foreigns the same if talking a poor english how much smart they are on things love and sensations voluptuous. Misters very selects for is pleasure must to visit heaven and hell show with mortuary candles and they tears silver which occur every night. Perfectly shocking terrific of religion's things mockery seen in universal world. All chic womans which arrive full of modesty then disrobe and squeal loud to see vampire man debauch nun very fresh young with dessous troublants. (He clocks his tongue loudly.) Ho, la la! Ce pif qu'il a! LYNCH Vive le vampire! THE WHORES Bravo! Parleyvoo! STEPHEN (Grimacing with head back, laughs loudly, clapping himself) Great success of laughing. Angels much prostitutes like and holy apostles big damn ruffians. Demimondaines nicely handsome sparkling of diamonds very amiable cos turned. Or do you are fond better what belongs they moderns pleasure turpitude of old mans? (He points about him with grotesque gestures which Lynch and the whores reply to.) Caoutchouc statue woman reversible or lifesize tompeeptoms virgins nudities very lesbic the kiss five ten times. Enter gentlemen to see in mirrors every positions trapezes all that machine there besides also if desire act awfully bestial butcher's boy pollutes in warm veal liver or omelette on the belly pièce de Shakespeare. BELLA (Clapping her belly, sinks back on the sofa with a shout of laughter.) An omelette on the... Ho! ho! ho! ho!... Omelette on the... STEPHEN (Mincingly.) I love you, Sir darling. Speak you englishman tongue for double entente cordiale. O yes, mon loup. How much cost? Waterloo. Watercloset. (He ceases suddenly and holds up a forefinger.) BELLA (Laughing.) Omelette... THE WHORES (Laughing.) Encore! Encore! STEPHEN Mark me. I dreamt of a watermelon. ZOE Go abroad and love a foreign lady. LYNCH Across the world for a wife. FLORRY Dreams go by contraries. STEPHEN (Extending his arms.) It was here. Street of harlots. In Serpentine Avenue Beelzebub showed me her, a fubsy widow. Where's the red carpet spread? BLOOM (Approaching Stephen.) Look. STEPHEN No, I flew. My foes beneath me. And ever shall be. World without end. (He cries.) Pater! Free! BLOOM I say, look... STEPHEN Break my spirit, will he? O merde alors! (He cries, his vulture talons sharpened.) Hola! Hillyho! (Simon Dedalus' voice hilloes in answer, somewhat sleepy but ready.) SIMON That's all right. (He swoops uncertainly through the air, wheeling, uttering cries of heartening, on strong ponderous buzzard wings.) Ho, boy! Are you going to win? Hoop! Pschatt! Stable with those halfcastes. Wouldn't let them within the bawl of an ass. Head up! Keep our flag flying! An eagle gules volant in a field argent displayed. Ulster king at arms! hai hoop! (He makes the beagle's call giving tongue.) Bulbul! Burblblbrurblbl! Hai, boy! (The fronds and spaces of the wallpaper file rapidly across country. A stout fox drawn from covert, brush pointed, having buried his grandmother, runs swift for the open, bright-eyed, seeking badger earth, under the leaves. The pack of staghounds follows, nose to the ground, sniffing their quarry, beaglebaying, burblbrblng to be blooded. Ward Union huntsmen and huntswomen live with them, hot for a kill. From Six Mile Point, Flathouse, Nine Mile Stone follow the footpeople with knotty sticks, salmongaffs, lassos, flockmasters with stockwhips, bearbaiters with tomtoms, toreadors with bullswords, grey negroes waving torches. The crowd bowls of dicers, crown and anchor players, thimbleriggers, broadsmen. Crows and touts, hoarse bookies in high wizard hats clamour deafeningly.) THE CROWD Card of the races. Racing card! Ten to one the field! Tommy on the clay here! Tommy on the clay! Ten to one bar one. Ten to one bar one. Try your luck on spinning Jenny! Ten to one bar one! Sell the monkey, boys! Sell the monkey! I'll give ten to one! Ten to one bar one! (A dark horse, riderless, bolts like a phantom past the winningpost, his mane moonfoaming, his eyeballs stars. The field follows, a bunch of bucking mounts. Skeleton horses: Sceptre, Maximum the Second, Zinfandel, the Duke of Westminsters Shotover, Repulse, the Duke of Beauforts' Ceylon, prix de Paris. Dwarfs ride them, rusty armoured, leaping, leaping in their saddles. Last in a drizzle of rain, on a broken-winded isabelle nag, Cock of the North, the favourite, honey cap, green jacket, orange sleeves, Garrett Deasy up, gripping the reins, a hockey stick at the ready. His nag, stumbling on whitegaitered feet, jogs along the rocky road.) THE ORANGE LODGES (Jeering.) Get down and push, mister. Last lap! You'll be home the night! GARRETT DEASY (Bolt upright, his nailscraped face plastered with postage stamps, brandishes his hockeystick, his blue eyes flashing in the prism of the chandelier as his mount lopes by at a schooling gallop.) Per vias rectas! (A yoke of buckets leopards all over him and his rearing nag, a torrent of mutton broth with dancing coins of carrots, barley, onions, turnips, potatoes.) THE GREEN LODGES Soft day, sir John! Soft day, your honour! (Private Carr, Private Compton and Cissy Caffrey pass beneath the windows, singing in discord.) STEPHEN Hark! Our friend, noise in the street! ZOE (Holds up her hand.) Stop! PRIVATE CARR, PRIVATE COMPTON and CISSY CAFFREY Yet I've a sort a Yorkshire relish for... ZOE That's me. (She claps her hands.) Dance! Dance! (She runs to the pianola.) Who has twopence? BLOOM Who'll. LYNCH (Handing her coins.) Here. STEPHEN (Cracking his fingers impatiently.) Quick! Quick! Where's my augur's rod? (He runs to the piano and takes his ashplant, beating his foot in tripudium.) ZOE (Turns the drumhandle.) There. (She drops two pennies in the slot. Glow pink and violet lights start forth. The drum turns purring in low hesitation waltz. Professor Goodwin, in a bowknotted periwig, in court dress, wearing a stained inverness cape, bent in two from incredible age, totters across the room, his hands fluttering. He sits tinily on the piano stool and lifts and beats handless sticks of arms on the keyboard, nodding with damsels grace, his bowknot bobbing.) ZOE (Twirls around herself heeltapping.) Dance. Anybody here for there? Who'll dance? (The pianola, with changing lights, plays in waltz time the prelude to My Girl's a Yorkshire Girl. Stephen throws his ashplant on the table and seizes Zoe around the waist. Florry and Bella push the table towards the fireplace. Stephen, aiming Zoe with exaggerated grace, begins to waltz her around the room. Her sleeve, falling from gracing arms, reveals a white fleshflower of vaccination. Bloom stands aside. Between the curtains, Professor Maginni inserts a leg on the toepoint of which spins a silk hat. With a deft kick, he sends it spinning to his crown and jauntyhatted skates in. He wears a slate frockcoat with claret silk lapels, a go-et of cream tulle, a green lowcut waistcoat, stock collar with white kerchief tight lavender trousers, patent pumps and canary gloves. In his buttonhole is a dahlia. He twirls in reversed directions a clouded cane, then wedges it tight in his oxter. He places a hand limply on his breastbone, bows and fondles his flower and buttons.) MAGINNI The poetry of motion, art of callisthenics. No connection with Madam Legget Byrne's or Levinstone's. Fancy dress balls arranged. Deportment. The Katty Lanner steps. So. Watch me! My terpsichorean abilities. (He minuets forward three paces on tripping bee's feet.) Tout le monde an avant! Révérence! Tout le monde en place! (The prelude ceases. Professor Goodwin, beating vague arms,shrivels, shrinks, his live cape falling about the stool. The air, in firmer waltz time, pounds. Stephen and Zoe circle freely. The lights change, glow, fade, gold, rose, violet.) THE PIANOLA Two young fellows were talking about their girls, girls, girls, Sweethearts they'd left behind. (From a corner the morning hours run out, goldhaired, slim, in girlish blue, waspwaisted, with innocent hands. Nimbly they dance, twirling their skipping ropes. The hours of noon follow in amber gold. Laughing linked, high haircombs flashing, they catch the sun in mocking mirrors, lifting their arms.) MAGINNI (Clipclaps glovesilent hands.) Carré! Avant deux! Breathe evenly! Balance! (The morning and noon hours waltz in their places, turning, advancing to each other, shaping their curves, bowing vis a vis. Cavaliers behind them arch and suspend their arms, with hands descending to, touching, rising from their shoulders.) HOURS You may touch my. CAVALIERS May I touch your? HOURS O, but lightly! CAVALIERS O, so lightly! THE PIANOLA My little shy little lass has a waist. (Zoe and Stephen turn boldly with looser swing. The twilight hours advance, from long landshadows, dispersed, lagging, languideyed, their cheeks delicate with cipria and false faint bloom. They are in grey gauze with dark bat sleeves that flutter in the land breeze.) MAGINNI Avant! huit! Traversé! Salut! Cours de mains! Croisé! (The eight hours steal to the last place. Morning, noon and twilight hours retreat before them. They are masked, with daggered hair and bracelets of dull bells. Weary, they curchycurchy under veils.) THE BRACELETS Heigho! Heigho! ZOE (Twisting, her hand to her brow.) O! MAGINNI Los tiroirs! Chaîne de dames! La corbeille! Dos à dos! (Arabesquing wearily, they weave a pattern on the floor, weaving, unweaving, curtseying, twisting, simply swirling.) ZOE I'm giddy. (She frees herself droops on a chair, Stephen seizes Florry and turns with her.) MAGINNI Boulangère! Los ronds! Los ponts! Chevaux de bois! Escargots! (Twining, receding, with interchanging hands, the night hours link, each with arching arms, in a mosaic of movements. Stephen and Florry turn cumbrously.) MAGINNI Dansez avec vos dames! Changes de dames! Donnes le petit bouquet a votre dame! Remerciez! THE PIANOLA Best, best of all, Baraabum! KITTY (Jumps up.) O, they played that on the hobbyhorses at the Mirus bazaar! (She runs to Stephen. He leaves Florry brusquely and seizes Kitty. A screaming bit tern's harsh high whistle shrieks. Groangrousegurgling Toft's cumbersome whirligig turns slowly the room right roundabout the room.) THE PIANOLA My girl's a Yorkshire girl. ZOE Yorkshire through and through. Come on all! (She seizes Florry and waltzes her.) STEPHEN Pas seul! (He wheels Kitty into Lynch's arm's, snatches up his ashplant from the table and takes the floor. All wheel, whirl, waltz, twirl. Bloombella, Kittylynch, Florryzoe, jujuby women. Stephen with hat ashplant frogsplits in middle highkicks with skykicking mouth shut hand clasp part under thigh, with clang tinkle boomhammer tallyho horn blower blue green yellow flashes. Toft's cumbersome turns with hobbyhorse riders from gilded snakes dangled, bowels fandango leaping spurn soil foot and fall again.) THE PIANOLA Though she's a factory lass And wears no fancy clothes. (Closeclutched swift swifter with glareblareflare scudding they scotlootshoot lumbering by. Baraabum!) TUTTI Encore! Bis! Bravo! Encore! SIMON Think of your mother's people! STEPHEN Dance of death. (Bang fresh barang bang of lacquey's bell, horse, nag, steer piglings, Conmee on Christass lame crutch and leg sailor in cockboat armfolded ropepulling hitching stamp hornpipe' through and through, Baraabum! On nags, hogs, bellhorses, Gadarene swine, Corny in coffin. Steel shark stone one handled Nelson, two trickies Frauenzimmer plumstained from pram falling bawling. Gum, he's a champion. Fuseblue peer from barrel rev. evensong love on hackney jaunt Blazes blind coddoubled bicyclers Dilly with snowcake no fancy clothes. Then in last wiswitchback lumbering up and down bump mash tub sort of viceroy and reine relish for tublumber bumpshire rose. Baraabum!) (The couples fall aside. Stephen whirls giddily. Room whirls back. Eyes closed, he totters. Red rails fly spacewards. Stars all around suns turn roundabout. Bright midges dance on wall. He stops dead.) STEPHEN Ho! (Stephen's mother, emaciated, rises stark through the floor in leper grey with a wreath of faded orange blossoms and a torn bridal veil, her face worn and noseless, green with grave mould. Her hair is scant and lank. She fixes her bluecircled hollow eyesockets on Stephen and opens her toothless mouth uttering a silent word. A choir of virgins and confessors sing voicelessly.) THE CHOIR Liliata rutilantium te confessorum... Iubilantium te virginum... (From the top of a tower Buck Mulligan, in particoloured jester's dress of puce and yellow and clown's cap with curling bell, stands gaping at her, a smoking buttered split scone in his hand.) BUCK MULLIGAN She's beastly dead. The pity of it! Mulligan meets the afflicted mother. (He upturns his eyes.) Mercurial Malachi. THE MOTHER (With the subtle smile of death's madness.) I was once the beautiful May Goulding. I am dead. STEPHEN (Horrorstruck.) Lemur, who are you? What bogey man's trick is this? BUCK MULLIGAN (Shakes his curling capbell.) The mockery of it! Kinch killed her dogsbody bitchbody. She kicked the bucket. (Tears of molten butter fall from his eyes into the scone.) Our great sweet mother! Epi oinopa ponton. THE MOTHER (Comes nearer, breathing upon him softly her breath of wetted ashes.) All must go through it, Stephen. More women than men in the world. You too. Time will come. STEPHEN (Choking with fright, remorse and horror.) They said I killed you, mother. He offended your memory. Cancer did it, not I. Destiny. THE MOTHER (A green rill of bile trickling from a side of her mouth.) You sang that song to me. Love's bitter mystery. STEPHEN (Eagerly.) Tell me the word, mother, if you know now. The word known to all men. THE MOTHER Who saved you the night you jumped into the train at Dalkey with Paddy Lee? Who had pity for you when you were sad among the strangers? Prayer is all powerful. Prayer for the suffering souls in the Ursuline manual, and forty days' indulgence. Repent, Stephen. STEPHEN The ghoul! Hyena! THE MOTHER I pray for you in my other world. Get Dilly to make you that boiled rice every night after your brain work. Years and years I loved you, O my son, my firstborn, when you lay in my womb. ZOE (Fanning herself with the grate fan.) I'm melting! FLORRY (Points to Stephen) Look! He's white. BLOOM (Goes to the window to open it more.) Giddy. THE MOTHER (With smouldering eyes.) Repent! O, the fire of hell! STEPHEN (Panting.) The corpsechewer! Raw head and bloody bones! THE MOTHER (Her face drawing near and nearer, sending out an ashen breath.) Beware! (She raises her blackened, withered right arm slowly towards Stephen's breast with outstretched fingers.) Beware! God's hand! (A green crab with malignant red eyes sticks deep its grinning claws in Stephen's heart.) STEPHEN (Strangled with rage.) Shite! (His features grow drawn and grey and old.) BLOOM (At the window.) What? STEPHEN Ah non, par exemple! The intellectual imagination! With me all or not at all. Non serviam! FLORRY Give him some cold water. Wait. (She rushes out.) THE MOTHER (Wrings her hands slowly, moaning desperately.) O Sacred Heart of Jesus, have mercy on him! Save him from hell, O divine Sacred Heart! STEPHEN No! No! No! Break my spirit all of you if you can! I'll bring you all to heel! THE MOTHER (In the agony of her deathrattle.) Have mercy on Stephen, Lord, for my sake! Inexpressible was my anguish when expiring with love, grief and agony on Mount Calvary. STEPHEN Nothung! (He hits his ashplant high with both hands and smashes the chandelier. Time's livid final flame leaps and, in the following darkness, ruin of all space, shattered glass and toppling masonry.) THE GASJET Pwfungg! BLOOM Stop! LYNCH (Rushes forward and seizes Stephen's hand.) Here! Hold on! Don't run amok! BELLA Police! (Stephen, abandoning his ashplant, his head and arms thrown back stark, beats the ground and flees from the room past the whores at the door.) BELLA (Screams.) After him! (The two whores rush to the halldoors. Lynch and Kitty and Zoe stampede from the room. They talk excitedly. Bloom follows, returns.) THE WHORES (Jammed in the doorway, pointing.) Down there. ZOE (Pointing.) There. There's something up. BELLA Who pays for the lamp? (She seizes Bloom's coattail.) There. You were with him. The lamp's broken. BLOOM (Rushes to the hall, rushes back.) What lamp, woman? A WHORE He tore his coat. BELLA (Her eyes hard with anger and cupidity, points.) Who's to pay for that? Ten Shillings. You're a witness. BLOOM (Snatches up Stephen's ashplant.) Me? Ten shillings? Haven't you lifted enough off him? Didn't he... BELLA (Loudly.) Here, none of your tall talk. This isn't a brothel. A ten shilling house. BLOOM (His hand under the lamp, pulls the chain. Pulling, the gasjet lights up a crushed mauve purple shade. He raises the ashplant.) Only the chimney's broken. Here is all he... BELLA (Shrinks back and screams.) Jesus! Don't! BLOOM (Warding off a blow.) To show you how he hit the paper. There's not a sixpenceworth of damage done. Ten shillings! FLORRY (With a glass of water enters.) Where is he? BELLA Do you want me to call the police? BLOOM O, I know. Bulldog on the premises. But he's a Trinity student. Patrons of your establishment. Gentlemen that pay the rent. (He makes a masonic sign.) Know what I mean? Nephew of the vice-chancellor. You don't want a scandal. BELLA (Angrily.) Trinity! Coming down here ragging after the boat races and paying nothing. Are you my commander here? Where is he? I'll charge him. Disgrace him, I will. (She shouts.) Zoe! Zoe! BLOOM (Urgently.) And if it were your own son in Oxford! (Warningly.) I know. BELLA (Almost speechless.) Who are you incog? ZOE (In the doorway.) There's a row on. BLOOM What? Where? (He throws a shilling on the table and shouts.) That's for the chimney. Where? I need mountain air. (He hurries out through the hall. The whores point. Florry follows, spilling water from her tilted tumbler. On the doorstep all the whores clustered talk volubly, pointing to the right where the fog has cleared off From the left arrives a jingling hackney car. It slows to in front of the house. Bloom at the halldoor perceives Corny Kelleher who is about to dismount from the car with two silent lechers. He averts his face. Bella from within the hall uses on her whores. They blow ickylickysticky yumyum kisses. Corny Kelleher replies with a ghostly lewd smile. The silent lechers turn to pay the jarvey. Zoe and Kitty still point right. Bloom, parting them swiftly, draws his caliph's hood and poncho and hurries down the steps with sideways face. Incog Haroun al Baschid, he flits behind the silent lechers and hastens on by the railings with fleet step of a pard strewing the drag behind him, torn envelopes drenched in aniseed. The ashplant marks his stride. A pack of bloodhounds, led by Hornblower of Trinity brandishing a dogwhip in tallyho cap and an old pair of grey trousers, follows from far, picking up the scent, nearer, baying, panting, at fault, breaking away, throwing their tongues, biting his heels, leaping at his tail. He walks, runs, zigzags, gallops, lugs laid back. He is pelted with gravel, cabbagestumps, biscuitboxes, eggs, potatoes, dead codfish, womans slipperslappers. After him, freshfound, the hue and cry zigzag gallops in hot pursuit of follow my leader: 65 C 66 C night watch, John Henry Menton, Wisdom Hely, V.B. Dillon, Councillor Nannetti, Alexander Keyes, Larry O'Rourke, Joe Cuffe, Mrs O'Dowd Pisser Burke, The Nameless One, Mrs Riordan, The Citizen, Garryowen, Whatdoyoucallhim, Strangeface, Fellowthatslike, Sawhimbefore, Chapwith, Chris Callinan, sir Charles Cameron, Benjamin Dollard, Lenehan, Bartell d'Arcy, Joe Hynes, red Murray, editor Brayden, T.M. Healy, Mr Justice Fitzgibbon, John Howard Parnell, the reverend Tinned Salmon, Professor Joly, Mrs Breen, Denis Breen, Theodore Purefoy, Mina Purefoy, the Westland Row postmistress, C.P. M'Coy, friend of Lyons, Hoppy Holohan, man in the street, other man in the street, Footballboots, pugnosed driver rich protestant lady, Davy Byrne, Mrs Ellen M'Guinness, Mrs Joe Gallaher George Lidwell, Jimmy Henry on corns, Superintendent Laracy, Father Cowley, Crofton out of the Collector Generals, Dan Dawson, dental surgeon Bloom with tweezers, Mrs Bob Doran, Mrs Kennefick, Mrs Wyse Nolan, John Wyse Nolan, handsomemamedwomanrubbed againstwidebehindinClonskeatram, the bookseller of Sweets of Sin, Miss Dubedatandshedidbedad, Mesdames Gerald and Stanislaus Moran of Roebuck, the managing clerk of Drimmies colonel Hayes, Mastiansky, Citron, Penrose, Aaron Figatner, Moses Herzog, Michael E. Geraghty, Inspector Troy, Mrs Galbraith, the constable off Eccles Street corner old doctor Brady with stethoscope, the mystery man on the beach, a retriever Mrs Miriam Dandrade and all her lovers. THE HUE AND CRY (Helterskelterelterwelter) He's Bloom! Stop Bloom! Stopabloom! Stopperrobber! Hi! Hi! Stop him on the corner! (At the corner of Beaver Street beneath the scaffolding Bloom panting stops on the fringe of the noisy quarrelling knot, a lot not knowing a jot what hi! hi! row and wrangle round the whowhat brawlaltogether.) STEPHEN (With elaborate gestures, breathing deeply and slowly.) You are my guests. The uninvited. By virtue of the fifth of George and seventh of Edward. History to blame. Fabled by mothers of memory. PRIVATE CARR (To Cissy Caffrey.) Was he insulting you? STEPHEN Addressed her in vocative feminine. Probably neuter. Ungenitive. VOICES No, he didn't. The girl's telling lies. He was in Mrs Cohen's. What's up? Soldiers and civilians. CISSY CAFFREY I was in company with the soldiers and they left me to do - you know and the young man ran up behind me. But I'm faithful to the man that's treating me though I'm only a shilling whore. STEPHEN (Catches sight of Kitty's and Lynch's heads.) Hail, Sisyphus. (He points to himself and the others.) Poetic. Neopoetic. VOICES She's faithfultheman. CISSY CAFFREY Yes, to go with him. And me with a soldier friend. PRIVATE COMPTON He doesn't half want a thick ear, the blighter. Biff him one, Harry. PRIVATE CARR (To Cissy.) Was he insulting you while me and him was having a piss? LORD TENNYSON (In Union Jack blazer and cricket flannels, bareheaded, flowingbearded.) Their's not to reason why. PRIVATE COMPTON Biff him, Harry. STEPHEN (To Private Compton. ) I don't know your name but you are quite right. Doctor Swift says one man in armour will beat ten men in their shirts. Shirt is synechdoche. Part for the whole. CISSY CAFFREY (To the crowd.) No, I was with the private. STEPHEN (Amiably.) Why not? The bold soldier boy. In my opinion every lady for example... PRIVATE CARR (His cap awry, advancing to Stephen.) Say, how would it be, governor, if I was to bash in your jaw? STEPHEN (Looks up in the sky.) How? Very unpleasant. Noble art of self-pretence. Personally, I detest action. (He waves his hand) Hand hurts me slightly. Enfin, ce sont vos oignons. (To Cissy Caffrey.) Some trouble is on here. What is it, precisely? DOLLY GRAY (From her balcony waves her handkerchief giving the sign of the heroine of Jericho.) Rahab. Cook's son, goodbye. Safe home to Dolly. Dream of the girl you left behind and she will dream of you. (The soldiers turn their swimming eyes.) BLOOM (Elbowing through the crowd plucks Stephen's sleeve vigorously.) Come now, professor, that carman is waiting. STEPHEN (Turns.) Eh? (He disengages himself) Why should I not speak to him or to any human being who walks upright upon this oblate orange? (He points his finger.) I'm not afraid of what I can talk to if I see his eye. Retaining the perpendicular. (He staggers a pace back.) BLOOM (Propping him.) Retain your own. STEPHEN (Laughs emptily.) My centre of gravity is displaced. I have forgotten the trick. Let us sit down somewhere and discuss. Struggle for life is the law of existence but modern philirenists, notably the tsar and the king of England, have invented arbitration. (He taps his brow.) But in here it is I must kill the priest and the king. BIDDY THE CLAP Did you hear what the professor said? He's a professor out of the college. CUNTY KATE I did. I heard that. BIDDY THE CLAP He expresses himself with much marked refinement of phraseology. CUNTY KATE Indeed, yes. And at the same time with such apposite trenchancy. PRIVATE CARR (Pulls himself free and comes forward.) What's that you're saying about my king? (Edward the Seventh appears in an archway. He wears a white jersey on which an image of the Sacred Heart is stitched, with the insignia of Garter and Thistle, Golden Fleece, Elephant of Denmark, Skinners' and Probyns' horse, Lincoln's Inn bencher and ancient and honourable artillery company of Massachusetts. He sucks a red jujube. He is robed as a grand elect perfect and sublime mason with trowel and apron, marked made in Germany. In his left hand he holds a plasterers bucket on which is printed: Défense d'uriner. A roar of welcome greets him.) EDWARD THE SEVENTH (Slowly, solemnly but indistinctly.) Peace, perfect peace. For identification bucket in my hand. Cheerio, boys. (He turns to his subjects.) We have come here to witness a clean straight fight and we heartily wish both men the best of good luck. Mahak makar a back. (He shakes hands with Private Carr, Private Compton, Stephen, Bloom and Lynch. General applause. Edward the Seventh lifts the bucket graciously in acknowledgement.) PRIVATE CARR (To Stephen.) Say it again. STEPHEN (Nervous, friendly, pulls himself up.) I understand your point of view, though I have no king myself for the moment. This is the age of patent medicine. A discussion is difficult down here. But this is the point. You die for your country, suppose. (He places his arm on Private Carr's sleeve.) Not that I wish it for you. But I say: Let my country die for me. Up to the present it has done so. I don't want it to die. Damn death. Long live life! EDWARD THE SEVENTH (Levitates over heaps of slain in the garb and with the halo of Joking Jesus, a white jujube in his phosphorescent face.) My methods are new and are causing surprise. To make the blind see I throw dust in their eyes. STEPHEN Kings and unicorns! (He falls back a pace.) Come somewhere and we'll... What was that girl saying?... PRIVATE COMPTON Eh, Harry, give him a kick in the knackers. Stick one into Jerry. BLOOM (To the privates, softly.) He doesn't know what he's saying. Taking a little more than is good for him. Absinthe, the greeneyed monster. I know him. He's a gentleman, a poet. It's all right. STEPHEN (Nods, smiling and laughing.) Gentleman, patriot, scholar and judge of impostors. PRIVATE CARR I don't give a bugger who he is. PRIVATE COMPTON We don't give a bugger who he is. STEPHEN I seem to annoy them. Green rag to a bull. (Kevin Egan of Paris in black Spanish tasselled shirt and peep-o'-day boys hat signs to Stephen.) KEVIN EGAN H'lo. Bonjour! The vieille ogresse with the dents jaunes. (Patrice Egan peeps from behind, his rabbit face nibbling a quince leaf.) PATRICE Socialiste! DON EMILE PATRIZIO FRANZ RUPERT POPE HENNESSY (In medieval hauberk, two wild geese volant on his helm, with noble indignation points a mailed hand against the privates.) Were those eykes to footboden, big grand porcos of johnyellows todos covered of gravy! BLOOM (To Stephen.) Come home. You'll get into trouble. STEPHEN (Swaying.) I don't avoid it. He provokes my intelligence. BIDDY THE CLAP One immediately observes that he is of patrician lineage. THE VIRAGO Green above the red, says he. Wolfe Tone. THE BAWD The red's as good as the green, and better. Up the soldiers! Up King Edward! A ROUGH (Laughs.) Ay! Hands up to De Wet. THE CITIZEN (With a huge emerald muffler and shillelagh, calls.) May the God above Send down a cove With teeth as sharp as razors To slit the throat Of the English dogs That hanged our Irish leaders. THE CROPPY BOY (The rope noose round his neck, gripes in his issuing bowels with both hands.) I bear no hate to a living thing, But love my country beyond the king. RUMBOLD, DEMON BARBER (Accompanied by two blackmasked assistants, advances with a gladstone bag which he opens.) Ladies and gents, cleaver purchased by Mrs Pearcy to slay Mogg. Knife with which Voisin dismembered the wife of a compatriot and hid remains in a sheet in the cellar, the unfortunate female's throat being cut from ear to ear. Phial containing arsenic retrieved from the body of Miss Barrow which sent Seddon to the gallows. (He jerks the rope, the assistants leap at the victims legs and drag him downward, grunting: the croppy boys tongue protrudes violently.) THE CROPPY BOY Horhot ho hray ho rhother's hest. (He gives up the ghost. A violent erection of the hanged sends gouts of sperm spouting through his death clothes on to the cobblestones. Mrs Bellingham, Mrs Yelverton Barry and the Honourable Mrs Mervyn Talboys rush forward with their handkerchiefs to sop it up.) RUMBOLD I'm near it myself. (He undoes the noose.) Rope which hanged the awful rebel. Ten shillings a time as applied to His Royal Highness. (He plunges his head into the gaping belly of the hanged and draws out his head again clotted with coiled and smoking entrails.) My painful duty has now been done. God save the king! EDWARD THE SEVENTH (Dances slowly, solemnly, rattling his bucket and sings with soft contentment.) On coronation day, on coronation day, O, Won't We have a merry time, Drinking whisky, beer and wine! PRIVATE CARR Here. What are you saying about my king? STEPHEN (Throws up his hands.) O, this is too monotonous! Nothing. He wants my money and my life, though want must be his master, for some brutish empire of his. Money I haven't. (He searches his pockets vaguely.) Gave it to someone. PRIVATE CARR Who wants your bleeding money? STEPHEN (Tries to move off.) Will some one tell me where I am least likely to meet these necessary evils? ça se voit aussi à Paris. Not that I... But by Saint Patrick!... (The women's heads coalesce. Old Gummy Granny in sugarloaf hat appears seated on a toadstool, the deathflower of the potato blight on her breast.) STEPHEN Aha! I know you, grammer! Hamlet, revenge! The old sow that eats her farrow! OLD GUMMY GRANNY (Rocking to and fro.) Ireland's sweetheart, the king of Spain's daughter, alanna. Strangers in my house, bad manners to them! (She keens with banshee woe.) Ochone! Ochone! Silk of the kine! (She wails.) You met with poor old Ireland and how does she stand? STEPHEN How do I stand you? The hat trick! Where's the third person of the Blessed Trinity? Soggarth Aroon? The reverend Carrion Crow. CISSY CAFFREY (Shrill.) Stop them from fighting! A ROUGH Our men retreated. PRIVATE CARR (Tugging at his belt.) I'll wring the neck of any bugger says a word against my fucking king. BLOOM (Terrified.) He said nothing. Not a word. A pure misunderstanding. THE CITIZEN Erin go bragh! (Major Tweedy and the Citizen exhibit to each other medals, decorations, trophies of war wounds. Both salute with fierce hostility.) PRIVATE COMPTON Go it, Harry. Do him one in the eye. He's a proboer. STEPHEN Did I? When? BLOOM (To the redcoats.) We fought for you in South Africa, Irish missile troops. Isn't that history? Royal Dublin Fusiliers. Honoured by our monarch. THE NAVVY (Staggering past.) O, yes. O, God, yes! O, make the kwawr a krowawr! O! Bo! (Casqued halberdiers in armour thrust forward a pentice of gutted spear points. Major Tweedy, moustached like Turko the terrible, in bearskin cap with hackle plume and accoutrements, with epaulette, gilt chevrons and sabretache, his breast bright with medals, toes the line. He gives the pilgrim warrior's sign of the knights templars.) MAJOR TWEEDY (Growls gruffly.) Rorke's Drift! Up, guards, and at them! Mahal shalal hashbaz. PRIVATE CARR I'll do him in. PRIVATE COMPTON (Waves the crowd back.) Fair play, here. Make a bleeding butcher's shop of the bugger. (Massed bands blare Garryowen and God save the king.) CISSY CAFFREY They're going to fight. For me! CUNTY KATE The brave and the fair. BIDDY THE CLAP Methinks yon sable knight will joust it with the best. CUNTY KATE (Blushing deeply.) Nay, Madam. The gules doublet and merry Saint George for me! STEPHEN The harlot's cry from street to street Shall weave old Ireland's windingsheet. PRIVATE CARR (Loosening his belt, shouts.) I'll wring the neck of any fucking bastard says a word against my bleeding fucking king. BLOOM (Shakes Cissy Caffrey's shoulders.) Speak, you! Are you struck dumb? You are the link between nations and generations. Speak, woman, sacred lifegiver. CISSY CAFFREY (Alarmed seizes Private Carr's sleeve.) Amn't I with you? Amn't I your girl? Cissy's your girl. (She cries.) Police! STEPHEN (Ecstatically, to Cissy Caffrey.) White thy fambles, red thy gan And thy quarrons dainty is. VOICES Police! DISTANT VOICES Dublin's burning! Dublin's burning! On fire, on fire! (Brimstone fires spring up. Dense clouds roll past. Heavy Gatling guns boom. Pandemonium. Troops deploy. Gallop of hoofs. Artillery. Hoarse commands. Bells clang. Backers shout. Drunkards bawl. Whores screech. Foghorns hoot. Cries of valour. Shrieks of dying. Pikes clash on cuirasses. Thieves rob the slain. Birds of prey, winging from the sea, rising from marsh lands, swooping from eyries, hover screaming, gannets, connorants, vultures, goshawks, climbing woodcocks, peregrines, merlin, blackgrouse, sea eagles, gulls, albatrosses, barnacle geese. The midnight sun is darkened. The earth trembles. The dead of Dublin from Prospect and Mount Jerome in white sheepskin overcoats and black goat-fell cloaks arise and appear to many. A chasm opens with a noiseless yawn. Tom Rochford, winner in athletes singlet and breeches, arrives at the head of the national hurdle handicap and leaps into the void. He is followed by a race of runners and leapers. In wild attitudes they spring from the brink. Their bodies plunge. Factory lasses with fancy clothes toss redhot Yorkshire baraabombs. Society ladies lift their skirts above their heads to protect themselves. laughing witches in red cutty sarks ride through the air on broomsticks. Quakerlyster plasters blisters. It rains dragon's teeth. Armed heroes spring up from furrows. They exchange in amity the pass of knights of the red cross and fight duels with cavalry sabres: Wolfe Tone against Henry Grattan, Smith O'Brien against Daniel O'Connell, Michael Davitt against Isaac Butt, Justin M'Carthy against Parnell, Arthur Griffith against John Redmond John O'Leary against liar O'Johnny, lord Edward Fitzgerald against lord Gerald Fitzedward, The O'Donoghue of the Glens against The Glens of The Donoghue. On an eminence, the centre of the earth, rises the field altar of Saint Barbara. Black candles rise from its gospel and epistle horns. From the high barbicans of the tower two shafts of light fall on the smokepalled altarstone. On the altarstone Mrs Mina Purefoy, goddess of unreason, lies naked, fettered, a chalice resting on her swollen belly. Father Malachi O'Flynn, in a long petticoat and reversed chasuble, his two left feet back to the front, celebrates camp mash. The Reverend Mr Hugh C. Haines love MA. in a plain cassock and mortar board, his head and collar back to the front, holds over the celebrants head an open umbrella.) FATHER MALACHI O'FLYNN Introibo ad altare diaboli. THE REVEREND MR HAINES LOVE To the devil which hath made glad my young days. FATHER MALACHI O'FLYNN (Takes from the chalice and elevates a blooddripping host.) Corpus Meum. THE REVEREND MR HAINES LOVE (Raises high behind the celebrant's petticoats, revealing his grey bare hairy buttocks between which a carrot is stuck.) My body. THE VOICE OF ALL THE DAMNED Htengier Tnetopinmo Dog Drol eht rot, Aiulella! (From on high the voice of Adonai calls.) ADONAI Dooooooooooog! THE VOICE OF ALL THE BLESSED Alleluia, for the Lord God Omnipotent reigneth! (From on high the voice of Adonai calls.) ADONAI Goooooooooood! (In strident discord peasants and townsmen of mange and Green factions sing Kick the Pope and Daily, daily sing to Mary.) PRIVATE CARR (With ferocious articulation.) I'll do him in, so help me fucking Christ! I'll wring the bastard fucker's bleeding blasted fucking windpipe! OLD GUMMY GRANNY (Thrusts a dagger towards Stephen's hand.) Remove him, acushla. At 8.35 a.m. you will be in heaven and Ireland will be free. (She prays.) O good God, take him! BLOOM (Runs to Lynch.) Can't you get him away? LYNCH He likes dialectic, the universal language. Kitty! (To Bloom.) Get him away, you. He won't listen to me. (He drags Kitty away.) STEPHEN (Points.) Exit Judas. Et laqueo se suspendit. BLOOM (Runs to Stephen.) Come along with me now before worse happens. Here's your stick. STEPHEN Stick, no. Reason. This feast of pure reason. CISSY CAFFREY (Pulling Private Carr.) Come on, you're boosed. He insulted me but I forgive him. (Shouting in his ear.) I forgive him for insulting me. BLOOM (Over Stephen's shoulder.) Yes, go. You see he's incapable. PRIVATE CARR (Breaks loose.) I'll insult him. (He rushes towards Stephen, fists outstretched, and strikes him in the face. Stephen totters, collapses, falls stunned. He lies prone, his face to the sky, his hat rolling to the wall. Bloom follows and picks it up.) MAJOR TWEEDY (Loudly.) Carbine in bucket! cease fire! Salute! THE RETRIEVER (Barking furiously.) Ute ute ute ute ute ute uteute. THE CROWD Let him up! Don't strike him when he's down! Air! Who? The soldier hit him. He's a professor. Is he hurted? Don't manhandle him! He's fainted! (The retriever, nosing on the fringe of the crowd, barks noisily.) What call had the redcoat to strike the gentleman and he under the influence? Let them go and fight the Boers! THE BAWD Listen to who's talking! Hasn't the soldier a right to go with his girl? He gave him the coward's blow. (They grab at each other's hair, claw at each other and spit.) THE RETRIEVER (Barking.) Wow wow wow. BLOOM (Shoves them back, loudly.) Get back, stand back! PRIVATE COMPTON (Tugging his comrade.) Here bugger off, Harry. There's the cops! (Two raincaped watch, tall, stand in the group) FIRST WATCH What's wrong here? PRIVATE COMPTON We were with this lady and he insulted us and assaulted my chum. (The retriever barks.) Who owns the bleeding tyke? CISSY CAFFREY (With expectation.) Is he bleeding? A MAN (Rising from his knees.) No. Gone off. He'll come to all right. BLOOM (Glances sharply at the man.) Leave him to me. I can easily... SECOND WATCH Who are you? Do you know him? PRIVATE CARR (Lurches towards the watch.) He insulted my lady friend. BLOOM (Angrily.) You hit him without provocation. I'm a witness. Constable, take his regimental number. SECOND WATCH I don't want your instructions in the discharge of my duty. PRIVATE COMPTON (Pulling his comrade.) Here, bugger off, Harry. Or Bennett'll have you in the lockup. PRIVATE CARR (Staggering as he is pulled away.) God fuck old Bennett! He's a whitearsed bugger. I don't give a shit for him. FIRST WATCH (Taking out his notebook.) What's his name? BLOOM (Peering over the crowd.) I just see a car there. If you give me a hand a second, sergeant. FIRST WATCH Name and address. (Corny Kelleher weepers round his hat, a death wreath in his hand, appears among the bystanders.) BLOOM (Quickly.) O, the very man! (He whispers.) Simon Dedalus' son. A bit sprung. Get those policemen to move those loafers back. SECOND WATCH Night, Mr Kelleher. CORNY KELLEHER (To the watch, with drawling eye.) That's all right. I know him. Won a bit on the races. Gold cup. Throwaway. (He laughs.) Twenty to one. Do you follow me? FIRST WATCH (Turns to the crowd.) Here, what are you all gaping at? Move on out of that. (The crowd disperses slowly, muttering, down the lane.) CORNY KELLEHER Leave it to me, sergeant. That'll be all right. (He laughs, shaking his head.) We were often as bad ourselves, ay or worse. What? Eh, what? FIRST WATCH (Laughs.) I suppose so. CORNY KELLEHER (Nudges the second watch.) Come and wipe your name off the slate. (He lilts, wagging his head.) With my tooraloom tooraloom tooraloom tooraloom. What, eh, do you follow me? SECOND WATCH (Genially.) Ah, sure we were too. CORNY KELLEHER (Winking.) Boys will be boys. I've a car round there. SECOND WATCH All right, Mr Kelleher. Good night. CORNY KELLEHER I'll see to that. BLOOM (Shakes hands with both of the watch in turn.) Thank you very much gentlemen, thank you. (He mumbles confidentially.) We don't want any scandal, you understand. Father is a well known, highly respected citizen. Just a little wild oats, you understand. FIRST WATCH O, I understand, sir. SECOND WATCH That's all right, Sir. FIRST WATCH It was only in case of corporal injuries I'd have had to report it at the station. BLOOM (Nods rapidly.) Naturally. Quite right. Only your bounden duty. SECOND WATCH It's our duty. CORNY KELLEHER Good night, men. THE WATCH (Saluting together.) Night, gentlemen. (They move off with slow heavy tread.) BLOOM (Blows.) Providential you came on the scene. You have a car?. CORNY KELLEHER (Laughs, pointing his thumb over his right shoulder to the car brought up against the scaffolding.) Two commercials that were standing fizz in Jammet's. Like princes, faith. One of them lost two quid on the race. Drowning his grief and were on for a go with the jolly girls. So I landed them up on Behan's car and down to nighttown. BLOOM I was just going home by Gardiner street when I happened to... CORNY KELLEHER (Laughs.) Sure they wanted me to join in with the mots. No, by God, says I. Not for old stagers like myself and yourself. (He laughs again and leers with lacklustre eye.) Thanks be to God we have it in the house what, eh, do you follow me? Hah! hah! hah! BLOOM (Tries to laugh.) He, he, he! Yes. Matter of fact I was just visiting an old friend of mine there, Virag, you don't know him (poor fellow he's laid up for the past week) and we had a liquor together and I was just making my way home... (The horse neighs.) THE HORSE Hohohohohohoh! Hohohohome! CORNY KELLEHER Sure it was Behan, our jarvey there, that told me after we left the two commercials in Mrs Cohen's and I told him to pull up and got off to see. (He laughs.) Sober hearsedrivers a specialty. Will I give him a lift home? Where does he hang out? Somewhere in Cabra, what? BLOOM No, in Sandycove, I believe, from what he let drop. (Stephen, prone, breathes to the stars. Corny Kelleher asquint, drawls at the horse. Bloom in gloom, looms down.) CORNY KELLEHER (Scratches his nape.) Sandycove! (He bends down and calls to Stephen.) Eh! (He calls again.) Eh! He's covered with shavings anyhow. Take care they didn't lift anything off him. BLOOM No, no, no. I have his money and his hat here and stick. CORNY KELLEHER Ah well, he'll get over it. No bones broken. Well, I'll shove along. (He laughs.) I've a rendezvous in the morning. Burying the dead. Safe home! THE HORSE (Neighs.) Hohohohohome. BLOOM Good night. I'll just wait and take him along in a few... (Corny Kelleher returns to the outside car and mounts it. The horse harness jingles.) CORNY KELLEHER (From the car, standing.) Night. BLOOM Night. (The jarvey chucks the reins and raises his whip encouragingly. The car and horse back slowly, awkwardly and turn. Corny Kelleher on the sideseat sways his head to and fro in sign of mirth at Blooms plight. The jarvey joins in the mute pantomimic merriment nodding from the farther seat. Bloom shakes his head in mute mirthful reply. With thumb and palm Corny Kelleher reassures that the two bobbies will allow the sleep to continue for what else is to be done. With a slow nod Bloom conveys his gratitude as that is exactly what Stephen needs. The car jingles tooraloom round the corner of the tooraloom lane. Corny Kelleher again reassuralooms with his hand. Bloom with his hand assuralooms Corny Kelleher that he is reassuraloomtay. The tinkling hoofs and jingling harness grow fainter with their tooralooloolooloo lay. Bloom, holding in his hand Stephens hat festooned with shavings and ashplant, stands irresolute. Then he bends to him and shakes him by the shoulder.) BLOOM Eh! Ho! (There is no answer he bends again.) Mr Dedalus! (There is no answer.) The name if you call. Somnambulist. (He bends again and, hesitating, brings his mouth near the face of the prostrate form.) Stephen! (There is no answer. He calls again.) Stephen! STEPHEN (Groans.) Who? Black panther vampire. (He sighs and stretches himself then murmurs thickly with prolonged vowels.) Who... drive... Fergus now. And pierce... wood's woven shade?... (He turns on his left side, sighing, doubling himself together.) BLOOM Poetry. Well educated. Pity. (He bends again and undoes the buttons of Stephen's waistcoat.) To breathe. (He brushes the wood shavings from Stephen's clothes with light hands and fingers.) One pound seven. Not hurt anyhow. (He listens.) What! (Murmurs.) ... shadows... the woods ... white breast... dim... (He stretches out his arms, sighs again and curls his body. Bloom holding his hat and ashplant stands erect. A dog barks in the distance. Bloom tightens and loosens his grip on the ashplant. He looks down on Stephen's face and form.) BLOOM (Communes with the night.) Face reminds me of his poor mother. In the shady wood. The deep white breast. Ferguson, I think I caught. A girl. Some girl. Best thing could happen him... (He murmurs.)... swear that I will always hail, ever conceal, never reveal, any part or parts, art or arts... (He murmurs.) in the rough sands of the sea. a cabletow's length from the shore... where the tide ebbs ... and flows... (Silent, thoughtful, alert, he stands on guard, his fingers at his lips in the attitude of secret master. Against the dark wall a figure appears slowly, a fairy boy of eleven, a changeling, kidnapped, dressed in an Eton suit with glass shoes and a little bronze helmet, holding a book in his hand. He reads from right to left inaudibly, smiling, kissing the page.) BLOOM (Wonderstruck, calls inaudibly.) Rudy! RUDY (Gazes unseeing into Bloom's eyes and goes on reading, kissing, smiling. He has a delicate mauveface. On his suit he has diamond and ruby buttons. In his free left hand he holds a slim ivory cane with a violet howknot. A white lambkin peeps out of his waistcoat pocket.)",Take My Breath Away,Ulysses,https://genius.com/James-joyce-ulysses-chap-15-circe-annotated,"13," -129,Huey Lewis & the News,"September 20, 1986",[],"We've had some fun Yes, we've had our ups and downs Been down that rocky road But here we are still around We thought about someone else But neither one took the bait We thought about breaking up Now we know it's much too late We are bound by all the rest Like the same phone number All the same friends And the same address (Ooh) Yes, it's true (yes it's true) I am happy to be stuck with you (Ooh) Yes, it's true (yes it's true) I'm so happy to be stuck with you (Ooh) 'Cause I can see (I can see) That you're happy to be stuck with me (ooh, wa-ooh) We've had our doubts We never took them seriously (ooh, wa-ooh) And we've had our ins and outs But that's the way it's s'posed to be We thought about giving up (giving up) But we could never stay away We thought about breaking up (ooh, wa ooh) But now we know it's much too late And it's no great mystery (Ooh) If we change our minds Eventually It's back to you and me (Ooh) Yes, it's true (yes, it's true) I am happy to be stuck with you (Ooh) Yes, it's true (yes, it's true) I'm so happy to be stuck with you (Ooh) 'Cause I can see (I can see) That you're happy to be stuck with me We are bound by all the rest Like the same phone number All the same friends And the same address (Ooh) Yes, it's true (yes it's true) I am happy to be stuck with you (Ooh) Yes, it's true (yes it's true) I'm so happy to be stuck with you (Ooh) 'cause I can see (I can see) That you're happy to be stuck with me (Ooh, yes, it's true) I'm so happy to be stuck with you (Ooh, wa-ooh) I'm happy to be stuck with you (Ooh, wa-ooh) Happy to be stuck with you (Ooh, yes, it's true)",Stuck with You,Fore!,https://genius.com/Huey-lewis-and-the-news-stuck-with-you-lyrics,"20," -130,Janet Jackson,"October 11, 1986",[],"Ooh, baby Anytime my world gets crazy All I have to do to calm it Is just think of you It's when I think of you, baby Nothing else seems to matter It's when I think of you, baby All I think about is our love I just get more attached to you When you hold me in your arms And squeeze me And you leave me making me blue It's when I think of you, baby Nothing else seems to matter It's when I think of you, baby All I think about is our love So in love (So in love) Ooh (So in love) With you (So in love) Baby (So in love) Ooh (So in love) Yeah (So in love) With you (So in love) (So in love) When I think of you (When I think of you) When I think of you (When I think of you) Bass I'm so in love I just think of you When you're not around, I When I think of you (So in love) Ooh (So in love) So in love (So in love) With you (So in love) Baby, you (So in love) Ooh (So in love) So in love (So in love) With you (So in love) Break Feels so good When I think of you Yeah, yeah, yeah",When I Think of You,Control,https://genius.com/Janet-jackson-when-i-think-of-you-lyrics,"11," -131,Cyndi Lauper,"October 25, 1986",[],You with the sad eyes Don't be discouraged Oh I realize It's hard to take courage In a world full of people You can lose sight of it all And the darkness inside you Can make you feel so small But I see your true colors Shining through I see your true colors And that's why I love you So don't be afraid to let them show Your true colors True colors are beautiful Like a rainbow Show me a smile then Don't be unhappy Can't remember when I last saw you laughing If this world makes you crazy And you've taken all you can bear You call me up Because you know I'll be there And I'll see your true colors Shining through I see your true colors And that's why I love you So don't be afraid to let them show Your true colors True colors are beautiful Like a rainbow Can't remember when I last saw you laugh If this world makes you crazy You've taken all you can bear You call me up Because you know I'll be there And I'll see your true colors Shining through I see your true colors And that's why I love you So don't be afraid to let them show Your true colors True colors True colors are shining through I see your true colors And that's why I love you So don't be afraid to let them show Your true colors True colors are beautiful Like a rainbow,True Colors,True Colors,https://genius.com/Cyndi-lauper-true-colors-lyrics,"25," -132,Boston,"November 8, 1986",[],"Babe, tomorrow's so far away There's something I just have to say I don't think I can hide what I'm feelin' inside Another day, knowin' I love you And I, I'm getting too close again I don't want to see it end If I tell you tonight will you turn out the light And walk away knowing I love you? I'm going to take you by surprise and make you realize Amanda I'm going to tell you right away, I can't wait another day Amanda I'm going to say it like a man and make you understand Amanda I love you And I feel like today's the day I'm lookin' for the words to say Do you wanna be free, are you ready for me To feel this way I don't wanna lose you So, it may be too soon, I know The feeling takes so long to grow If I tell you today will you turn me away And let me go? I don't want to lose you I'm going to take you by surprise and make you realize Amanda I'm going to tell you right away, I can't wait another day Amanda I'm going to say it like a man and make you understand Amanda I love you And I feel like today's the day I'm lookin' for the words to say Do you wanna be free, are you ready for me To feel this way I don't wanna lose you So, it may be too soon, I know The feeling takes so long to grow If I tell you today will you turn me away And let me go? I don't want to lose you You and I I know that we can't wait And I swear, I swear it's not a lie girl Tomorrow may be too late You, you and I girl We can share a life together It's now or never And tomorrow may be too late And, feeling the way I do I don't wanna wait my whole life through To say I'm in love with you",Amanda,Third Stage,https://genius.com/Boston-amanda-lyrics,"8," -133,Human League,"November 22, 1986",[],"Come on, baby, dry your eyes Wipe your tears Never like to see you cry Won't you please forgive me I wouldn't ever try to hurt you I just needed someone to hold me To fill the void while you were gone To fill this space of emptiness I'm only human Of flesh and blood I'm made Human Born to make mistakes So many nights I longed to hold you So many times I looked and saw your face Nothing could change the way I feel No one else could ever take your place I'm only human Of flesh and blood I'm made Human Born to make mistakes (I am just a man) Human (Human) Please forgive me The tears I cry aren't tears of pain They're all to hide my guilt and shame I forgive you, now I ask the same of you While we were apart, I was human too (Human Human) I'm only human Of flesh and blood I'm made (I am just a man) Human Born to make mistakes (Human Human)",Human,Crash,https://genius.com/The-human-league-human-lyrics,"22," -134,Bon Jovi,"November 29, 1986",[],"Shot through the heart and you're to blame Darling, you give love a bad name An angel's smile is what you sell You promise me heaven, then put me through hell Chains of love got a hold on me When passion's a prison, you can't break free Whoa, you're a loaded gun, yeah Whoa, there's nowhere to run No one can save me, the damage is done Shot through the heart and you're to blame You give love a bad name (Bad name) I play my part and you play your game You give love a bad name (Bad name) Yeah, you give love a bad name Paint your smile on your lips Blood red nails on your fingertips A school boy's dream, you act so shy Your very first kiss was your first kiss goodbye Whoa, you're a loaded gun Whoa, there's nowhere to run No one can save me, the damage is done Shot through the heart and you're to blame You give love a bad name (Bad name) I play my part and you play your game You give love a bad name (Bad name) You give love a... Oh, shot through the heart and you're to blame You give love a bad name I play my part and you play your game You give love a bad name (Bad name) Shot through the heart and you're to blame You give love a bad name (Bad name) I play my part and you play your game You give love a bad name (Bad name) You give love You give love, bad name You give love You give love, bad name You give love You give love, bad name",You Give Love a Bad Name,Slippery When Wet,https://genius.com/Bon-jovi-you-give-love-a-bad-name-lyrics,"29," -135,Peter Cetera & Amy Grant,"December 6, 1986",[],"Love, like a road that never ends How it leads me back again To heartache I'll never understand Darling I put my heart up on the shelf Till the moment was right And I told myself Next time I fall in love I'll know better what to do Next time I fall in love Ooo ooo ooo ooo ooo ooo The next time I fall in love The next time I fall in love It will be with you Oh now as I look into your eyes Well I wonder if it's wise To hold you Like I've wanted to before Tonight ooh I was thinking that you might Be the one who breathes life in this heart of mine Next time I fall in love I'll know better what to do Next time I fall in love Ooo ooo ooo ooo ooo ooo The next time I fall in love The next time I fall in love (It will be with you) Next time I'm gonna follow through And if it drives me crazy I will know better why The next time I try Next time I fall in love I'll know better what to do Next time I fall in love Ooo ooo ooo The next time I fall in love The next time I fall in love It will be with you",The Next Time I Fall,Solitude/Solitaire,https://genius.com/Peter-cetera-and-amy-grant-the-next-time-i-fall-lyrics,"6," -136,Bruce Hornsby & the Range,"December 13, 1986",[],"Standin' in line, marking time Waiting for the welfare dime 'Cause they can't buy a job The man in the silk suit hurries by As he catches the poor old lady's eyes Just for fun, he says ""Get a job"" That's just the way it is Some things'll never change That's just the way it is Ha, but don't you believe them Said, ""Hey little boy, you can't go where the others go 'Cause you don't look like they do"" Said, ""Hey old man, how can you stand to think that way? Did you really think about it before you made the rules?"" He said That's just the way it is Some things'll never change That's just the way it is Ha, but don't you believe them That's just the way it is That's just the way it is Well, they passed a law in '64 To give those who ain't got, a little more But it only goes so far 'Cause the law don't change another's mind When all it sees at the hiring time Is the line on the color bar But who knows That's just the way it is Some things'll never change That's just the way it is That's just the way it is, it is, it is, it is",The Way It Is,The Way It Is,https://genius.com/Bruce-hornsby-and-the-range-the-way-it-is-lyrics,"13," -137,The Bangles,"December 20, 1986",null,null,Walk Like an Egyptian♪ (1987),null,null,"20," -138,Gregory Abbott,"January 17, 1987",[],"Girl, I’ve been watching you From so far across the floor, now, baby That’s nothing new, I’ve watched you So many times before, now, baby I see that look in your eyes (look in your eyes) And what it’s telling me And you know, ooh girl, that I’m not shy I’m glad you picked up on my telepathy, now, baby You read my mind (You know you did) Girl I wanna shake you down (oh well, oh well) I can give you all the lovin’ you need (I’m gonna love you) Come on let me take you down (oh, baby) We’ll go all the way to heaven Ooooh, I been missing you And the way you make me feel inside What can I do? I can tell you’ve got your pride now, baby Come to me (oh well, oh well) Let me ease your mind (oh babe) I’ve got the remedy, yes I do Now give me just a little time (Here in my mind, Girl, I wanna shake you down) I wanna rock you down (I can give you all the lovin you need) I’m gonna love you (Come on let me take you down) Oh well or well (We’ll go all the way to heaven) Girl, I’ve been missing you And you know, it’s funny Every time I get to feelin' this way I wish I had you near me I wanna reach out and touch you… I can’t stop thinking of the things we do The way you call me baby when I’m holding you I shake and I shiver when I know you’re near Then you whisper in my ear (oh baby, well, well) Chorus Eeny-meeny-miny-mo (You read my mind) Come on, girl, let’s shock the show (Girl, I wanna shake you down) (I can give you all the lovin' you need) Roses are red and violets are blue I’m gonna rock this world for you Hey Baby (We’ll go all the way to heaven You read my mind) Girl, I wanna shake you down I can give you all the lovin’ you need Come on, let me take you down We’ll go all the way to heaven",Shake You Down,Shake You Down,https://genius.com/Gregory-abbott-shake-you-down-lyrics,"17," -139,Billy Vera & the Beaters,"January 24, 1987",[],"What did you think I would do at this moment When you're standing before me With tears in your eyes Trying to tell me that you have found you another And you just don't love me no more What did you think I would say at this moment When I'm faced with the knowledge That you just don't love me Did you think I would curse you Or say things to hurt you 'cause you just don't love me no more Did you think I could hate you Or raise my hands to you Now come on you know me too well How could I hurt you when darling I love you And you know I'd never hurt you-oo-wo-oo-o-o-o... What do you think I would give at this moment If you'd stay I'd subtract twenty years from my life I'd fall down on my knees And kiss the ground that you walk on If I could just hold you again I'd fall down on my knees And kiss the ground that you walk on baby If I could just hold you { pause } If I, could just hold you { pause } If I......... If I could just hold you Again",At This Moment,Billy & The Beaters,https://genius.com/Billy-vera-and-the-beaters-at-this-moment-lyrics,"24," -140,Madonna,"February 7, 1987",[],"I see you on the street and you walk on by You make me wanna hang my head down and cry If you gave me half a chance You'd see my desire burning inside of me But you choose to look the other way I've had to work much harder than this For something I want Don't try to resist me Open your heart to me, baby I hold the lock and you hold the key Open your heart to me, darling I'll give you love if you, you turn the key I think that you're afraid to look in my eyes You look a little sad, boy, I wonder why I follow you around But you can't see You're too wrapped up in yourself to notice So you choose to look the other way Well, I've got something to say Don't try to run I can keep up with you Nothing can stop me from trying You've got to... Open your heart to me, baby I hold the lock and you hold the key Open your heart to me, darling I'll give you love if you, you turn the key Open your heart with the key One is such a lonely number Open your heart, I'll make you love me It's not that hard, if you just turn the key Don't try to run I can keep up with you Nothing can stop me from trying You've got to... Open your heart to me, baby I hold the lock and you hold the key Open your heart to me, darling I'll give you love if you, you turn the key Open your heart with the key Open your heart, I'll make you love me It's not that hard, if you just turn the key Open your heart, I'll make you love me It's not that hard, if you just turn the key Open your heart, I'll make you love me It's not that hard, if you just turn the key Open your heart, I'll make you love me It's not that hard, if you just turn the key",Open Your Heart,True Blue ,https://genius.com/Madonna-open-your-heart-lyrics,"7," -141,Bon Jovi,"February 14, 1987",[],"Once upon a time, not so long ago Tommy used to work on the docks, union's been on strike He's down on his luck, it's tough, so tough Gina works the diner all day, working for her man She brings home her pay for love, mmm, for love She says, ""We've got to hold on to what we've got It doesn't make a difference if we make it or not We've got each other and that's a lot for love We'll give it a shot"" Woah, we're halfway there Woah-oh, livin' on a prayer Take my hand, we'll make it, I swear Woah-oh, livin' on a prayer Tommy's got his six-string in hock, now he's holding in What he used to make it talk so tough, ooh, it's tough Gina dreams of running away when she cries in the night Tommy whispers, ""Baby, it's okay, someday"" We've got to hold on to what we've got It doesn't make a difference if we make it or not We've got each other and that's a lot for love We'll give it a shot"" Woah, we're halfway there Woah-oh, livin' on a prayer Take my hand, we'll make it I swear Woah-oh, livin' on a prayer, livin' on a prayer Ooh, we've got to hold on, ready or not You live for the fight when it's all that you've got Woah, we're halfway there Woah-oh, livin' on a prayer Take my hand and we'll make it, I swear Woah-oh, livin' on a prayer Woah, we're halfway there Woah-oh, livin' on a prayer Take my hand and we'll make it, I swear Woah-oh, livin' on a prayer Woah, we're halfway there Woah-oh, livin' on a prayer Take my hand and we'll make it, I swear... (Woah, we're halfway there Woah-oh, livin' on a prayer)",Livin' on a Prayer,Slippery When Wet,https://genius.com/Bon-jovi-livin-on-a-prayer-lyrics,"14," -142,Huey Lewis & the News,"March 14, 1987",[],"I met a fan dancer Down in Southside Birmingham She was running from a fat man Selling salvation in his hand Now he's trying to save me When I'm doing all right The best that I can Just another fallen angel Tryna get through the night Step by step, one by one Higher, then higher Step by step, rung by rung I'm climbing Jacob's ladder Coming over the airwaves The man says I'm overdue Sing along, send some money Join the chosen few, hey Mister, I'm not in a hurry And I don't want to be like you All I want from tomorrow Is to get it better than today Step by step, one by one Higher, then higher Step by step, rung by rung I'm climbing Jacob's ladder All I want from tomorrow Is to get it better than today Step by step, one by one Higher, then higher Step by step, rung by rung Climbing and climbing Step by step, one by one Step by step, rung by rung Step by step Step by step Step by step",Jacob's Ladder,Fore!,https://genius.com/Huey-lewis-and-the-news-jacobs-ladder-lyrics,"14," -143,Club Nouveau,"March 21, 1987",[],"Sometimes in our lives We all have pain We all have sorrow But if we are wise We know that there's always tomorrow Lean on me When you're not strong And I'll be your friend (I'll be your friend) I'll help you carry on (Lean on me) For it won't be long 'Til I'm gonna need Somebody to lean on Please swallow your pride If I have things you need to borrow For no one can fill Those of your needs That you won't let show So just call on me brother When you need a hand We all need somebody to lean on I just might have a problem That you'd understand We all need somebody to lean on Lean on me When you're not strong (When you're not strong) And I'll be your friend (I'll be your friend) I'll help you carry on (Lean on me) For said It won't be long (Won't be too long) 'Til I'm gonna need somebody to lean on We be jamming We be jamming (Hey, now) We be jamming We be jamming We be jamming We be jamming We be jamming (hey) We be jamming (Just call me) Uh, when you need a friend (Call me) Oh, baby Now (Call me) Uh, when you need a friend (Call me) Oh, baby now (Call me) Uh, when you need a friend (Call me) Oh, baby Now",Lean on Me,"Life, Love & Pain",https://genius.com/Club-nouveau-lean-on-me-lyrics,"21," -144,Starship,"April 4, 1987",[],"Lookin' in your eyes I see a paradise This world that I found Is too good to be true Standin' here beside you Want so much to give you This love in my heart That I'm feelin' for you Let 'em say we're crazy I don't care 'bout that Put your hand in my hand Baby, don't ever look back Let the world around us Just fall apart Baby, we can make it If we're heart to heart And we can build this dream together Standing strong forever Nothing's gonna stop us now And if this world runs out of lovers We'll still have each other Nothing's gonna stop us Nothing's gonna stop us now Oh, whoa I'm so glad I found you I'm not gonna lose you Whatever it takes I will stay here with you Take it to the good times See it through the bad times Whatever it takes Is what I'm gonna do Let 'em say we're crazy What do they know Put your arms around me Baby, don't ever let go Let the world around us Just fall apart Baby, we can make it If we're heart to heart And we can build this dream together Standing strong forever Nothing's gonna stop us now And if this world runs out of lovers We'll still have each other Nothing's gonna stop us Nothing's gonna stop us Ooh, all that I need is you All that I ever need And all that I want to do Is hold you forever and ever and ever, hey And we can build this dream together Standing strong forever Nothing's gonna stop us now And if this world runs out of lovers We'll still have each other Nothing's gonna stop us Nothing's gonna stop us Build this dream together Standing strong forever Nothing's gonna stop us now (nothing's gonna stop us now) This world runs out of lovers We'll still have each other Nothing's gonna stop us (oh, no) And we can build this dream together (hey baby) Standing strong forever (I know) Nothing's gonna stop us now (nothing's gonna stop us) This world runs out of lovers (hey baby) We'll still have each other Nothing's gonna stop us (nothing's gonna stop us now) And we can build this dream together Standing strong forever Nothing's gonna stop us now...",Nothing's Gonna Stop Us Now,No Protection,https://genius.com/Starship-nothings-gonna-stop-us-now-lyrics,"4," -145,Aretha Franklin & George Michael,"April 18, 1987",null,null,I Knew You Were Waiting (for Me),null,null,"18," -146,Cutting Crew,"May 2, 1987",[],"Oh I, I just died in your arms tonight It must have been something you said I just died in your arms tonight I keep looking for something I can't get Broken hearts lie all around me And I don't see an easy way to get out of this Her diary, it sits by the bedside table The curtains are closed, the cats in the cradle Who would've thought that a boy like me could come to this Oh I, I just died in your arms tonight It must've been something you said I just died in your arms tonight Oh I, I just died in your arms tonight It must've been some kind of kiss I should've walked away, I should've walked away Is there any just cause for feeling like this? On the surface, I'm a name on a list I try to be discreet, but then blow it again I've lost and found, it's my final mistake She's loving by proxy, no give and all take Cause I've been thrilled to fantasy one too many times Oh I, I just died in your arms tonight It must've been something you said I just died in your arms tonight Oh I, I just died in your arms tonight It must've been some kind of kiss I should've walked away, I should've walked away It was a long hot night She made it easy, she made it feel right But now it's over the moment has gone I followed my hands not my head, I know I was wrong Oh I, I just died in your arms tonight It must've been something you said I just died in your arms tonight Oh I, I just died in your arms tonight It must've been some kind of kiss I should've walked away, I should've walked away",(I Just) Died in Your Arms,Broadcast,https://genius.com/Cutting-crew-i-just-died-in-your-arms-lyrics,"2," -147,U2,"May 16, 1987",[],"See the stone set in your eyes See the thorn twist in your side I'll wait for you Sleight of hand and twist of fate On a bed of nails she makes me wait And I wait without you With or without you With or without you Through the storm, we reach the shore You give it all but I want more And I'm waiting for you With or without you With or without you, ah-ah I can't live with or without you And you give yourself away And you give yourself away And you give, and you give And you give yourself away My hands are tied, my body bruised She got me with nothing to win And nothing left to lose And you give yourself away And you give yourself away And you give, and you give And you give yourself away With or without you With or without you, ohh I can't live with or without you With or without you With or without you, ohh I can't live with or without you With or without you",With or Without You,The Joshua Tree,https://genius.com/U2-with-or-without-you-lyrics,"16," -148,Kim Wilde,"June 6, 1987",[],"(Keep me hangin' on) Set me free why don't cha, babe? Get out of my life why don't cha, babe? 'Cause you don't really love me You just keep me hangin' on Set me free why don't cha, babe? Get out of my life why don't cha, babe? (wooh) 'Cause you don't really need me But you keep me hangin' on Why do you keep a-comin' around? Playing with my heart Why don't cha get out of my life And let me make a brand new start? Let me get over you The way you've gotten over me, yeah Set me free why don't cha, babe? Get out of my life why don't cha, babe? (wooh) 'Cause you don't really love me You just keep me hangin' on Now you don't really need me You just keep me hangin' on You say although we broke up You still just wanna be friends But how can we still be friends When seeing you only breaks my heart again? And there ain't nothing I can do about it Whoa whoa whoa Whoa whoa whoa whoa Whoa whoa whoa whoa Whoa whoa whoa, yeah Get out, get out of my life And let me sleep at night 'Cause you don't really love me You just keep me hangin' on You say you still care for me But your heart and soul needs to be free And now that you've got your freedom You wanna still hold on to me You don't want me for yourself So let me find somebody else Set me free why don't cha, babe? Get out of my life why don't cha, babe? (wooh) 'Cause you don't really love me You just keep me hangin' on Why don't cha be a man about it And set me free? (wooh) Now you don't care a thing about me You're just using me, hey, abusing me Get out, get out of my life And let me sleep at night (wooh) 'Cause you don't really love me You just keep me hangin' on (wooh)",You Keep Me Hangin' On,Another Step,https://genius.com/Kim-wilde-you-keep-me-hangin-on-lyrics,"6," -149,Atlantic Starr,"June 13, 1987",[],"Girl, you are to me All that a woman should be And I dedicate my life To you, always The love like yours is grand It must have been Sent from up above And I know you'll stay this way For always And we both know That our love will grow And forever It will be You and me, hey Ooh, you're like the sun Chasing all of the rain away When you come around You bring brighter days You're the perfect one For me and you Forever will be And I will love you so For always Come with me, my sweet Let's go make a family And they will bring us joy For always Oh, boy I love you so I can't find enough ways To let you know But you can be sure I'm yours For always Ooh, ooh I will love you so For always",Always,All in the Name of Love,https://genius.com/Atlantic-starr-always-lyrics,"13," -150,Lisa Lisa & Cult Jam,"June 20, 1987","[{'api_path': '/artists/5964', 'header_image_url': 'https://images.genius.com/7718722ec83c07accf1aceb0dd580a7c.600x600x1.jpg', 'id': 5964, 'image_url': 'https://images.genius.com/5594814ea87406dc045923e6110b65a2.600x600x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Full Force', 'url': 'https://genius.com/artists/Full-force'}]","Head to toe I know Today started with a crazy kiss On our way home We were in for a surprise Who would have known? Who would have thought That we would become lovers As friends we were so, so tight Can't help myself You make me feel so right I got to, got to Got to tell you, darling Ooh, baby I think I love you From head to toe Ooh, baby I think I love you From head to toe I think I love you From head to toe I know Here today Gone tomorrow It's possible But I doubt it His kiss is credit in the bank of love I never leave home without it Hes different from any boy I know Body supreme Bedroom eyes Head back to the side Please don't be so mean Fourteen karat love You are my jewel of the Nile When we make love Diamonds are forever Top to bottom I love you I will leave you never I got to, got to Got to tell you, darling Ooh, baby I think I love you From head to toe Ooh, baby I think I love you From head to toe Ooh, baby I think I love you You got to know Ooh, baby I think I love you From head to toe I think I love you from head to toe You can't hurry love You got to take it slow But, my angel You forget your wings tonight Baby, you got the love Fourteen karat love You are my jewel of the Nile When we make love Diamonds are forever Top to bottom I love you I will leave you never I got to, got to Got to tell you, darling Ooh, baby I think I love you From head to toe Ooh, baby I want to kiss you From head to toe Ooh, baby I think I love you You got to know Ooh, baby I think I love you From head to toe I think I love you From head to toe I know Ooh, baby I want to kiss you From head to toe Ooh, baby I think I love you You got to know Ooh, baby I think I love you From head to toe",Head to Toe,Spanish Fly,https://genius.com/Lisa-lisa-and-cult-jam-head-to-toe-lyrics,"20," -151,Whitney Houston,"June 27, 1987",[],"I want to dance Clocks strikes upon the hour And the sun begins to fade Still enough time to figure out How to chase my blues away I've done alright up 'til now It's the light of day that shows me how And when the night falls Loneliness calls Oh! I want to dance with somebody I want to feel the heat with somebody Yeah! I want to dance with somebody With somebody who loves me Oh! I want to dance with somebody I want to feel the heat with somebody Yeah! I want to dance with somebody With somebody who loves me I've been in love and lost my senses Spinning through the town Sooner or later the fever ends And I wind up feeling down I need a man who'll take a chance On a love that burns hot enough to last So when the night falls My lonely heart calls Oh! I want to dance with somebody I want to feel the heat with somebody Yeah! I want to dance with somebody With somebody who loves me Oh! I want to dance with somebody I want to feel the heat Yeah! I want to dance with somebody With somebody who loves me Somebody who, somebody who Somebody who loves me Somebody who, somebody who To hold me in his arms I need a man who'll take a chance On a love that burns hot enough to last So when the night falls My lonely heart calls Oh! I want to dance with somebody I want to feel the heat with somebody Yeah! I want to dance with somebody With somebody who loves me Oh! I want to dance with somebody I want to feel the heat with somebody Yeah! I want to dance with somebody With somebody who loves me Dance C'mon baby Dance Dance Get with this boy Dance Don't you want to dance Dance With me baby Don't you want to dance Dance With me boy Hey don't you want to dance Dance With me baby With somebody who loves me Don't you want to dance say you want to dance Don't you want to dance Dance Don't you want to dance say you want to dance Don't you want to dance Dance Don't you want to dance say you want to dance Dance With somebody who loves me Dance Dance Hey baby Dance",I Wanna Dance with Somebody (Who Loves Me),Whitney,https://genius.com/Whitney-houston-i-wanna-dance-with-somebody-who-loves-me-lyrics,"27," -152,Heart,"July 11, 1987",[],"Thought I found a way Thought I found a way out (Found) But you never go away (Never go away) So I guess I gotta stay now Oh, I hope some day I'll make it out of here Even if it takes all night or a hundred years Need a place to hide, but I can't find one near Wanna feel alive, outside I can't fight my fear Isn't it lovely, all alone Heart made of glass, my mind of stone Tear me to pieces, skin to bone Hello, welcome home Walking out of time Looking for a better place (Looking for a better place) Something's on my mind Always in my head space But I know someday I'll make it out of here Even if it takes all night or a hundred years Need a place to hide, but I can't find one near Wanna feel alive, outside I can't fight my fear Isn't it lovely, all alone Heart made of glass, my mind of stone Tear me to pieces, skin to bone Hello, welcome home Woah, yeah Yeah, ah Woah, woah Hello, welcome home",Alone,13 Reasons Why (Season 2),https://genius.com/Billie-eilish-and-khalid-lovely-lyrics,"11," -153,Bob Seger,"August 1, 1987",[],"No matter what you think you pulled You'll find it's not enough No matter who you think you know You won't get through It's a given L.A. law Someone's faster on the draw No matter where you hide I'm coming after you, you No matter how the race is run It always ends the same Another room without a view Awaits downtown You can shake me for a while Live it up in style No matter what you do I'm going to take you down Shakedown, breakdown, take down Everybody wants into the crowded line Breakdown, take down You're busted Let down your guard, honey Just about the time you're thinkin' it's alright Breakdown, take down You're busted (oh, oh, uh) This is a town where everyone Is reaching for the top This is a place where Second best will never do It's okay you want to shine But once you step across that line No matter where you hide I'm coming after you Shakedown, breakdown, take down Everybody wants into the crowded line Breakdown, take down You're busted Shakedown, breakdown, honey Just about the time you're thinking it's alright Breakdown, take down You're busted Oh, busted Oh oh Shakedown (breakdown), breakdown (takedown), takedown Everybody wants into the crowded line Breakdown (take down), takedown (shakedown) You're busted (busted) Shakedown (breakdown), breakdown (take down), honey Just about the time you're thinking it's alright Breakdown (take down), takedown (shakedown) You're busted Shakedown, breakdown, take down Everybody wants into the crowded line Breakdown, take down You're busted Let down your guard, honey Just about the time you're thinking it's alright Breakdown, take down Oh, you're busted Shakedown, breakdown, take down Everybody wants into the crowded line Breakdown, take down You're busted Let down your guard, honey Just about the time you're thinking it's alright",Shakedown,Ultimate Hits: Rock and Roll Never Forgets,https://genius.com/Bob-seger-shakedown-lyrics,"1," -154,U2,"August 8, 1987",[],"I have climbed the highest mountains I have run through the fields Only to be with you Only to be with you I have run, I have crawled I have scaled these city walls These city walls Only to be with you But I still haven't found what I'm looking for But I still haven't found what I'm looking for I have kissed honey lips Felt the healing in her finger tips It burned like fire This burning desire I have spoke with the tongue of angels I have held the hand of a devil It was warm in the night I was cold as a stone But I still haven't found what I'm looking for But I still haven't found what I'm looking for I believe in the Kingdom Come Then all the colours will bleed into one Bleed into one But yes, I'm still running You broke the bonds And you loosed the chains Carried the cross of my shame Oh my shame, you know I believe it But I still haven't found what I'm looking for But I still haven't found what I'm looking for But I still haven't found what I'm looking for But I still haven't found what I'm looking for",I Still Haven't Found What I'm Looking For,The Joshua Tree,https://genius.com/U2-i-still-havent-found-what-im-looking-for-lyrics,"8," -155,Madonna,"August 22, 1987",[],"Who's that girl? Who's that girl? When you see her, say a prayer And kiss your heart goodbye She's trouble, in a word get closer to the fire Run faster, her laughter burns you up inside You're spinning round and round You can't get up, you try but you can't ¿Quién es esa niña? (Who's that girl?) Señorita, más fina (Who's that girl?) ¿Quién es esa niña? (Who's that girl?) Señorita, más fina (Who's that girl?) You try to avoid her, fate is in your hands She's smiling, an invitation to the dance Her heart is on the street, tu corazón es suyo Now you're falling at her feet You try to get away but you can't ¿Quién es esa niña? (Who's that girl?) Señorita, más fina (Who's that girl?) ¿Quién es esa niña? (Who's that girl?) Señorita, más fina (Who's that girl?) Light up my life, so blind I can't see Light up my life, no one can help me now Run faster, her laughter burns you up inside You're spinning round and round You can't get up, you try but you can't ¿Quién es esa niña? (Who's that girl?) Señorita, más fina (Who's that girl?) ¿Quién es esa niña? (Who's that girl?) Señorita, más fina (Who's that girl?) Light up my life, so blind I can't see Light up my life, no one can help me now Who's that girl? Now, who's that girl? Now, who's that girl? Now, who's that girl? ¿Quién es esa niña? (Who's that girl?) Señorita, más fina (Who's that girl?) ¿Quién es esa niña? (Who's that girl?) Señorita, más fina (Who's that girl?) ¿Quién es esa niña? (Who's that girl?) Señorita, más fina (Who's that girl?) ¿Quién es esa niña? (Who's that girl?) Señorita, más fina (Who's that girl?) ¿Quién es esa niña? (Who's that girl?) Señorita, más fina (Who's that girl?)",Who's That Girl,Celebration,https://genius.com/Madonna-whos-that-girl-lyrics,"22," -156,Los Lobos,"August 29, 1987",[],"Para bailar la bamba Para bailar la bamba Se necesita una poca de gracia Una poca de gracia pa' mí pa' ti Y arriba y arriba Ay arriba y arriba Por ti seré, por ti seré, por ti seré Yo no soy marinero Yo no soy marinero, soy capitán Soy capitán, soy capitán Bamba, bamba Bamba, bamba Bamba, bamba Bamba Para bailar la bamba Para bailar la bamba Se necesita una poca de gracia Una poca de gracia pa' mí pa' ti Ay y arriba y arriba Para bailar la bamba Para bailar la bamba Se necesita una poca de gracia Una poca de gracia pa' mí pa' ti Y arriba y arriba Ay arriba y arriba Por ti seré, por ti seré, por ti seré Bamba, bamba Bamba, bamba Bamba, bamba Bamba, bamba",La Bamba,La Bamba (Original Motion Picture Soundtrack),https://genius.com/Los-lobos-la-bamba-lyrics,"29," -157,Michael Jackson with Siedah Garrett,"September 19, 1987",null,null,I Just Can't Stop Loving You,null,null,"19," -158,Whitney Houston,"September 26, 1987",[],Remember when we held on in the rain The night we almost lost it Once again we can take the night into tomorrow Living on feelings Touching you I feel it all again Didn't we almost have it all When love was all we had worth giving? The ride with you was worth the fall my friend Loving you makes life worth living Didn't we almost have it all? The night we hold on till the morning You know you'll never love that way again Didn't we almost have it all? The way you used to touch me felt so fine We kept our hearts together down the line A moment in the soul can last forever Comfort and keep us Help me bring the feeling back again Didn't we almost have it all When love was all we had worth giving? The ride with you was worth the fall my friend Loving you makes life worth living Didn't we almost have it all? The night we hold on till the morning You know you'll never love that way again Didn't we almost have it all? Didn't we have the best of times When love was young and new? Couldn't we reach inside and find The world of me and you? We'll never lose it again Because once you know what love is You never let it end Didn't we almost have it all When love was all we had worth giving? The ride with you was worth the fall my friend Loving you makes life worth living Didn't we almost have it all? The night we hold on till the morning You know you'll never love that way again Didn't we almost have it all? Didn't we almost have it all?,Didn't We Almost Have It All,Whitney,https://genius.com/Whitney-houston-didnt-we-almost-have-it-all-lyrics,"26," -159,Whitesnake,"October 10, 1987",[],"I don't know where I'm going But, I sure know where I've been Hanging on the promises in songs of yesterday And I've made up my mind I ain't wasting no more time Though I keep searching for an answer I never seem to find what I'm looking for Oh Lord, I pray you give me strength to carry on Cause I know what it means To walk along the lonely street of dreams Here I go again on my own Going down the only road I've ever known Like a drifter I was born to walk alone And I've made up my mind I ain't wasting no more time I'm just another heart in need of rescue Waiting on love's sweet charity An' I'm gonna hold on for the rest of my days Cause I know what it means To walk along the lonely street of dreams Here I go again on my own Going down the only road I've ever known Like a drifter I was born to walk alone And I've made up my mind I ain't wasting no more time But, here I go again Here I go again Here I go again Here I go And I've made up my mind I ain't wasting no more time Here I go again on my own Going down the only road I've ever known Like a drifter I was born to walk alone Cause I know what it means To walk along the lonely street of dreams Here I go again on my own Going down the only road I've ever known Like a drifter I was born to walk alone And I've made up my mind I ain't wasting no more time But, here I go again Here I go again Here I go again Here I go Here I go again Cause I know what it means To walk along the lonely street of dreams Here I go again on my own Going down the only road I've ever known Like a drifter I was born to walk alone And I've made up my mind I ain't wasting no more time",Here I Go Again,Saints & Sinners,https://genius.com/Whitesnake-here-i-go-again-lyrics,"10," -160,Lisa Lisa & Cult Jam,"October 17, 1987",[],"Hit the beat now Lost in emotion Some guys will promise you A marriage made in heaven But I'm gonna stick to my guns Like waiting for that love That I might be getting My dreams have yet begun, oh, baby Am I a fool 'cause I don't know just how you feel And this love for you, oh I can't conceal, oh I'm... I'm lost in emotion Telling you things you really shouldn't know I'm baby, I'm lost in emotion Am I a fool? At least my friends think so Que sera, que sera Baby, whatever will be Que sera, que sera Between you and me Just how true are the rumors I am hearing? About the crush you have on me? (Ooh) Oh baby I'm blind 'cause I just don't see it But I wanna believe what they see I find myself telling you things I don't even tell my best friend (Ooh) I keep showing emotions Not knowing just where it all stems from From time to time I wonder what I am in your heart (Sometimes you make me wonder) And even though I don't live there yet I'm afraid it will be cold and dark Oh, no Baby, am I a fool? Cause I don't know just how you feel? (Just how you feel) And this love for you, Oh I can't conceal Hit the beat now (Lost) With my feelings (Lost) I hit the ceiling (Lost) With big emotions (Lost) I can't be dealing (Lost) I wanna be with you (Lost) But I don't know how (Lost) In my heart, babe I can feel the beat now (Lost in emotion) (Lost in emotion) (Lost in emotion) (Lost) My baby You know that I'm lost My baby (Lost in emotion) My-m-m-my-my baby (Lost in emotion) (Lost in emotion) (Lost)",Lost in Emotion,Spanish Fly,https://genius.com/Lisa-lisa-and-cult-jam-lost-in-emotion-lyrics,"17," -161,Michael Jackson,"October 24, 1987","[{'api_path': '/artists/375', 'header_image_url': 'https://images.genius.com/ed9f6acbd575d4aed5a7e892fe55e8bd.780x440x1.jpg', 'id': 375, 'image_url': 'https://images.genius.com/fc40344c8046c66aca1f3e51bbc1c7f2.744x744x1.jpg', 'is_meme_verified': True, 'is_verified': True, 'name': 'Ne-Yo', 'url': 'https://genius.com/artists/Ne-yo', 'iq': 2707}, {'api_path': '/artists/72', 'header_image_url': 'https://images.genius.com/e2bc6707571002286befcaf42b81054d.737x303x1.png', 'id': 72, 'image_url': 'https://images.genius.com/6b6728ffc6a6d0e1f5c7c6de96d076a3.1000x1000x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': 'Kanye West', 'url': 'https://genius.com/artists/Kanye-west'}]","Not again Oh, this ain't supposed to happen to me Keep rocking and keep knocking Whether you Louboutin'd up or Reebokin' You see the hate that they're serving on a platter So what we gonna have, dessert or disaster? I never thought I'd be in love like this When I look at you, my mind goes on a trip Then you came in and knocked me on my face Feels like in I'm a race, but I already won first place I never thought I'd fall for you as hard as I did You got me thinking 'bout our life, our house, and kids, yeah Every morning, I look at you and smile 'Cause boy, you came around and you knocked me down, knocked me down Sometimes love comes around, and it knocks you down Just get back up, when it knocks you down, knocks you down Sometimes love comes around, and it knocks you down Just get back up, when it knocks you down, knocks you down I never thought I'd hear myself say ""Y'all go ahead, I think I'm gonna kick it with my girl today"" I used to be commander-in-chief of my pimp ship flying high Til I met this pretty little missile that shot me out the sky Hey, so now I'm crashing Don't know how it happened But I know it feels so damn good Said if I could go back and make it happen faster Don't you know I would, baby, if I could? Miss Independent, to the fullest The load never too much, she helping me pull it She shot the bullet that ended that life I swear to you the pimp in me just died tonight Girl, sometimes love... Sometimes love comes around, and it knocks you down Just get back up, when it knocks you down, knocks you down Sometimes love comes around, and it knocks you down Just get back up, when it knocks you down, knocks you down Tell me now, can you make it past your Caspers? So we can finally fly off into NASA You was always the cheerleader of my dream That seem to only date the head of football teams And I was the class clown that always kept you laughing We were never meant to be, baby, we just happened So please don't mess up the trick Hey Young World, I'm the new Slick Rick They say I move too quick but we can't let this moment pass us Let the hourglass pass right into ashes Let the wind blow the ash right before my glasses So I wrote this love letter right before my classes How could a goddess ask someone that's only average? For advice, OMG, you listen to that bitch Woe is me, baby, this is tragic 'Cause we had it, we was magic I was flying now I'm crashing This is Bad, real bad, Michael Jackson Now I'm mad, real mad, Joe Jackson You should leave your boyfriend now, I'm gon' ask him So you gotta take the good with the bad, happy and the sad And let it bring a better future than I had in the past Oh, 'cause I don't wanna make the same mistakes I did I don't wanna fall back on my face again (Whoa, whoa) I'll admit it, I was scared to act to love's call (Whoa, whoa) And if it hits better, make it worth the fall Sometimes love comes around, and it knocks you down Just get back up, when it knocks you down, knocks you down Sometimes love comes around, and it knocks you down Just get back up, when it knocks you down, knocks you down Won't see it coming when it happens But when it happens You're gonna feel it, let me tell you now You see when love comes and knocks you down Yeah Won't see it coming when it happens But when it happens You're gonna feel it, let me tell you now You see when love comes and knocks you down Yeah",Bad,In a Perfect World...,https://genius.com/Keri-hilson-knock-you-down-lyrics,"24," -162,Tiffany,"November 7, 1987",[],Let me hear your heart beat Let me feel your heart beat Let me touch your heart beat Cause I'm gonna change your heart beat Children behave That's what they say when we're together And watch how you play They don't understand And so we're Running just as fast as we can Holding on to one another's hand Trying to get away into the night And then you put your arms around me And we tumble to the ground And then you say I think we're alone now There doesn't seem to be anyone around I think we're alone now The beating of our hearts is the only sound Look at the way We gotta hide what we're doing Cause what would they say If they ever knew And so we're Running just as fast as we can Holding on to one another's hand Trying to get away into the night And then you put your arms around me And we tumble to the ground And then you say I think we're alone now There doesn't seem to be anyone around I think we're alone now The beating of our hearts is the only sound I think we're alone now There doesn't seem to be anyone around I think we're alone now The beating of our hearts is the only sound Running just as fast as we can Holding on to one another's hand Trying to get away into the night And then you put your arms around me And we tumble to the ground And then you say I think we're alone now There doesn't seem to be anyone around I think we're alone now The beating of our hearts is the only sound I think we're alone now There doesn't seem to be anyone around I think we're alone now The beating of our hearts is the only sound I think we're alone now There doesn't seem to be anyone around I think we're alone now Just you and me the only sound now Look at the way We gotta hide what we're doing Cause what would they say Can't you hear my heart beat Can't you hear my heart beat Dancing to my heart beat,I Think We're Alone Now,Tiffany,https://genius.com/Tiffany-i-think-were-alone-now-lyrics,"7," -163,Billy Idol,"November 21, 1987",[],"Here she comes now sayin', ""Mony, Mony"" Shoot 'em down, turn around, come on, Mony Hey, she look good and I feel all right now 'Cause I said don't stop now, you gotta toss and turn And feel all right, yeah, I feel all right I said, yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah, yeah) 'Cause you make me feel (Like I'm wanted) So good (Like I'm wanted), so good (Like I'm wanted), so good (Mony, Mony) So fine (Mony, Mony), so fine (Mony, Mony) It's all mine (Mony, Mony), well, I feel all right (Mony, Mony) I said, yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah) Well, you could shake it, Mony, Mony Ah, shotgun dead and I'll come on, Mony Don't stop cookin' 'cause I feel all right now Hey, don't stop now, come on, Mony, come on, yeah I said, yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah, yeah) 'Cause you make me feel (Like I'm wanted) So good (Like I'm wanted), so good (Like I'm wanted) Well, I feel alright (Mony, Mony) It's all mine (Mony, Mony), it's all mine (Mony, Mony) It's all mine (Mony, Mony), and I feel all right (Mony, Mony) I said, yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah) I love you Mony, mo-mo-mony I love you Mony, mo-mo-mony, sure I do I love you Mony, mo-mo-mony, sure I do I love you Mony, mo-mo-mony, sure I do I love you Mony, mo-mo-mony, sure I do I love you Mony, mo-mo-mony, sure I do I love you Mony, mo-mo-mony, sure I do I love you Mony, mo-mo-mony (Yeah) Yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), hey Come on, come on, come on, come on Come on (Come on), come on (Come on) Come on (And I feel alright) I said, yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah) Wake it, shake it, Mony, Mony Up, down, turn around, come on, Mony Hey, she give me love and I feel all right now Don't stop now, come on, Mony Come on I said, yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah, yeah) 'Cause you make me feel (Like I'm wanted) So good, (Like I'm wanted) so good, (Like I'm wanted) so good (Mony, Mony) So fine, (Mony, Mony) so fine It's all mine (Mony, Mony), well I feel all right (Mony, Mony) I said, yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah) Ride your pony, ride your pony Ride your pony come on, come on Mony Mony Feel all right, I said, ""Yeah, yeah, yeah, yeah, yeah"" 'Cause you make me feel (Like I'm wanted) So good, (Like I'm wanted) so good (Like I'm wanted) Well, I feel alright (Mony, Mony) You're so fine (Mony, Mony) You're so fine (Mony, Mony) It's all mine (Mony, Mony), well I feel all right (Mony, Mony) I said, yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah), yeah (Yeah)",Mony Mony,Greatest Hits,https://genius.com/Billy-idol-mony-mony-lyrics,"21," -164,Bill Medley & Jennifer Warnes,"November 28, 1987",null,null,(I've Had) The Time of My Life,null,null,"28," -165,Belinda Carlisle,"December 5, 1987",[],"Ooh, baby, do you know what that's worth? Ooh, heaven is a place on earth They say in heaven love comes first We'll make heaven a place on earth Ooh, heaven is a place on earth When the night falls down I wait for you And you come around And the world's alive With the sound of kids On the street outside When you walk into the room You pull me close and we start to move And we're spinning with the stars above And you lift me up in a wave of love Ooh, baby, do you know what that's worth? Ooh, heaven is a place on earth They say in heaven love comes first We'll make heaven a place on earth Ooh, heaven is a place on earth When I feel alone I reach for you And you bring me home When I'm lost at sea I hear your voice And it carries me In this world we're just beginning To understand the miracle of living Baby I was afraid before But I'm not afraid anymore Ooh, baby, do you know what that's worth? Ooh, heaven is a place on earth They say in heaven love comes first We'll make heaven a place on earth Ooh, heaven is a place on earth (Heaven) (Heaven) (Heaven) In this world we're just beginning To understand the miracle of living Baby I was afraid before But I'm not afraid anymore (Heaven) Ooh, baby, do you know what that's worth? Ooh, heaven is a place on earth They say in heaven love comes first We'll make heaven a place on earth Ooh, heaven is a place on earth Ooh, heaven is a place on earth Ooh, heaven is a place on earth Ooh, heaven is a place on earth Ooh, heaven is a place on earth Ooh, heaven is a place on earth",Heaven Is a Place on Earth,Heaven on Earth,https://genius.com/Belinda-carlisle-heaven-is-a-place-on-earth-lyrics,"5," -166,George Michael,"December 12, 1987",[],"1. Sgt. Pepper's Lonely Hearts Club Band (1967) by The Beatles 2. Pet Sounds (1966) by The Beach Boys 3. Revolver (1966) by The Beatles 4. Highway 61 Revisited (1965) by Bob Dylan 5. Rubber Soul (1965) by The Beatles 6. What's Going On (1971) by Marvin Gaye 7. Exile on Main St. (1972) by The Rolling Stones 8. London Calling (1979) by The Clash 9. Blonde On Blonde (1966) by Bob Dylan 10. The Beatles (""The White Album"") (1968) by The Beatles 11. The Sun Sessions (1976) by Elvis Presley 12. Kind Of Blue (1959) by Miles Davis 13. The Velvet Underground & Nico (1967) by The Velvet Underground & Nico 14. Abbey Road (1969) by The Beatles 15. Are You Experienced (1967) by The Jimi Hendrix Experience 16. Blood On The Tracks (1975) by Bob Dylan 17. Nevermind (1991) by Nirvana 18. Born To Run (1975) by Bruce Springsteen 19. Astral Weeks (1968) by Van Morrison 20. Thriller (1982) by Michael Jackson 21. The Great Twenty-Eight (1982) by Chuck Berry 22. John Lennon/Plastic Ono Band (1970) by John Lennon 23. Innervisions (1973) by Stevie Wonder 24. Live At The Apollo (1963) by James Brown 25. Rumours (1977) by Fleetwood Mac 26. The Joshua Tree (1987) by U2 27. King Of The Delta Blues Singers, Vol.1 (1961) by Robert Johnson 28. Who's Next (1971) by The Who 29. Led Zeppelin (1969) by Led Zeppelin 30. Blue (1971) by Joni Mitchell 31. Bringing It All Back Home (1965) by Bob Dylan 32. Let It Bleed (1969) by The Rolling Stones 33. Ramones (1976) by Ramones 34. Music From Big Pink (1968) by The Band 35. The Rise And Fall Of Ziggy Stardust And The Spiders From Mars (1972) by David Bowie 36. Tapestry (1971) by Carole King 37. Hotel California (1976) by Eagles 38. The Anthology (1947-1972) (2001) by Muddy Waters 39. Please Please Me (1963) by The Beatles 40. Forever Changes (1967) by Love 41. Never Mind The Bollocks, Here's The Sex Pistols (1977) by Sex Pistols 42. The Doors (1967) by The Doors 43. The Dark Side Of The Moon (1973) by Pink Floyd 44. Horses (1975) by Patti Smith 45. The Band (1969) by The Band 46. Legend (1984) by Bob Marley & The Wailers 47. A Love Supreme (1965) by John Coltrane 48. It Takes A Nation Of Millions To Hold Us Back (1988) by Public Enemy 49. At Fillmore East (1971) by The Allman Brothers Band 50. Here's Little Richard (1957) by Little Richard 51. Bridge Over Troubled Water (1970) by Simon And Garfunkel 52. Greatest Hits (1975) by Al Green 53. The Birth Of Soul: The Complete Atlantic Rhythm And Blues Recordings (1991) by Ray Charles 54. Electric Ladyland (1968) by The Jimi Hendrix Experience 55. Elvis Presley (1956) by Elvis Presley 56. Songs In The Key Of Life (1976) by Stevie Wonder 57. Beggars Banquet (1968) by The Rolling Stones 58. Trout Mask Replica (1969) by Captain Beefheart and his Magic Band 59. Meet The Beatles (1964) by The Beatles 60. Greatest Hits (1970) by Sly & The Family Stone 61. Appetite For Destruction (1987) by Guns N' Roses 62. Achtung Baby (1991) by U2 63. Sticky Fingers (1971) by The Rolling Stones 64. Back To Mono (1991) by Phil Spector 65. Moondance (1970) by Van Morrison 66. Led Zeppelin IV (1971) by Led Zeppelin 67. The Stranger (1977) by Billy Joel 68. Off The Wall (1979) by Michael Jackson 69. Super Fly (1972) by Curtis Mayfield 70. Physical Graffiti (1975) by Led Zeppelin 71. After The Gold Rush (1970) by Neil Young 72. Purple Rain (1984) by Prince 73. Back In Black (1980) by AC/DC 74. Otis Blue (1965) by Otis Redding 75. Led Zeppelin II (1969) by Led Zeppelin 76. Imagine (1971) by John Lennon 77. The Clash (1977) by The Clash 78. Harvest (1972) by Neil Young 79. Star Time (1991) by James Brown 80. Odessey And Oracle (1968) by The Zombies 81. Graceland (1986) by Paul Simon 82. Axis: Bold As Love (1967) by The Jimi Hendrix Experience 83. I Never Loved A Man The Way I Love You (1967) by Aretha Franklin 84. Lady Soul (1968) by Aretha Franklin 85. Born In The U.S.A. (1984) by Bruce Springsteen 86. Let It Be (1970) by The Beatles 87. The Wall (1979) by Pink Floyd 88. At Folsom Prison (1968) by Johnny Cash 89. Dusty In Memphis (1969) by Dusty Springfield 90. Talking Book (1972) by Stevie Wonder 91. Goodbye Yellow Brick Road (1973) by Elton John 92. 20 Golden Greats (1978) by Buddy Holly 93. Sign O' The Times (1987) by Prince 94. Bitches Brew (1970) by Miles Davis 95. Green River (1969) by Creedence Clearwater Revival 96. Tommy (1969) by The Who 97. The Freewheelin' Bob Dylan (1963) by Bob Dylan 98. This Year's Model (1978) by Elvis Costello 99. There's A Riot Goin' On (1971) by Sly & The Family Stone 100. In The Wee Small Hours (1955) by Frank Sinatra 101. Fresh Cream (1966) by Cream 102. Giant Steps (1959) by John Coltrane 103. Sweet Baby James (1970) by James Taylor 104. Modern Sounds In Country And Western Music (1962) by Ray Charles 105. Rocket To Russia (1977) by Ramones 106. Portrait Of A Legend: 1951-1964 (2003) by Sam Cooke 107. Hunky Dory (1971) by David Bowie 108. Aftermath (1966) by The Rolling Stones 109. Loaded (1970) by The Velvet Underground 110. The Bends (1995) by Radiohead 111. Court And Spark (1974) by Joni Mitchell 112. Disraeli Gears (1967) by Cream 113. The Who Sell Out (1967) by The Who 114. Out Of Our Heads (1965) by The Rolling Stones 115. Layla And Other Assorted Love Songs (1970) by Derek And The Dominos 116. At Last! (1961) by Etta James 117. Sweetheart Of The Rodeo (1968) by The Byrds 118. Stand! (1969) by Sly & The Family Stone 119. The Harder They Come (1972) by Jimmy Cliff 120. Raising Hell (1986) by Run-D.M.C 121. Moby Grape (1967) by Moby Grape 122. Pearl (1971) by Janis Joplin 123. Catch A Fire (1973) by The Wailers 124. Younger Than Yesterday (1967) by The Byrds 125. Raw Power (1973) by The Stooges 126. Remain In Light (1980) by Talking Heads 127. If You Can Believe Your Eyes And Ears (1966) by The Mamas & The Papas 128. Marquee Moon (1977) by Television 129. 40 Greatest Hits (1978) by Hank Williams 130. Paranoid (1970) by Black Sabbath 131. Saturday Night Fever (Original Soundtrack) (1977) by Various Artists 132. The Wild, The Innocent And The E Street Shuffle (1973) by Bruce Springsteen 133. Ready To Die (1994) by The Notorious B.I.G 134. Slanted And Enchanted (1992) by Pavement 135. Greatest Hits (1974) by Elton John 136. Tim (1985) by The Replacements 137. The Chronic (1992) by Dr. Dre 138. Rejuvenation (1974) by The Meters 139. All That You Can't Leave Behind (2000) by U2 140. Parallel Lines (1978) by Blondie 141. Live At The Regal (1965) by B.B. King 142. A Christmas Gift For You (1963) by Phil Spector 143. Gris-Gris (1968) by Dr. John 144. Straight Outta Compton (1988) by N.W.A 145. Aja (1977) by Steely Dan 146. Surrealistic Pillow (1967) by Jefferson Airplane 147. Dreams To Remember: The Otis Redding Anthology (1998) by Otis Redding 148. Déjà Vu (1970) by Crosby, Stills, Nash & Young 149. Houses Of The Holy (1973) by Led Zeppelin 150. Santana (1969) by Santana 151. Darkness On The Edge Of Town (1978) by Bruce Springsteen 152. The B-52's (1979) by The B-52's 153. Moanin' In The Moonlight (1959) by Howlin' Wolf 154. The Low End Theory (1991) by A Tribe Called Quest 155. Pretenders (1980) by Pretenders 156. Paul's Boutique (1989) by Beastie Boys 157. Closer (1980) by Joy Division 158. Captain Fantastic And The Brown Dirt Cowboy (1975) by Elton John 159. Alive (1975) by Kiss 160. Electric Warrior (1971) by T. Rex 161. The Dock Of The Bay (1968) by Otis Redding 162. OK Computer (1997) by Radiohead 163. 1999 (1982) by Prince 164. Heart Like A Wheel (1974) by Linda Ronstadt 165. Let's Get It On (1973) by Marvin Gaye 166. Imperial Bedroom (1982) by Elvis Costello 167. Master Of Puppets (1986) by Metallica 168. My Aim Is True (1977) by Elvis Costello 169. Exodus (1977) by Bob Marley & The Wailers 170. Live At Leeds (1970) by The Who 171. The Notorious Byrd Brothers (1968) by The Byrds 172. Every Picture Tells A Story (1971) by Rod Stewart 173. Something/Anything? (1972) by Todd Rundgren 174. Desire (1976) by Bob Dylan 175. Close To You (1970) by Carpenters 176. Rocks (1976) by Aerosmith 177. One Nation Under A Groove (1978) by Parliament/Funkadelic 178. Greatest Hits (1967) by The Byrds 179. The Anthology 1961 - 1977 (1992) by Curtis Mayfield And The Impressions 180. The Definitive Collection (2001) by ABBA 181. The Rolling Stones Now! (1965) by The Rolling Stones 182. Natty Dread (1974) by Bob Marley & The Wailers 183. Fleetwood Mac (1975) by Fleetwood Mac 184. Red Headed Stranger (1975) by Willie Nelson 185. The Stooges (1969) by The Stooges 186. Fresh (1973) by Sly & The Family Stone 187. So (1986) by Peter Gabriel 188. Buffalo Springfield Again (1967) by Buffalo Springfield 189. Happy Trails (1969) by Quicksilver Messenger Service 190. From Elvis In Memphis (1969) by Elvis Presley 191. Fun House (1970) by The Stooges 192. The Gilded Palace Of Sin (1969) by The Flying Burrito Brothers 193. Dookie (1994) by Green Day 194. Transformer (1972) by Lou Reed 195. Blues Breakers With Eric Clapton (1966) by John Mayall 196. Nuggets: Original Artyfacts From The First Psychedelic Era, 1965-1968 (1972) by Various Artists 197. Murmur (1983) by R.E.M 198. The Best Of (1964) by Little Walter 199. Highway To Hell (1979) by AC/DC 200. The Downward Spiral (1994) by Nine Inch Nails 201. Parsley, Sage, Rosemary And Thyme (1966) by Simon And Garfunkel 202. Bad (1987) by Michael Jackson 203. Wheels Of Fire (1968) by Cream 204. Dirty Mind (1980) by Prince 205. Abraxas (1970) by Santana 206. Tea For The Tillerman (1970) by Cat Stevens 207. Ten (1991) by Pearl Jam 208. Everybody Knows This Is Nowhere (1969) by Neil Young & Crazy Horse 209. Wish You Were Here (1975) by Pink Floyd 210. Crooked Rain, Crooked Rain (1994) by Pavement 211. Tattoo You (1981) by The Rolling Stones 212. Proud Mary: The Best Of Ike And Tina Turner (1991) by Ike And Tina Turner 213. New York Dolls (1973) by New York Dolls 214. Go Bo Diddley (1959) by Bo Diddley 215. Two Steps From The Blues (1961) by Bobby Bland 216. The Queen Is Dead (1986) by The Smiths 217. Licensed To Ill (1986) by Beastie Boys 218. Look-Ka Py Py (1969) by The Meters 219. Loveless (1991) by My Bloody Valentine 220. New Orleans Piano (1972) by Professor Longhair 221. War (1983) by U2 222. The Neil Diamond Collection (1999) by Neil Diamond 223. Howlin' Wolf (1962) by Howlin' Wolf 224. Nebraska (1982) by Bruce Springsteen 225. The Complete Hank Williams (1998) by Hank Williams 226. Doolittle (1989) by Pixies 227. Paid In Full (1987) by Eric B. And Rakim 228. Toys In The Attic (1975) by Aerosmith 229. Nick Of Time (1989) by Bonnie Raitt 230. A Night At The Opera (1975) by Queen 231. The Kink Kronikles (1972) by The Kinks 232. Mr. Tambourine Man (1965) by The Byrds 233. Bookends (1968) by Simon And Garfunkel 234. The Ultimate Collection (2000) by Patsy Cline 235. Mr. Excitement! (1992) by Jackie Wilson 236. The Who Sings My Generation (1965) by The Who 237. Like A Prayer (1989) by Madonna 238. Can't Buy A Thrill (1972) by Steely Dan 239. Let It Be (1984) by The Replacements 240. Run-DMC (1984) by Run-DMC 241. Black Sabbath (1970) by Black Sabbath 242. The Jerry Lee Lewis Anthology: All Killer No Filler! (1993) by Jerry Lee Lewis 243. Freak Out! (1966) by The Mothers Of Invention 244. Live Dead (1969) by Grateful Dead 245. Bryter Layter (1970) by Nick Drake 246. The Shape Of Jazz To Come (1959) by Ornette Coleman 247. Automatic For The People (1992) by R.E.M 248. Reasonable Doubt (1996) by Jay-Z 249. Low (1977) by David Bowie 250. The River (1980) by Bruce Springsteen 251. Complete & Unbelievable: The Otis Redding Dictionary Of Soul (1966) by Otis Redding 252. Metallica (1991) by Metallica 253. Trans-Europe Express (1977) by Kraftwerk 254. Whitney Houston (1985) by Whitney Houston 255. The Kinks Are The Village Green Preservation Society (1968) by The Kinks 256. The Velvet Rope (1997) by Janet Jackson 257. Stardust (1978) by Willie Nelson 258. American Beauty (1970) by Grateful Dead 259. Crosby, Stills & Nash (1969) by Crosby, Stills & Nash 260. Buena Vista Social Club (1997) by Buena Vista Social Club 261. Tracy Chapman (1988) by Tracy Chapman 262. Workingman's Dead (1970) by Grateful Dead 263. The Genius Of Ray Charles (1959) by Ray Charles 264. Child Is Father To The Man (1968) by Blood, Sweat & Tears 265. Cosmo's Factory (1970) by Creedence Clearwater Revival 266. Quadrophenia (1973) by The Who 267. There Goes Rhymin' Simon (1973) by Paul Simon 268. Psycho Candy (1985) by The Jesus And Mary Chain 269. Some Girls (1978) by The Rolling Stones 270. The Beach Boys Today! (1965) by The Beach Boys 271. Going To A Go-Go (1965) by Smokey Robinson And The Miracles 272. Nightbirds (1974) by Labelle 273. The Slim Shady LP (1999) by Eminem 274. Mothership Connection (1975) by Parliament 275. Rhythm Nation 1814 (1989) by Janet Jackson 276. Anthology Of American Folk Music (1952) by Various Artists 277. Aladdin Sane (1973) by David Bowie 278. The Immaculate Collection (1990) by Madonna 279. My Life (1994) by Mary J. Blige 280. Folk Singer (1964) by Muddy Waters 281. Can't Get Enough (1974) by Barry White 282. The Cars (1978) by The Cars 283. Five Leaves Left (1969) by Nick Drake 284. Music Of My Mind (1972) by Stevie Wonder 285. I'm Still In Love With You (1972) by Al Green 286. Los Angeles (1980) by X 287. Anthem Of The Sun (1968) by Grateful Dead 288. Something Else By The Kinks (1967) by The Kinks 289. Call Me (1973) by Al Green 290. Talking Heads: 77 (1977) by Talking Heads 291. The Basement Tapes (1975) by Bob Dylan And The Band 292. White Light/White Heat (1968) by The Velvet Underground 293. Greatest Hits (1972) by Simon And Garfunkel 294. Kick Out The Jams (1969) by MC5 295. Meat Is Murder (1985) by The Smiths 296. We're Only In It For The Money (1968) by The Mothers Of Invention 297. Weezer (""The Blue Album"") (1994) by Weezer 298. Master Of Reality (1971) by Black Sabbath 299. Coat Of Many Colors (1971) by Dolly Parton 300. Fear Of A Black Planet (1990) by Public Enemy 301. John Wesley Harding (1967) by Bob Dylan 302. The Marshall Mathers LP (2000) by Eminem 303. Grace (1994) by Jeff Buckley 304. Car Wheels On A Gravel Road (1998) by Lucinda Williams 305. Odelay (1996) by Beck 306. Songs For Swingin' Lovers (1956) by Frank Sinatra 307. Avalon (1982) by Roxy Music 308. The Sun Records Collection (1994) by Various Artists 309. Nothing's Shocking (1988) by Jane's Addiction 310. Blood Sugar Sex Magik (1991) by Red Hot Chili Peppers 311. Unplugged In New York (1994) by Nirvana 312. The Miseducation Of Lauryn Hill (1998) by Lauryn Hill 313. Damn The Torpedoes (1979) by Tom Petty And The Heartbreakers 314. The Velvet Underground (1969) by The Velvet Underground 315. Surfer Rosa (1988) by Pixies 316. Rock Steady (2001) by No Doubt 317. The Eminem Show (2002) by Eminem 318. Back Stabbers (1972) by The O'Jays 319. Burnin' (1973) by The Wailers 320. Pink Moon (1972) by Nick Drake 321. Sail Away (1972) by Randy Newman 322. Ghost In The Machine (1981) by The Police 323. Station To Station (1976) by David Bowie 324. The Very Best Of Linda Ronstadt (2002) by Linda Ronstadt 325. Slowhand (1977) by Eric Clapton 326. Disintegration (1989) by The Cure 327. Jagged Little Pill (1995) by Alanis Morissette 328. Exile In Guyville (1993) by Liz Phair 329. Daydream Nation (1988) by Sonic Youth 330. In The Jungle Groove (1986) by James Brown 331. Tonight's The Night (1975) by Neil Young 332. Help! (1965) by The Beatles 333. Shoot Out The Lights (1982) by Richard & Linda Thompson 334. Wild Gift (1981) by X 335. Squeezing Out Sparks (1979) by Graham Parker 336. Superunknown (1994) by Soundgarden 337. Aqualung (1971) by Jethro Tull 338. Cheap Thrills (1968) by Big Brother And The Holding Company 339. The Heart Of Saturday Night (1974) by Tom Waits 340. Damaged (1981) by Black Flag 341. Play (1999) by Moby 342. Violator (1990) by Depeche Mode 343. Bat Out Of Hell (1977) by Meat Loaf 344. Berlin (1973) by Lou Reed 345. Stop Making Sense (1984) by Talking Heads 346. 3 Feet High And Rising (1989) by De La Soul 347. The Piper At The Gates Of Dawn (1967) by Pink Floyd 348. At Newport 1960 (1960) by Muddy Waters 349. Roger The Engineer (1966) by The Yardbirds 350. Rust Never Sleeps (1979) by Neil Young & Crazy Horse 351. Brothers In Arms (1985) by Dire Straits 352. 52nd Street (1978) by Billy Joel 353. Having A Rave Up With The Yardbirds (1965) by The Yardbirds 354. 12 Songs (1970) by Randy Newman 355. Between The Buttons (1967) by The Rolling Stones 356. Sketches Of Spain (1960) by Miles Davis 357. Honky Chateau (1972) by Elton John 358. Singles Going Steady (1979) by Buzzcocks 359. Stankonia (2000) by OutKast 360. Siamese Dream (1993) by Smashing Pumpkins 361. Substance (1987) by New Order 362. L.A. Woman (1971) by The Doors 363. Ray Of Light (1998) by Madonna 364. American Recordings (1994) by Johnny Cash 365. Louder Than Bombs (1987) by The Smiths 366. Mott (1973) by Mott The Hoople 367. Is This It (2001) by The Strokes 368. Rage Against The Machine (1992) by Rage Against The Machine 369. Reggatta De Blanc (1979) by The Police 370. Volunteers (1969) by Jefferson Airplane 371. Siren (1975) by Roxy Music 372. Late For The Sky (1974) by Jackson Browne 373. Post (1995) by Björk 374. Eagles (1972) by Eagles 375. The Ultimate Collection (1948 - 1990) (1991) by John Lee Hooker 376. (What's The Story) Morning Glory? (1995) by Oasis 377. CrazySexyCool (1994) by TLC 378. Funky Kingston (1973) by Toots And The Maytals 379. Greetings From Asbury Park (1973) by Bruce Springsteen 380. Sunflower (1970) by The Beach Boys 381. Modern Lovers (1976) by Modern Lovers 382. More Songs About Buildings And Food (1978) by Talking Heads 383. A Quick One (Happy Jack) (1966) by The Who 384. Pyromania (1983) by Def Leppard 385. Pretzel Logic (1974) by Steely Dan 386. Enter The Wu-Tang: 36 Chambers (1993) by Wu-Tang Clan 387. Country Life (1974) by Roxy Music 388. A Hard Day's Night (1964) by The Beatles 389. The End Of The Innocence (1989) by Don Henley 390. Elephant (2003) by The White Stripes 391. The Pretender (1976) by Jackson Browne 392. Willy And The Poor Boys (1969) by Creedence Clearwater Revival 393. Good Old Boys (1974) by Randy Newman 394. For Your Pleasure (1973) by Roxy Music 395. Blue Lines (1991) by Massive Attack 396. Eliminator (1983) by ZZ Top 397. Rain Dogs (1985) by Tom Waits 398. Anthology (1973) by The Temptations 399. Californication (1999) by Red Hot Chili Peppers 400. Illmatic (1994) by Nas 401. (Pronounced Leh-Nerd Skin-Nerd) (1973) by Lynyrd Skynyrd 402. Dr. John's Gumbo (1972) by Dr. John 403. Radio City (1974) by Big Star 404. Sandinista! (1980) by The Clash 405. Rid Of Me (1993) by PJ Harvey 406. I Do Not Want What I Haven't Got (1990) by Sinead O'Connor 407. Strange Days (1967) by The Doors 408. Time Out Of Mind (1997) by Bob Dylan 409. 461 Ocean Boulevard (1974) by Eric Clapton 410. Pink Flag (1977) by Wire 411. Double Nickels On The Dime (1984) by Minutemen 412. Mezzanine (1998) by Massive Attack 413. Beauty And The Beat (1981) by Go-Go's 414. Greatest Hits (1991) by James Brown 415. Van Halen (1978) by Van Halen 416. Mule Variations (1999) by Tom Waits 417. Boy (1980) by U2 418. Band On The Run (1973) by Wings 419. Dummy (1994) by Portishead 420. With The Beatles (1963) by The Beatles 421. The ""Chirping"" Crickets (1957) by Buddy Holly 422. The Best Of The Girl Groups, Volumes 1 And 2 (1990) by Various Artists 423. Greatest Hits (1998) by The Mamas & The Papas 424. King Of The Delta Blues Singers, Vol. 2 (1970) by Robert Johnson 425. Changesone (1976) by David Bowie 426. The Battle Of Los Angeles (1999) by Rage Against The Machine 427. Presenting The Fabulous Ronettes Featuring Veronica (1964) by The Ronettes 428. Kid A (2000) by Radiohead 429. Grievous Angel (1974) by Gram Parsons 430. At Budokan (1978) by Cheap Trick 431. Anthology (1974) by The Supremes 432. Sleepless (2002) by Peter Wolf 433. Another Green World (1975) by Brian Eno 434. Outlandos D'Amour (1978) by The Police 435. To Bring You My Love (1995) by PJ Harvey 436. Here Come The Warm Jets (1973) by Brian Eno 437. All Things Must Pass (1970) by George Harrison 438. Number 1 Record (1972) by Big Star 439. In Utero (1993) by Nirvana 440. Sea Change (2002) by Beck 441. Tragic Kingdom (1995) by No Doubt 442. Boys Don't Cry (1980) by The Cure 443. Live At The Harlem Square Club, 1963 (1985) by Sam Cooke 444. Criminal Minded (1987) by Boogie Down Productions 445. Rum Sodomy And The Lash (1985) by The Pogues 446. Suicide (1977) by Suicide 447. Q: Are We Not Men? A: We Are Devo! (1978) by Devo 448. In Color (1977) by Cheap Trick 449. The World Is A Ghetto (1972) by War 450. Fly Like An Eagle (1976) by Steve Miller Band 451. Back In The USA (1970) by MC5 452. Music (2000) by Madonna 453. Ritual De Lo Habitual (1990) by Jane's Addiction 454. Getz/Gilberto (1964) by Stan Getz And Joao Gilberto Featuring Antonio Carlos Jobim 455. Synchronicity (1983) by The Police 456. Third/Sister Lovers (1978) by Big Star 457. For Everyman (1973) by Jackson Browne 458. John Prine (1971) by John Prine 459. Strictly Business (1988) by EPMD 460. Love It To Death (1971) by Alice Cooper 461. How Will The Wolf Survive? (1984) by Los Lobos 462. Here, My Dear (1978) by Marvin Gaye 463. Tumbleweed Connection (1970) by Elton John 464. The Blueprint (2001) by Jay-Z 465. Golden Hits (1968) by The Drifters 466. Live Through This (1994) by Hole 467. Love And Theft (2001) by Bob Dylan 468. Elton John (1970) by Elton John 469. Metal Box (1979) by Public Image Ltd 470. Document (1987) by R.E.M 471. Heaven Up Here (1981) by Echo & The Bunnymen 472. Hysteria (1987) by Def Leppard 473. A Rush Of Blood To The Head (2002) by Coldplay 474. Live In Europe (1967) by Otis Redding 475. Tunnel Of Love (1987) by Bruce Springsteen 476. The Paul Butterfield Blues Band (1965) by The Paul Butterfield Blues Band 477. The Score (1996) by Fugees 478. Radio (1985) by LL Cool J 479. I Want To See The Bright Lights Tonight (1974) by Richard & Linda Thompson 480. Faith (1987) by George Michael 481. The Smiths (1984) by The Smiths 482. Armed Forces (1979) by Elvis Costello And The Attractions 483. Life After Death (1997) by The Notorious B.I.G 484. Branded Man (1967) by Merle Haggard 485. All Time Greatest Hits (2002) by Loretta Lynn 486. Maggot Brain (1971) by Funkadelic 487. Mellon Collie And The Infinite Sadness (1995) by Smashing Pumpkins 488. Voodoo (2000) by D'Angelo 489. Guitar Town (1986) by Steve Earle 490. Entertainment! (1979) by Gang Of Four 491. All The Young Dudes (1972) by Mott The Hoople 492. Vitalogy (1994) by Pearl Jam 493. That's The Way Of The World (1975) by Earth, Wind & Fire 494. She's So Unusual (1983) by Cyndi Lauper 495. New Day Rising (1985) by Hüsker Dü 496. Destroyer (1976) by Kiss 497. Yo! Bum Rush The Show (1987) by Public Enemy 498. Tres Hombres (1973) by ZZ Top 499. Born Under A Bad Sign (1967) by Albert King 500. Touch (1983) by Eurythmics",Faith♪ (1988),,https://genius.com/Rolling-stone-the-500-greatest-albums-of-all-time-2003-lyrics,"12," -167,Whitney Houston,"January 9, 1988",[],"I don't know why I like it I just do I've been hearing your heartbeat inside of me I keep your photo right beside my bed Livin' in a world of fantasies I can't get you out of my head I've been waiting for the phone to ring all night Why you wanna make me feel so good? I got a love of my own, babe I shouldn't get so hung up on you I remember the way that we touched I wish I didn't like it so much I get so emotional, baby Everytime I think of you I get so emotional, baby Ain't it shocking what love can do? Ain't it shocking what love can do? Ain't it shocking what love can do? I gotta watch you walk in the room, baby I gotta watch you walk out I like the animal way you move And when you talk I just watch your mouth I remember the way that we touched I wish I didn't like it so much I get so emotional, baby Everytime I think of you I get so emotional, baby Ain't it shocking what love can do? I get so emotional, baby Everytime I think of you I get so emotional, baby Ain't it shocking what love can do? Ain't it shocking what love can do? Ain't it shocking what love can do? See I remember the way that we touched I wish I didn't like it so much I get so emotional, baby Everytime I think of you I get so emotional, baby Ain't it shocking what love can do?",So Emotional,Whitney,https://genius.com/Whitney-houston-so-emotional-lyrics,"9," -168,George Harrison,"January 16, 1988",[],"I got my mind set on you I got my mind set on you I got my mind set on you I got my mind set on you But it's going to take money A whole lot of spending money It's going to take plenty of money To do it right, child It's going to take time A whole lot of precious time It's going to take patience and time To do it, to do it, to do it, to do it, to do it To do it right, child I got my mind set on you I got my mind set on you I got my mind set on you I got my mind set on you And this time I know it's for real The feeling that I feel I know if I put my mind to it I know that I really can do it I got my mind set on you Set on you I got my mind set on you Set on you But it's going to take money A whole lot of spending money It's going to take plenty of money To do it right, child It's going to take time A whole lot of precious time It's going to take patience and time To do it, to do it, to do it, to do it, to do it To do it right I got my mind set on you I got my mind set on you I got my mind set on you I got my mind set on you And this time I know it's for real The feelings that I feel I know if I put my mind to it I know that I really can do it But it's going to take money A whole lot of spending money It's going to take plenty of money To do it right, child It's going to take time A whole lot of precious time It's going to take patience and time To do it, to do it, to do it, to do it, to do it To do it right Set on you Set on you Set on you Set on you I got my mind set on you I got my mind set on you I got my mind set on you I got my mind set on you Set on you Set on you Set on you Set on you Set on you Set on you Set on you Set on you",Got My Mind Set on You,Cloud Nine,https://genius.com/George-harrison-got-my-mind-set-on-you-lyrics,"16," -169,Michael Jackson,"January 23, 1988",[],"Hee-Hee! Ooh! G'on girl! Aaow! Hee! Hey pretty baby with the high heels on You give me fever like I've never, ever known You're just a product of loveliness I like the groove of your walk, your talk, your dress I feel your fever from miles around I'll pick you up in my car and we'll paint the town Just kiss me baby and tell me twice That you're the one for me The way you make me feel (The way you make me feel) You really turn me on (You really turn me on) You knock me off of my feet (You knock me off of my feet) My lonely days are gone (My lonely days are gone) I like the feeling you're giving me Just hold me, baby, and I'm in ecstasy Oh, I'll be working from 9 to 5 To buy you things to keep you by my side I've never felt so in love before Just promise baby, you'll love me forevermore I swear I'm keeping you satisfied Cause you're the one for me The way you make me feel (The way you make me feel) You really turn me on (You really turn me on) You knock me off of my feet (You knock me off of my feet) My lonely days are gone (My lonely days are gone) Acha-ooh! G'on girl! G'on! Hee! Hee! Aaow! G'on, girl! I've never felt so in love before Just promise baby, you'll love me forevermore I swear I'm keeping you satisfied Cause you're the one for me The way you make me feel (The way you make me feel) You really turn me on (You really turn me on) You knock me off of my feet (You knock me off of my feet) My lonely days are gone (My lonely days are gone) The way you make me feel (The way you make me feel) You really turn me on (You really turn me on) You knock me off of my feet (You knock me off of my feet) My lonely days are gone (My lonely days are gone) Ain't nobody's business Ain't nobody's business (The way you make me feel) Ain't nobody's business Ain't nobody's business But mine and my baby (You really turn me on) Hee-hee! (You knock me off of my feet) Hee-hee! Ooh! (My lonely days are gone) Give it to me Give me some time (The way you make me feel) Come on, be my girl I wanna be with mine (You really turn me on) Ain't nobody's business (You knock me off of my feet) Ain't nobody's business But mine and my baby G'on, girl! Aaow! (My lonely days are gone)",The Way You Make Me Feel,Bad,https://genius.com/Michael-jackson-the-way-you-make-me-feel-lyrics,"23," -170,INXS,"January 30, 1988",[],All you got is this moment Twenty-first century's yesterday You can care all you want Everybody does yeah that's okay So slide over here And give me a moment Your moves are so raw I've got to let you know I've got to let you know You're one of my kind I need you tonight Cause I'm not sleeping There's something about you girl That makes me sweat How do you feel? I'm lonely What do you think? Can't think at all Whatcha gonna do? Gonna live my life So slide over here And give me a moment Your moves are so raw I've got to let you know I've got to let you know You're one of my kind I need you tonight Cause I'm not sleeping There's something about you girl That makes me sweat How do you feel? I'm lonely What do you think? Can't think at all Whatcha gonna do? Gonna live my life How do you feel? I'm lonely What do you think? Can't think at all Whatcha gonna do? Gonna live my life So slide over here And give me a moment Your moves are so raw I've got to let you know I've got to let you know You're one of my kind So slide over here And give me a moment Your moves are so raw I've got to let you know I've got to let you know You're one of my kind,Need You Tonight,Kick,https://genius.com/Inxs-need-you-tonight-lyrics,"30," -171,Tiffany,"February 6, 1988",[],The flowers you gave me are just about to die When I think about What could've been Makes me want to cry The sweet words you whispered didn't mean a thing I guess our song is over As we began to sing Could've been so beautiful Could've been so right Could've been my lover Every day day of my life Could've been so beautiful Could've been so right I'll never hold What could've been on a cold and lonely night The memories of our loving still linger in the air Like the faded scent of your roses Stay with me everywhere Everytime I get my hopes up They always seem to fall Still what could've been Is better than what can never be at all At all How can you hold what could've been On a cold and lonely night,Could've Been,Tiffany,https://genius.com/Tiffany-couldve-been-lyrics,"6," -172,Exposé,"February 20, 1988",[],"Some dreams are in the night time And some seem like yesterday But leaves turn brown and fade Ships sail away You long to say a thousand words But seasons change It feels like it's forever No reason for emptiness The time just runs away No more day by day You dream again It seems in vain When seasons change (I want you) I want to feel you by my side (I need you) Don't you know I need you, baby? Seasons change Feelings change It's been so long since I found you Yet it seems like yesterday Seasons change People change I'll sacrifice tomorrow Just to have you here today Forever seems so far away There's time for love and for play You dream about today Feeling slips away The winds that blow They go away And seasons change (I want you) Don't hide your feelings from inside (I need you) I've got to have your love now, baby Seasons change Feelings change It's been so long since I found you Yet it seems like yesterday Seasons change People change (I want you) I want to feel you by my side (I need you) I've got to have your love now, baby Seasons change Feelings change It's been so long since I found you Yet it seems like yesterday Seasons change People change I'll sacrifice tomorrow Just to have you here today Just to have you here today Seasons change Feelings change It's been so long since I found you Yet it seems like yesterday Seasons change (Seasons change) People change (People change) Seasons change (Seasons change) Feelings change (Feelings change) Change the season Seasons change People change Seasons change Feelings change",Seasons Change,Exposure,https://genius.com/Expose-seasons-change-lyrics,"20," -173,George Michael,"February 27, 1988",[],"That's all I wanted Something special, someone sacred in your eyes For just one moment To be bold and naked at your side Sometimes I think that you'll never understand me Maybe this time is forever, say it can be, whoa That's all you wanted Somethin' special, someone sacred in your life Just for one moment, to be warm and naked at my side Sometimes I think that you'll never understand me But somethin' tells me together, we'd be happy, whoa baby I will be your father figure Put your tiny hand in mine I will be your preacher teacher Anything you have in mind I will be your father figure I have had enough of crime I will be the one who loves you 'Til the end of time That's all I wanted But sometimes love can be mistaken for a crime That's all I wanted Just to see my baby's blue eyes shine This time I think that my lover understands me If we have faith in each other then we can be strong (Chorus) If you are the desert, I'll be the sea If you ever hunger, hunger for me Whatever you ask for, that's what I'll be So when you remember the ones who have lied Who said that they cared but then Laughed as you cried Beautiful darling, don't think of me Because all I ever wanted It's in your eyes baby (baby) And love can't lie, no Greet me with the eyes of a child My love is always tellin' me so Heaven is a kiss and a smile Just hold on, hold on I won't let you go, my baby (Chorus) I will be your father (I will be your) I will be your (father) preacher teacher I will be your (I'll be your daddy, oh) I will be the one who loves you 'Til the end of time",Father Figure,Faith ,https://genius.com/George-michael-father-figure-lyrics,"27," -174,Rick Astley,"March 12, 1988",[],"We're no strangers to love You know the rules and so do I A full commitment's what I'm thinking of You wouldn't get this from any other guy I just wanna tell you how I'm feeling Gotta make you understand Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you We've known each other for so long Your heart's been aching but you're too shy to say it Inside we both know what's been going on We know the game and we're gonna play it And if you ask me how I'm feeling Don't tell me you're too blind to see Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you (Ooh give you up) (Ooh give you up) (Ooh) Never gonna give, never gonna give (give you up) (Ooh) Never gonna give, never gonna give (give you up) We've known each other for so long Your heart's been aching but you're too shy to say it Inside we both know what's been going on We know the game and we're gonna play it I just wanna tell you how I'm feeling Gotta make you understand Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you Never gonna give you up Never gonna let you down Never gonna run around and desert you Never gonna make you cry Never gonna say goodbye Never gonna tell a lie and hurt you",Never Gonna Give You Up,Whenever You Need Somebody,https://genius.com/Rick-astley-never-gonna-give-you-up-lyrics,"12," -175,Michael Jackson,"March 26, 1988",[],"I'm gonna make a change For once in my life Gonna feel real good Gonna make a difference Gonna make it right As I turn up the collar on my favorite winter coat This wind is blowin' my mind See the kids in the street, with not enough to eat Who am I to be blind, pretending not to see their needs A summer's disregard, a broken bottle top And one man's soul They follow each other on the wind, ya know 'Cause they got nowhere to go That's why I want you to know I'm starting with the man in the mirror I'm asking him to change his ways And no message could have been any clearer If you wanna make the world a better place Take a look at yourself and then make a change Na-na-na na-na-na nana-nana I've been a victim of a selfish kinda love It's time that I realize There are some with no home Not a nickel to loan Could it be really me pretending that they're not alone A willow deeply scarred, somebody's broken heart And a washed-out dream They follow the pattern of the wind, ya see 'Cause they got no place to be That's why I'm starting with me I'm starting with the man in the mirror (Who?) I'm asking him to change his ways (Who?) And no message could have been any clearer If you wanna make the world a better place Take a look at yourself and then make a change I'm starting with the man in the mirror (Who?) I'm asking him to change his ways (Who?) And no message could have been any clearer If you wanna make the world a better place Take a look at yourself and then make that change I'm starting with the man in the mirror (Man in the mirror, oh yeah) I'm asking him to change his ways (Change his ways) (Come on, change) And no message could have been any clearer If you wanna make the world a better place Take a look at yourself and then make the change You gotta get it right, while you got the time 'Cause when you close your heart (You can't) Then you close your mind (Close your, your mind!) (That man, that man) I'm starting with the man in the mirror (That man) (Ooh!) (That man, that man) I'm asking him to change his ways (That man, the man) (Change his ways, ooh!) And no message could have been any clearer If you want to make the world a better place Take a look at yourself and then make that (Take a look at yourself and then make that) Change! Woo, woo (Na-na-na na-na-na nana-nana) woo, woo, woo, woo, woo Gonna feel real good (Oh yeah) Yeah, yeah, yeah, yeah (Na-na-na na-na-na nana-nana) Yeah, yeah, oh, oh no I'm gonna make a change It's gonna feel real good, Shamone (Change) Just lift yourself, you know You've got to stop it yourself, (Yeah) hoo! (Make that change) I gotta make that change today, woo! (Man in the mirror) You got to, you got to not pick yourself, brother, hoo! (Yeah) You know (Make that change) I've gotta get that man, that man (Man in the mirror) You got to, you got to move, Shamone, Shamone You got to stand up (Yeah) stand up (Make that change) stand up, stand up and lift yourself now (Man in the mirror) Hoo, hoo, hoo! Ow! (Yeah, make that change) Make that change, Shamone (Man in the mirror) You know it, you know it, you know it, you know (Change) Make that change!",Man in the Mirror,Bad,https://genius.com/Michael-jackson-man-in-the-mirror-lyrics,"26," -176,Billy Ocean,"April 9, 1988",[],"Hey you, get in to my car! Who me? Yes you, get in to my car Woooooooooh. Wah! Hey Who's that lady coming down the road Who's that lady Who's that woman walking through my door What's the score I'll be the sun shining on you Hey Cinderella step in your shoe I'll be your non-stop lover Get it while you can Your non-stop miracle, I'm your man Get outta my dreams Get in to my car Get outta my dreams (Get in to the back seat baby) Get in to my car (Beep Beep, yeah) Get outta my mind Get in to my life (Ooooooh) Oh I said hey (Hey) you (You) Get in to my car Oh baby Lady driver let me take your wheel Smooth operator Touch my bumper (Bumper) Hey, let's make a deal, make it real Like a road runner Coming after you Just like a hero outta the blue I'll be your non-stop lover Get it while you can Your non-stop miracle I'm your man Get outta my dreams Get in to my car Get outta my dreams (Get in to the back seat baby) Get in to my car (Beep Beep, yeah) Get outta my mind Get in to my life (Ooooooh) Oh I said hey (Hey) you (You) Get in to my car Oh baby, lets go I said open the door (Get in the back) Tread on the floor (Get on the track) Yeah (Yeah) yeah (Yeah) Yeah (Yeah) yeah (Yeah) Let's go Oooh, wooow, yeah I'll be the sun shining on you Hey Cinderella step in your shoe I'll be your non-stop lover Get it while you can Your non-stop miracle I'm your man Get outta my get outta my Woooooooooh Get outta my dreams Get in to my car Get outta my dreams (Get in to the back seat baby) Get in to my car (Beep Beep, yeah) Get outta my mind Get in to my life (Ooooooh) Oh I said hey (Hey) you (You) Get in to my hey (Hey) you (You) Get in to my hey (Hey) you (You) Get in to my car Hey you (Get in the back seat) I need you to get in the back seat I want you in my baby I want you in my baby Get in the back seat, back seat... I'll do the driving I'll take the wheel.. (Back seat, back seat...)","Get Outta My Dreams, Get into My Car",Tear Down These Walls,https://genius.com/Billy-ocean-get-outta-my-dreams-get-into-my-car-lyrics,"9," -177,Whitney Houston,"April 23, 1988",[],"I know it's been some time But there's something on my mind You see I haven't been the same Since that cold November day We said we needed space But all we found was an empty place And the only thing I learned Is that I need you desperately So here I am And can you please tell me Where do broken hearts go? Can they find their way home Back to the open arms Of a love that's waiting there? And if somebody loves you Won't they always love you? I look in your eyes And I know that you still care, for me Ooh baby I've been around enough to know That dreams don't turn to gold And that there is no easy way No, you just can't run away And what we have is so much more Than we ever had before And no matter how I try You're always on my mind So here I am And can you please tell me Where do broken hearts go? Can they find their way home Back to the open arms Of a love that's waiting there? And if somebody loves you Won't they always love you? I look in your eyes And I know that you still care, for me And now that I am here with you I'll never let you go I look into your eyes And now I know, now I know Where do broken hearts go? Can they find their way home Back to the open arms Of a love that's waiting there? And if somebody loves you Won't they always love you? I look in your eyes And I know that you still care, for me",Where Do Broken Hearts Go,Whitney,https://genius.com/Whitney-houston-where-do-broken-hearts-go-lyrics,"23," -178,Terence Trent D'Arby,"May 7, 1988",[],"Kissing like a bandit, stealing time Underneath a sycamore tree Cupid by the hour sends valentines To my sweet lover and me Slowly but surely Your appetite is more than I knew Sweetly, softly I'm falling in love with you Wish me love, a wishing well to kiss and tell A wishing well of butterfly tears Wish me love, a wishing well to kiss and tell A wishing well of crocodile cheers Hugging like a monkey see, monkey do Right beside a riverboat gambler Erotic images float through my head Say you wanna be a midnight rambler Quickly, but quickly The blood races through my veins Quickly, loudly I wanna hear those sugar bells ring Wish me love, a wishing well to kiss and tell A wishing well of butterfly tears Wish me love, a wishing well to kiss and tell A wishing well of crocodile cheers, get up On the beat now, uh Wish me love, a wishing well to kiss and tell A wishing well of butterfly tears, c'mon Wish me love, a wishing well to kiss and tell A wishing well of crocodile cheers, uh Yeah, I feel like goin' on C'mon, c'mon You're my midnight rambler, baby Wooh, dig it, for you anywhere But all I know is what I want, baby",Wishing Well,Introducing the Hardline According to Terence Trent D’Arby,https://genius.com/Terence-trent-darby-wishing-well-lyrics,"7," -179,Gloria Estefan & Miami Sound Machine,"May 14, 1988",[],Anything for you Though you're not here Since you said we're through It seems like years Time keeps dragging on and on And forever's been and gone Still I can't figure what went wrong I'd still do anything for you I'll play your game You hurt me through and through But you can have your way I can pretend each time I see you That I don't care and I don't need you And though you'll never see me crying You know inside I feel like dying And I'd do anything for you In spite of it all I've learned so much from you You made me strong But don't you ever think that I don't love you That for one minute I forgot you But sometimes things don't work out right And you just have to say goodbye I hope you find someone to please you Someone who'll care and never leave you But if that someone ever hurts you You just might need a friend to turn to And I'd do anything for you I'll give you up If that's what I should do To make you happy I can pretend each time I see you That I don't care and I don't need you And though inside I feel like dying You know you'll never see me crying Don't you ever think that I don't love you That for one minute I forgot you But sometimes things don't work out right And you just have to say goodbye,Anything for You,80s 100 Hits,https://genius.com/Gloria-estefan-and-miami-sound-machine-anything-for-you-lyrics,"14," -180,George Michael,"May 28, 1988",[],"I've had enough of danger And people on the streets I'm lookin' out for angels Just tryin' to find some peace Now I think it's time That you let me know So if you love me Say you love me But if you don't Just let me go 'Cause teacher There are things that I don't want to learn And the last one I had Made me cry So I don't want to learn to Hold you, touch you Think that you're mine Because it ain't no joy For an uptown boy Whose teacher has told him goodbye, goodbye, goodbye When you were just a stranger And I was at your feet I didn't feel the danger Now I feel the heat That look in your eyes Telling me ""No"" So you think that you love me Know that you need me I wrote the song, I know it's wrong Just let me go (Chorus) So when you say that you need me That you'll never leave me I know you're wrong, you're not that strong Let me go And teacher There are things that I still have to learn But the one thing I have is my pride Oh, so I don't want to learn to Hold you, touch you Think that you're mine Because there ain't no joy For an uptown boy Who just isn't willin' to try I'm so cold inside Maybe just one more try",One More Try,Faith ,https://genius.com/George-michael-one-more-try-lyrics,"28," -181,Rick Astley,"June 18, 1988",[],"If there's anything you need All you have to do is say You know you satisfy everything in me We shouldn't waste a single day So don't stop me falling It's destiny calling A power I just can't deny It's never changing Can't you hear me, I'm saying I want you for the rest of my life Together forever and never to part Together forever we two And don't you know I would move heaven and earth To be together forever with you If they ever get you down There's always something I can do Because I wouldn't ever wanna see you frown I'll always do what's best for you There ain't no mistaking It's true love we're making Something to last for all time It's never changing Can't you hear me, I'm saying I want you for the rest of my life So don't stop me falling It's destiny calling A power I just can't deny It's never changing Can't you hear me, I'm saying I want you for the rest of my life",Together Forever,Whenever You Need Somebody,https://genius.com/Rick-astley-together-forever-lyrics,"18," -182,Debbie Gibson,"June 25, 1988",[],"There was a time when Broken hearts and broken dreams Were over There was a place where All you could do was Wish on a four leaf clover But now is a new time There is a new place Where dreams just can't come true It started the day when I left you I could never love again the way that I loved you I could never cry again like I did when I left you And when we said goodbye Oh the look in your eyes Just left me beside myself without your heart (Without your heart) I could never love again now that we're apart When I was sorry It was too late to turn around And tell you so There was no reason There was no reason Just a foolish beat of my heart Oh, can't you see I'm not fooling nobody Don't you see the tears are falling down my face? Since you went away Break my heart, you slipped away Didn't know I was wrong Never meant to hurt you now you're gone I could never love again now that we're apart (Now that we're apart) I could never love again now that we're apart",Foolish Beat,Out of the Blue ,https://genius.com/Debbie-gibson-foolish-beat-lyrics,"25," -183,Michael Jackson,"July 2, 1988",[],"You'll never make me stay So take your weight off of me I know your every move So won't you just let me be? I've been here times before But I was too blind to see That you seduce every man This time you won't seduce me She's saying: ""That's okay Hey baby, do what you please I have the stuff that you want I am the thing that you need."" She looked me deep in the eyes She's touching me so to start She says: ""There's no turning back."" She trapped me in her heart Dirty Diana, nah Dirty Diana, nah Dirty Diana, no Dirty Diana, let me be! Oh no, oh no, oh no She likes the boys in the band She knows when they come to town Every musician's fan After the curtain comes down She waits at backstage doors For those who have prestige Who promise fortune and fame A life that's so carefree She's saying: ""That's okay Hey baby, do what you want I'll be your night-loving thing I'll be the freak you can taunt And I don't care what you say I want to go too far I'll be your everything If you make me a star."" Dirty Diana, nah Dirty Diana, nah Dirty Diana, no Dirty Diana Dirty Diana, nah Dirty Diana, nah Dirty Diana, no Dirty Diana Diana, Diana Dirty Diana It's Diana She said: ""I have to go home 'Cause I'm real tired you see But I hate sleeping alone Why don't you come with me?"" I said: ""My baby's at home She's probably worried tonight I didn't call on the phone To say that I'm alright."" Diana walked up to me She said: ""I'm all yours tonight."" At that I ran to the phone Saying, ""Baby, I'm alright."" I said: ""But unlock the door 'Cause I forgot the key."" She said: ""He's not coming back Because he's sleeping with me."" Dirty Diana, nah Dirty Diana, nah Dirty Diana, no Dirty Diana Dirty Diana, nah Dirty Diana, nah Dirty Diana, no Dirty Diana Diana, Diana Dirty Diana It's Diana",Dirty Diana,Bad,https://genius.com/Michael-jackson-dirty-diana-lyrics,"2," -184,Cheap Trick,"July 9, 1988",[],"Another night slowly closes in And I feel so lonely Touching heat freezing on my skin I pretend you still hold me I'm going crazy, I'm losing sleep I'm in too far, I'm in way too deep over you I can't believe you're gone You were the first, you'll be the last Wherever you go, I'll be with you Whatever you want, I'll give it to you Whenever you need someone To lay your heart and head upon Remember, after the fire, after all the rain I will be the flame I will be the flame Watching shadows move across the wall I feel so frightened I wanna run to you, I wanna call But I've been hit by lightning Just can't stand up for fallin' apart Can't see through this veil across my heart, over you You'll always be the one You were the first, you'll be the last Wherever you go, I'll be with you Whatever you want, I'll give it to you Whenever you need someone To lay your heart and head upon Remember after the fire, after all the rain I will be the flame I will be the flame I'm going crazy, I'm losing sleep I'm in too far, I'm in way too deep over you You'll always be the one You were the first, you'll be the last Wherever you go, I'll be with you Whatever you want, I'll give it to you Whenever you need someone To lay your heart and head upon Remember, after the fire, after all the rain I will be the flame I will be the flame Whatever you want, I'll give it to you Wherever you go, I'll be with you And whatever you want, I'll give it to you Oh! Whatever you want, I'll give it to you",The Flame,Lap of Luxury,https://genius.com/Cheap-trick-the-flame-lyrics,"9," -185,Richard Marx,"July 23, 1988",[],"Just when I believed I couldn't ever want for more This ever-changing world Pushes me through another door I saw you smile And my mind Could not erase the beauty of your face Just for awhile Won't you let me shelter you Hold on to the nights Hold on to the memories I wish that I could give you Something more That I could be yours How do we explain Something that took us by surprise Promises in vain Love that is real But in disguise What happens now Do we break another rule? Let our lovers play the fool? I don't know how To stop feeling this way Hold on to the nights Hold on to the memories If only I could give you more Well, I think that I've been true To everybody else but me And the way I feel about you Makes my heart long to be free Every time I look into your eyes I'm helplessly aware That the someone I've been searching for Is right there Hold on to the nights Hold on to the memories I wish that I could give you more That I can be yours",Hold On to the Nights,Richard Marx ,https://genius.com/Richard-marx-hold-on-to-the-nights-lyrics,"23," -186,Steve Winwood,"July 30, 1988",[],"When life is too much, roll with it, baby Don't stop and lose your touch, oh no, baby Hard times knocking on your door I'll tell them you ain't there no more Get on through it, roll with it, baby Luck'll come and then slip away You've gotta move, bring it back to stay You just roll with it, baby Come on and just roll with it, baby You and me, roll with it, baby Hang on and just roll with it, baby The way that you love is good as money I swear by stars above, sweet as honey People think you're down and out You show them what it's all about You can make it, roll with it, baby When this world turns its back on you Hang in and do that sweet thing you do You just roll with it, baby You just roll with it, baby Come on and just roll with it, baby You and me, just roll with it, baby You just roll with it, baby You just roll with it, baby Come on and just roll with it, baby You and me, just roll with it, baby Now there'll be a day you'll get there, baby You'll hear the music play, you'll dance, baby You'll leave bad times way behind Nothing but good times on your mind You can do it, roll with it, baby Then you'll see life will be so nice It's just a step up to paradise You just roll with it, baby You just roll with it, baby You and me, just roll with it, baby Come on and just roll with it, baby Come on You just roll with it, baby Just roll with it, baby You just roll with it, baby",Roll with It,Roll With It,https://genius.com/Steve-winwood-roll-with-it-lyrics,"30," -187,George Michael,"August 27, 1988",[],"Why can't you do it? Why can't you set your monkey free? Always givin' into it Do you love your monkey or do you love me? Why can't you do it? Why do I have to share my baby with a monkey (monkey) With a monkey? (monkey) Oh I count to ten But I don't know how and I don't know when To open my eyes If you kiss me again Like you did just now, like you did just then (just do it again) I've had the rest Now it's time I had the best So you tell me that you won't do anymore Well I'd write your heart a letter But I think you know me better If I keep on askin' baby, maybe I'll get what I'm askin' for (Chorus) Oh I hate your friends But I don't know how and I don't know when To open your eyes Yes the monkey's back again Do you want him now like you did back then? (don't do it again) I tried my best But your head is such a mess So I guess that I don't want you anymore Well you say you care about me That you just can't do without me But you keep on dancin' baby 'Til that monkey has you on the floor (Chorus) (Monkey, monkey...) Don't look now There's a monkey on your back Don't look now There's a monkey on you (x2) So you tell me that you won't do anymore Keep on askin' baby, maybe I'll get what I'm askin' for (Chorus x2) (Monkey, monkey...)",Monkey,Faith ,https://genius.com/George-michael-monkey-lyrics,"27," -188,Guns N' Roses,"September 10, 1988",[],"She's got a smile that it seems to me Reminds me of childhood memories Where everythin' was as fresh as the bright blue sky (Sky) Now and then when I see her face She takes me away to that special place An' if I'd stare too long, I'd probably break down and cry Woah-oh-oh! Sweet child of mine Woah, oh-oh-oh! Sweet love of mine She's got eyes of the bluest skies As if they thought of rain I hate to look into those eyes and see an ounce of pain Her hair reminds me of a warm, safe place Where as a child I'd hide An' pray for the thunder and the rain to quietly pass me by Woah-oh-oh! Sweet child of mine Ooh, oh-oh-oh! Sweet love of mine Oh yeah! Woah-oh-oh-oh! Sweet child of mine Ooh-oh, oh, oh! Sweet love of mine Woah, oh-oh-oh! Sweet child of mine, ooh yeah Ooh! Sweet love of mine Where do we go? Where do we go now? Where do we go? Ooh, where do we go? Where do we go now? Oh, where do we go now? Where do we go? (Sweet child...) Ooh, where do we go now? Ay, ay, ay, ay, ay, ay, ay, ay Where do we go now? Ah-ah-ah-ah-ah, wow Where do we go? Oh, where do we go now? Oh, where do we go? Where do we go now? Where do we go? Ooh, where do we go now? Now, now, now, now, now, now, now Sweet child, sweet child of mine",Sweet Child o' Mine,Appetite for Destruction,https://genius.com/Guns-n-roses-sweet-child-o-mine-lyrics,"10," -189,Bobby McFerrin,"September 24, 1988",[],"Here's a little song I wrote You might want to sing it note for note Don't worry, be happy In every life we have some trouble But when you worry you make it double Don't worry, be happy Don't worry, be happy now Don't worry, be happy Don't worry, be happy Don't worry, be happy Don't worry, be happy Ain't got no place to lay your head Somebody came and took your bed Don't worry, be happy The landlord say your rent is late He may have to litigate Don't worry, be happy (Look at me, I'm happy) Don't worry, be happy (Hey I'll give you my phone number, when you worry call me I'll make you happy!) Don't worry, be happy Ain't got no cash, ain't got no style Ain't got no gal to make you smile But don't worry, be happy 'Cause when you worry your face will frown And that will bring everybody down So don't worry, be happy Don't worry, be happy now Don't worry, be happy Don't worry, be happy Don't worry, be happy Don't worry, be happy Now there is the song I wrote I hope you learned it note for note, like good little children Don't worry, be happy Now listen to what I said, in your life expect some trouble When you worry you make it double But don't worry, be happy, be happy now Don't worry, be happy Don't worry, be happy Don't worry, be happy Don't worry, be happy Don't worry, be happy (Don't worry, don't worry, don't do it, be happy Put a smile on your face Don't bring everybody down like this Don't worry, it will soon pass whatever it is) Don't worry, be happy I'm not worried","Don't Worry, Be Happy",Simple Pleasures,https://genius.com/Bobby-mcferrin-dont-worry-be-happy-lyrics,"24," -190,Def Leppard,"October 8, 1988",[],"If you've got love in your sights Watch out Love bites When you make love, do you look in the mirror? Who do you think of, does he look like me? Do you tell lies? And say that it's forever Do you think twice, or just touch and see? Ooh, babe Oh, yeah When you're alone, do you let go? Are you wild and willing or is it just for show? Ooh, come on I don't want to touch you too much, baby 'Cause making love to you might drive me crazy I know you think that love is the way you make it So I don't want to be there when you decide to break it No Love bites, love bleeds It's bringing me to my knees Love lives, love dies It's no surprise Love begs, love pleads It's what I need When I'm with you, are you somewhere else? Am I getting through or do you please yourself? When you wake up, will you walk out? It can't be love if you throw it about Ooh, babe I don't want to touch you too much, baby 'Cause making love to you might drive me crazy Oh Love bites, love bleeds It's bringing me to my knees Love lives, love dies It's no surprise Love begs, love pleads It's what I need I don't want to touch you too much, baby 'Cause making love to you might drive me crazy I know you think that love is the way you make it So I don't want to be there when you decide to break it No Love bites, love bleeds It's bringing me to my knees Love lives, love dies... Love bites, love bleeds It's bringing me to my knees Love lives, love dies It's no surprise Love begs, love pleads It's what I need If you've got love in your sights Watch out Love bites",Love Bites,Hysteria,https://genius.com/Def-leppard-love-bites-lyrics,"8," -191,UB40,"October 15, 1988",[],"Red, red wine goes to my head Makes me forget that I Still need her so Red, red wine It's up to you All I can do, I've done Memories won't go Memories won't go Red, red wine goes to my head Makes me forget that I Still need her so Red, red wine It's up to you All I can do, I've done Memories won't go Memories won't go I just thought, that with time Thoughts of you would leave my head I was wrong, now I find Just one thing makes me forget Red, red wine Stay close to me Don't let me be in love It's tearing apart My blue, blue heart I just thought, that with time Thoughts of you would leave my head I was wrong, now I find Just one thing makes me forget Red, red wine Stay close to me Don't let me be in love It's tearing apart My blue, blue heart Red red wine, you make me feel so fine You keep me rockin' all of the time Red red wine, you make me feel so grand I feel a million dollar when you're just in my hand Red red wine, you make me feel so sad Any time I see you go, it make me feel bad Red red wine, you make me feel so fine Monkey pack him Rizla pon the sweet Dep line (Red red wine) Red red wine, you give me whole heap of zing Whole heap of zing, you make me do my own thing (It's up to you) Red red wine, you really know how fi love Your kind of lovin' like a blessing from above Red red wine, I loved you right from the start Right from the start with all of my heart Red red wine in an eighties style Red red wine in a modern beat style, yeah (I'd have sworn) Give me a little time, help me clear up my mind (That with time) Give me a little time, help me clear up my mind (Thoughts of you would leave my head) Give me red wine, the kind make me feel fine You make me feel fine all of the time Red red wine, you make me feel so fine Monkey pack him Rizla pon the sweet Dep line The line broke, the monkey get choked Burn bad ganja pon his little rowing boat (Red red wine) Red red wine, I'm gonna hold on to you Hold on to you cause I know your love true (Stay close to me) Red red wine, I'm gonna love you till I die Love you till I die, and that's no lie (Don't let me be alone) Red red wine, can't get you off my mind Wherever you may be, I'll surely find (It's tearin' apart) I'll surely find, make no fuss (My blue, blue heart) Just stick with us (I'd have sworn) Give me a little time, help me clear up my mind (That with time) Give me a little time, help me clear up my mind (Thoughts of you would leave my head) Give me red wine, the kind make me feel fine You make me feel fine all of the time Red red wine, you make me feel so fine Monkey pack him Rizla pon the sweet Dep line The line broke, the monkey get choked Burn bad ganja pon his little rowing boat (Red red wine) Red red wine, you really know how fi love Your kind of lovin' like a blessing from above (Stay close to me) Red red wine, I loved you right from the start Right from the start with all of my heart (Don't let me be alone) Red red wine, you give me whole heap of zing Whole heap of zing, you make me do my own thing Red red wine in an eighties style Red red wine in a modern beat style, yeah Red red wine, you make me feel so fine You keep me rockin' all of the time (Red red wine) Red red wine, you make me feel so grand I feel a million dollar when you're just in my hand (Stay close to me) Red red wine, you make me feel so sad Any time I see you go, it make me feel bad (Don't let me be alone) Red red wine, you make me feel so fine Monkey pack him Rizla pon the sweet Dep line",Red Red Wine,Labour of Love,https://genius.com/Ub40-red-red-wine-lyrics,"15," -192,Phil Collins,"October 22, 1988",[],"825 ALL NIGHT – PAROV STELAR 824 BIG JET PLANE – ANGUS & JULIA STONE 823 SWINGS BOTH WAYS – ROBBIE WILLIAMS FEATURING RUFUS WAINWRIGHT 822 GELOBTES LAND – PETER MAFFAY 821 JUST LIKE YOU – ANDREAS KÜMMERT 820 SHOUT TO THE TOP – THE STYLE COUNCIL 819 ONE DAY (VANDAAG) – BAKERMAT 818 LA PASSION – GIGI D'AGOSTINO 817 WE ARE THE PEOPLE – EMPIRE OF THE SUN 816 SONGS FÜR LIAM – KRAFTKLUB 815 LUCKY – BRITNEY SPEARS 814 FATHER AND SON – CAT STEVENS 813 MAD WORLD – MICHAEL ANDREWS FEAT. GARY JULES 812 DU BIST EIN WUNDER – WOLFGANG PETRY 811 MOVE IN THE RIGHT DIRECTION – GOSSIP 810 TAG AM MEER – DIE FANTASTISCHEN VIER 809 MONSTA – CULCHA CANDELA 808 OOH LA LA – BRITNEY SPEARS 807 NO NO NEVER – TEXAS LIGHTNING 806 BECAUSE WE CAN – BON JOVI 805 SOULMATE – NATASHA BEDINGFIELD 804 DER EIERMANN – KLAUS & KLAUS 803 SOLSBURY HILL – PETER GABRIEL 802 RESPECT – ARETHA FRANKLIN 801 (EVERYTHING I DO) I DO IT FOR YOU – BRYAN ADAMS 800 EVERYTIME WE TOUCH – CASCADA 799 I WANT IT THAT WAY – BACKSTREET BOYS 798 BERZERK – EMINEM 797 I WANNA DANCE WITH SOMEBODY (WHO LOVES ME) – WHITNEY HOUSTON 796 SLOW IT DOWN – AMY MACDONALD 795 AGAINST ALL ODDS (TAKE A LOOK AT ME NOW) – PHIL COLLINS 794 A LITTLE LESS CONVERSATION – ELVIS VS. JXL 793 MY HEART WILL GO ON – CELINE DION 792 I'M YOURS – JASON MRAZ 791 BOOMBASTIC – SHAGGY 790 MADE IN HEAVEN – QUEEN 789 KEINE GRENZEN - KEINE ZÄUNE – LOTTO KING KARL 788 LOSING SLEEP – JOHN NEWMAN 787 L'AMOUR TOUJOURS – GIGI D'AGOSTINO 786 ROCK DJ – ROBBIE WILLIAMS 785 MORGENS IMMER MÜDE – LAING 784 AROUND THE WORLD – THE DISCO BOYS 783 WHAT I'VE DONE – LINKIN PARK 782 VIVA LAS VEGAS – ELVIS PRESLEY 781 AN DE ECK – JAN FEDDER & BIG BALLS 780 THEY DON'T CARE ABOUT US – MICHAEL JACKSON 779 TURN ME ON – DAVID GUETTA (FEAT. NICKI MINAJ) 778 WENN WORTE MEINE SPRACHE WÄREN – TIM BENDZKO 777 MAMMA MIA – ABBA 776 SYMPHONIE – SILBERMOND 775 NO AIR – JORDIN SPARKS FEAT. CHRIS BROWN 774 THE REAL SLIM SHADY – EMINEM 773 I'LL BE MISSING YOU – PUFF DADDY & FAITH EVANS FEATURING 112 772 I WALK THE LINE – JOHNNY CASH 771 ICH STEINE DU STEINE – PETER FOX 770 NO SON OF MINE – GENESIS 769 FEUER – JAN DELAY 768 DRUNK IN THE MORNING – LUKAS GRAHAM 767 LIVIN' IN HAMBURG – HAMBURGER ARROGANZ 766 MY LIFE – BILLY JOEL 765 MICHAEL X – CASPER 764 A QUESTION OF TIME – DEPECHE MODE 763 STRAND – YASHA 762 SHE'S LIKE THE WIND – PATRICK SWAYZE FEAT. WENDY FRASER 761 LIVE IT UP – JENNIFER LOPEZ FEAT. PITBULL 760 AMSTERDAM – CORA 759 MORNING HAS BROKEN – CAT STEVENS 758 KINGS IN EXILE – FRITZ KALKBRENNER 757 LOVE IS A LOSING GAME – AMY WINEHOUSE 756 ALL GOOD THINGS (COME TO AN END) – NELLY FURTADO 755 SCATMAN (SKI-BA-BOP-BA-DOP-BOP) – SCATMAN JOHN 754 SUMMER IN THE CITY – JOE COCKER 753 LIEBE MEINES LEBENS – PHILIPP POISEL 752 ANOTHER DAY IN PARADISE – PHIL COLLINS 751 SHE WOLF (FALLING TO PIECES) – DAVID GUETTA FEAT. SIA 750 INCOMPLETE – BACKSTREET BOYS 749 LÖPPT – DE FOFFTIG PENNS 748 SWEAT (A LA LA LA LA LONG) – INNER CIRCLE 747 UMBRELLA – RIHANNA 746 AMSTERDAM – FETTES BROT 745 INDIGO GIRL – WATERSHED 744 EIN SCHWEIN NAMENS MÄNNER – DIE ÄRZTE 743 PAPARAZZI – LADY GAGA 742 LITTLE GREEN APPLES – ROBBIE WILLIAMS FEATURING KELLY CLARKSON 741 IN THE SHADOWS – THE RASMUS 740 STEP BY STEP – NEW KIDS ON THE BLOCK 739 ON IRA – ZAZ 738 AUF UNS – ANDREAS BOURANI 737 SEXY AND I KNOW IT – LMFAO 736 DICKES B – SEEED FEAT. BLACK KAPPA 735 TWO PRINCES – SPIN DOCTORS 734 RHYTHM IS A DANCER – SNAP! 733 I'M TOO SEXY – RIGHT SAID FRED 732 THE POWER – SNAP! 731 SECRETS – ONEREPUBLIC 730 SHOW 'EM (WHAT YOU'RE MADE OF) – BACKSTREET BOYS 729 BOYFRIEND – JUSTIN BIEBER 728 SCHWARZ ZU BLAU – PETER FOX 727 ENTRE DOS TIERRAS – HEROES DEL SILENCIO 726 MR. VAIN – CULTURE BEAT 725 ORINOCO FLOW (SAIL AWAY) – ENYA 724 WAKING UP IN VEGAS – KATY PERRY 723 KING OF MY CASTLE – WAMDUE PROJECT 722 BARCELONA – FREDDIE MERCURY & MONTSERRAT CABALLÈ 721 IF I WERE A BOY – BEYONCÉ 720 RUN – SNOW PATROL 719 WHAT NOW – RIHANNA 718 1999 – PRINCE 717 BAILANDO – LOONA 716 I DON'T DANCE – SUNRISE AVENUE 715 FROM SARAH WITH LOVE – SARAH CONNOR 714 WILD ONES – FLO RIDA FEAT. SIA 713 PATIENCE – TAKE THAT 712 UNTER DEINER FLAGGE – UNHEILIG 711 LET'S GET LOUD – JENNIFER LOPEZ 710 A GROOVY KIND OF LOVE – PHIL COLLINS 709 GET UP (RATTLE) – BINGO PLAYERS FEAT FAR EAST MOVEMENT 708 BALADA (TCHE TCHERERE TECHE TCHE) – GUSTTAVO LIMA 707 STREETS OF PHILADELPHIA – BRUCE SPRINGSTEEN 706 UNROCKBAR – DIE ÄRZTE 705 HEY NOW – MARTIN SOLVEIG & THE CATARACS FEATURING KYLE 704 U CAN'T TOUCH THIS – MC HAMMER 703 SEVEN NATION ARMY – THE WHITE STRIPES 702 WITHOUT ME – EMINEM 701 DAS ROTE PFERD – MARKUS BECKER 700 WHAT'S UP? – 4 NON BLONDES 699 BLUE DEVILS HYMNE – ANYA MAHNKEN 698 ES GIBT NUR WASSER – SANTIANO 697 HOME AGAIN – MICHAEL KIWANUKA 696 I KNOW YOU WANT ME (CALLE OCHO) – PITBULL 695 NEVER LET ME DOWN AGAIN – DEPECHE MODE 694 SUAVEMENTE – ELVIS CRESPO 693 AUFSTEHN! – SEEED FEAT. CEE-LO GREEN 692 FINGER IN PO - MEXIKO! – MICKIE KRAUSE 691 OTHER SIDE OF LOVE – SEAN PAUL 690 SHINE MY SHOES – ROBBIE WILLIAMS 689 TOTAL ECLIPSE OF THE HEART – BONNIE TYLER 688 HUMAN – THE KILLERS 687 FÜCHSE – ABSOLUTE BEGINNER 686 CAN'T STAND THE SILENCE – REA GARVEY 685 UMBRELLA – THE BASEBALLS 684 ALEJANDRO – LADY GAGA 683 BAKER STREET – GERRY RAFFERTY 682 MORE – USHER 681 PARTY ROCK ANTHEM – LMFAO 680 WORK B**CH! – BRITNEY SPEARS 679 TACATA – TACABRO 678 WHO'S THAT CHICK? – DAVID GUETTA FEAT RIHANNA 677 DRAGOSTEA DIN TEI – O-ZONE 676 MY LOVE IS YOUR LOVE – WHITNEY HOUSTON 675 SIEHST DU DAS GENAUSO? – SPORTFREUNDE STILLER 674 PUMPED UP KICKS – FOSTER THE PEOPLE 673 BACK IN BLACK – AC/DC 672 REMMIDEMMI (YIPPIE YIPPIE YEAH) – DEICHKIND 671 GOT 2 LUV U – SEAN PAUL FEAT. ALEXIS JORDAN 670 AN ANGEL – THE KELLY FAMILY 669 JOSEPHINE – REAMONN 668 NINE MILLION BICYCLES – KATIE MELUA 667 STANDING STILL – ROMAN LOB 666 BONBON AUS WURST – HELGE SCHNEIDER 665 NEXT TO ME – EMELI SANDÉ 664 ROLLING STONE – DANIEL SCHUHMACHER 663 PUNGA – KLINGANDE 662 TOXIC – BRITNEY SPEARS 661 JUMP THAT ROCK (WHATEVER YOU WANT) – SCOOTER VS. STATUS QUO 660 BIS DER ARZT KOMMT – LOTTO KING KARL & THE BARMBEK DREAMBOYS 659 NI**AS IN PARIS – JAY-Z & KANYE WEST 658 STADTAFFE – PETER FOX 657 LA ISLA BONITA – MADONNA 656 SEXY BITCH – DAVID GUETTA FEAT. AKON 655 HOW MUCH IS THE FISH? – SCOOTER 654 TIK TOK – KE$HA 653 ICH HAB ALAIN DELON GESEH'N – PIERRE FERDINAND ET LES CHARMEURS 652 HEAL THE WORLD – MICHAEL JACKSON 651 LILA WOLKEN – PETER KRAUS 650 I WILL DANCE (WHEN I WALK AWAY) – KATZENJAMMER 649 WHAT A WONDERFUL WORLD – LOUIS ARMSTRONG 648 ALLES WIRD AUS HACK GEMACHT (HACKSONG) – RALF ""RALLE"" PETERSEN FEAT. HACK NORRIS 647 SULTANS OF SWING – DIRE STRAITS 646 EIN TEIL – CRO 645 BEAUTIFUL DAY – U2 644 FAST CAR – TRACY CHAPMAN 643 SPECTRUM (SAY MY NAME) – FLORENCE AND THE MACHINE 642 LONESOME RIDER – VOLBEAT FEAT. SARAH BLACKWOOD 641 NUR DER HSV – ELVIS 640 BAD ROMANCE – LADY GAGA 639 THIS IS THE LIFE – AMY MACDONALD 638 WE CAN'T STOP – MILEY CYRUS 637 DESERT ROSE – STING 636 I'M ON FIRE – BRUCE SPRINGSTEEN 635 YOUNG AND BEAUTIFUL – LANA DEL REY 634 WHATEVER YOU WANT – STATUS QUO 633 STRAWBERRY FIELDS FOREVER – BEATLES 632 THE TIME (DIRTY BIT) – THE BLACK EYED PEAS 631 THE CAVE – MUMFORD AND SONS 630 UNDER CONTROL – CALVIN HARRIS & ALESSO FEAT. HURTS 629 THE SPARK – AFROJACK FEATURING SPREE WILSON 628 THE A TEAM – ED SHEERAN 627 JUST A DREAM – NELLY 626 SYMPATHY FOR THE DEVIL – ROLLING STONES 625 GIVE ME EVERYTHING – PITBULL FEAT NE-YO, AFROJACK & NAYER 624 BENEATH YOUR BEAUTIFUL – LABRINTH FEAT EMELI SANDÉ 623 IT'S TIME – IMAGINE DRAGONS 622 ALWAYS – BON JOVI 621 SUIT AND TIE – JUSTIN TIMBERLAKE FEAT. JAY-Z 620 IF TOMORROW NEVER COMES – RONAN KEATING 619 MIT 18 – MARIUS MÜLLER-WESTERNHAGEN 618 LOSING MY RELIGION – R.E.M 617 TAKE ME HOME, COUNTRY ROADS – JOHN DENVER 616 AN DER NORDSEEKÜSTE – KLAUS & KLAUS 615 LOVE IS ALL AROUND – WET WET WET 614 DAS KLEINE KÜKEN PIEPT – PULCINO PIO 613 FIELDS OF GOLD – STING 612 DICKE – MARIUS MÜLLER-WESTERNHAGEN 611 WHEREVER YOU WILL GO – THE CALLING 610 MONEY – PINK FLOYD 609 WIR WERDEN NIEMALS UNTERGEHEN – SANTIANO 608 IT'S RAINING MEN – THE WEATHER GIRLS 607 ZUCKER – PETER FOX 606 MR. JONES – COUNTING CROWS 605 I LOVE YOU – WOODKID 604 LITTLE NUMBERS – BOY 603 SIE IST WEG – DIE FANTASTISCHEN VIER 602 HEY JUDE – BEATLES 601 ALORS ON DANSE – STROMAE 600 SONNE IN DER NACHT – PETER MAFFAY 599 SUMMER PARADISE – SIMPLE PLAN FEATURING SEAN PAUL 598 GIRL GONE WILD – MADONNA 597 BEN – MICHAEL JACKSON 596 DER WILDE WILDE WESTEN – TRUCK STOP 595 RUN TO THE HILLS – IRON MAIDEN 594 WIRE TO WIRE – RAZORLIGHT 593 UPRISING – MUSE 592 SCHWULE MÄDCHEN – FETTES BROT 591 THE POWER OF LOVE – JENNIFER RUSH 590 HANGOVER – TAIO CRUZ 589 SO SOLL ES BLEIBEN – ICH + ICH 588 IRGENDWIE, IRGENDWO, IRGENDWANN – JAN DELAY 587 BITTER SWEET SYMPHONY – THE VERVE 586 DAS GEFÜHL – ANDREA BERG 585 MEINE SOLDATEN – MAXIM 584 I GOT U – DUKE DUMONT FEAT. JAX JONES 583 KRIEGER DES LICHTS – SILBERMOND 582 S&M – RIHANNA 581 REEPERBAHN – UDO LINDENBERG 580 AM TAG ALS CONNY KRAMER STARB – JULIANE WERDING 579 BARBIE GIRL – AQUA 578 DAS LIED DER SCHLÜMPFE – VADER ABRAHAM 577 EVERYBODY HURTS – R.E.M 576 LET THE MUSIC PLAY – BARRY WHITE 575 ONE MOMENT IN TIME – WHITNEY HOUSTON 574 WHO KNEW – P!NK 573 CALL ME – BLONDIE 572 AFFE SUCHT LIEBE – FRAKTUS 571 TRUE LOVE – P!NK FEAT. LILY ALLEN 570 PEOPLE HELP THE PEOPLE – BIRDY 569 TANZ DER MOLEKÜLE – MIA 568 IT'S MY LIFE – DR. ALBAN 567 SO WHAT – P!NK 566 READY TO START – ARCADE FIRE 565 HEAVEN – BRYAN ADAMS 564 SUMMER – CALVIN HARRIS 563 ALL OVER THE NEWS – MARTIN AND JAMES 562 TÜRLICH, TÜRLICH (SICHER, DICKER) – DAS BO 561 PAYPHONE – MAROON 5 FEAT. WIZ KHALIFA 560 BALU – KETTCAR 559 TROUBLEMAKER – OLLY MURS FEAT. FLO RIDA 558 WE FOUND LOVE – RIHANNA FEAT. CALVIN HARRIS 557 SUN IS UP – INNA 556 SEX BOMB – TOM JONES AND MOUSSE T 555 CAPE OF OUR HERO – VOLBEAT 554 YOU'RE THE FIRST, THE LAST, MY EVERYTHING – BARRY WHITE 553 WHEN LOVE TAKES OVER – DAVID GUETTA FEAT. KELLY ROWLAND 552 FLUGZEUGE IM BAUCH – HERBERT GRÖNEMEYER 551 STARSHIPS – NICKI MINAJ 550 ONLY TEARDROPS – EMMELIE DE FOREST 549 MFG (MIT FREUNDLICHEN GRÜSSEN) – DIE FANTASTISCHEN VIER 548 THE FLOOD – TAKE THAT 547 ONE – JOHNNY CASH 546 ER GEHÖRT ZU MIR – MARIANNE ROSENBERG 545 DIE DA!?! – DIE FANTASTISCHEN VIER 544 AFTER ALL – MICHAEL BUBLÉ FEAT. BRYAN ADAMS 543 FROZEN – MADONNA 542 CLOWN – EMELI SANDÉ 541 RED FLAG – BILLY TALENT 540 LIKE THE WAY I DO – MELISSA ETHERIDGE 539 SMOOTH CRIMINAL – MICHAEL JACKSON 538 HSV - DU BIST MEINE FRAU – BUDDY OGÜN PRESENTS MOZART 537 YOU'VE GOT THE LOVE – FLORENCE + THE MACHINE 536 KRANICHE – BOSSE 535 HEART SKIPS A BEAT – OLLY MURS FEAT. RIZZLE KICKS 534 LAST CHRISTMAS – WHAM! 533 WE ARE THE WORLD – USA FOR AFRICA 532 LOVE DON'T DIE – THE FRAY 531 ZU SPÄT – DIE ÄRZTE 530 WHERE ARE WE NOW? – DAVID BOWIE 529 WHAT MAKES YOU BEAUTIFUL – ONE DIRECTION 528 EMANUELA – FETTES BROT 527 ONE MORE NIGHT – MAROON 5 526 KLAR – JAN DELAY 525 IN THESE ARMS – BON JOVI 524 THANK YOU FOR THE MUSIC – ABBA 523 MY NUMBER – FOALS 522 LUCKY DAY – SASHA 521 LASSE REDN – DIE ÄRZTE 520 PFLASTER – ICH + ICH 519 SNOWFLAKES – WHITE APPLE TREE 518 DER AFFENTANZ – DIE JUNX 517 BURN IT DOWN – LINKIN PARK 516 UND ES WAR SOMMER – PETER MAFFAY 515 BACK FOR GOOD – TAKE THAT 514 IRGENDWAS BLEIBT – SILBERMOND 513 DOMINO – JESSIE J 512 DAY 'N' NIGHT – KID CUDI VS. CROOKERS 511 PFEIFF DRAUF! (URLAUB IST NUR EINMAL IM JAHR) – PETER WACKEL 510 LEGO HOUSE – ED SHEERAN 509 THUNDERSTRUCK – AC/DC 508 MR. SAXOBEAT – ALEXANDRA STAN 507 GET BUSY – SEAN PAUL 506 CLARITY – ZEDD FEAT. FOXES 505 ICH MAG MÜLL – ERNIE & BERT & IHRE FREUNDE 504 COLOUR ME IN – REA GARVEY 503 WOVON SOLLEN WIR TRÄUMEN – FRIDA GOLD 502 LOVING YOU IS KILLING ME – ALOE BLACC 501 GANGSTA'S PARADISE – COOLIO 500 IRONIC – ALANIS MORISSETTE 499 VIDEO GAMES – LANA DEL REY 498 DAS GEHT AB! (WIR FEIERN DIE GANZE NACHT) – FRAUENARZT & MANNY MARC 497 I KNEW YOU WERE TROUBLE – TAYLOR SWIFT 496 RENNEN + STOLPERN – JUPITER JONES 495 SATURDAY NIGHT – WHIGFIELD 494 ALIVE – PEARL JAM 493 BÜCK DICH HOCH – DEICHKIND 492 HAMMA! – CULCHA CANDELA 491 PRECIOUS – DEPECHE MODE 490 DING – SEEED 489 BLACK OR WHITE – MICHAEL JACKSON 488 VOM SELBEN STERN – ICH + ICH 487 FLAWS – BASTILLE 486 HOFFNUNG – JAN DELAY 485 ON THE FLOOR – JENNIFER LOPEZ FEAT. PITBULL 484 WOLKE 7 – MAX HERRE FEAT. PHILIPP POISEL 483 KEEP THE FAITH – BON JOVI 482 LUFTBAHN – DEICHKIND 481 WISH YOU WERE HERE – REDNEX 480 GOOD FEELING – FLO RIDA 479 WINE AND CHOCOLATES – THEOPHILUS LONDON 478 HELLO – MARTIN SOLVEIG & DRAGONETTE 477 OUT OF THE DARK – FALCO 476 (LIEBE IST...) WIE MALARIA – LOTTO KING KARL 475 LIVE WHILE WE'RE YOUNG – ONE DIRECTION 474 AFRICA – TOTO 473 ROXANNE – THE POLICE 472 ONLY GIRL (IN THE WORLD) – RIHANNA 471 BAYERN – DIE TOTEN HOSEN 470 FEELING GOOD – MICHAEL BUBLÉ 469 COUNT ON ME – BRUNO MARS 468 LICHTER DER STADT – UNHEILIG 467 RAISE YOUR GLASS – P!NK 466 WELCOME TO ST. TROPEZ – DJ ANTOINE VS. TIMATI FEAT. KALENNA 465 I AM WHAT I AM – GLORIA GAYNOR 464 PUMPIN BLOOD – NONONO 463 DOWN UNDER – MEN AT WORK 462 SCHREI NACH LIEBE – DIE ÄRZTE 461 ENDLESS SUMMER – OCEANA 460 CLOCKS – COLDPLAY 459 ÜBER SIEBEN BRÜCKEN MUSST DU GEHN – KARAT 458 ANGELS – THE XX 457 MOVES LIKE JAGGER – MAROON 5 FEAT CHRISTINA AGUILERA 456 ALL OF THE LIGHTS – KANYE WEST FEAT. RIHANNA 455 QUIT PLAYING GAMES – BACKSTREET BOYS 454 OUT OF YOURSELF – TRULS 453 FREUNDE BLEIBEN – REVOLVERHELD 452 MITTEN IN BARMBEK – LOTTO KING KARL 451 RING OF FIRE – JOHNNY CASH 450 JUNGE – DIE ÄRZTE 449 KRYPTONITE – 3 DOORS DOWN 448 HAMBURG BRENNT – 1000 ROBOTA 447 LITTLE THINGS – ONE DIRECTION 446 DOWN BY THE RIVER – MILKY CHANCE 445 MARGARETHE – BUDDY OGÜN PRES. MOZART 444 SUMMER WELL – INTERPOL 443 ROSANA – WAX 442 SAILING – ROD STEWART 441 YESTERDAY – BEATLES 440 ONE – U2 439 STUPS, DER KLEINE OSTERHASE – ROLF ZUCKOWSKI UND SEINE FREUNDE 438 ADORE YOU – MILEY CYRUS 437 BAT OUT OF HELL – MEAT LOAF 436 ANYTHING COULD HAPPEN – ELLIE GOULDING 435 PAINT IT BLACK – ROLLING STONES 434 SAMBA DE JANEIRO – BELLINI 433 ...SO EIN SCHÖNER TAG (FLIEGERLIED) – TIM TOUPET 432 MAN IN THE MIRROR – MICHAEL JACKSON 431 LASS DAS MAL DEN PAPA MACHEN – CHRISTOPH MARIA HERBST ALS BERND STROMBERG 430 SHE DOESN'T MIND – SEAN PAUL 429 GANZ PARIS IST EINE DISCO – PIERRE FERDINAND ET LES CHARMEURS 428 VON ALLEIN – CULCHA CANDELA 427 WE ARE YOUNG – FUN. FEAT JANELLE MONAÉ 426 (I'VE HAD) THE TIME OF MY LIFE – BILL MEDLEY AND JENNIFER WARNES 425 SO PERFEKT – CASPER 424 JEANNY, PART 1 – FALCO 423 SHOWGIRLS DER REEPERBAHN – DOUBLE FACES 422 DU LÄSST MEIN HERZ SPRINGEN – MAGGERS UNITED 421 WISH YOU WERE HERE – PINK FLOYD 420 AN TAGEN WIE DIESEN – FETTES BROT FEAT PASCAL FINKENAUER 419 SWEET DREAMS (ARE MADE OF THIS) – EURYTHMICS 418 I'M GONNA BE (500 MILES) – PROCLAIMERS 417 LOVE OF MY LIFE – QUEEN 416 JAN PILLEMANN OTZE – MICKIE KRAUSE 415 LITTLE LION MAN – MUMFORD AND SONS 414 LEMON TREE – FOOL'S GARDEN 413 ALL NIGHT – ICONA POP 412 FOREVER YOURS – SUNRISE AVENUE 411 GRIECHISCHER WEIN – UDO JÜRGENS 410 I WILL WAIT – MUMFORD AND SONS 409 GOOD TIME – OWL CITY AND CARLY RAE JEPSEN 408 SO ODER SO – BOSSE 407 EYE OF THE TIGER – SURVIVOR 406 JAR OF HEARTS – CHRISTINA PERRI 405 SINGLE LADIES (PUT A RING ON IT) – BEYONCÉ 404 JA – SILBERMOND 403 GEWINNER – CLUESO AND STÜBA PHILHARMONIE 402 WILD BOYS – DURAN DURAN 401 GOODNESS GRACIOUS – ELLIE GOULDING 400 YOU'LL NEVER WALK ALONE – GERRY & THE PACEMAKERS 399 LET ME ENTERTAIN YOU – ROBBIE WILLIAMS 398 DU – PETER MAFFAY 397 LIQUID SPIRIT – GREGORY PORTER 396 BEST SONG EVER – ONE DIRECTION 395 SONNENTANZ (SUN DON'T SHINE) – KLANGKARUSSELL FEAT. WILL HEARD 394 DON'T STOP BELIEVIN' – JOURNEY 393 RETROGRADE – JAMES BLAKE 392 MAMBO NO. 5 (A LITTLE BIT OF…) – LOU BEGA 391 ALL THE THINGS SHE SAID – T.A.T.U 390 AUF DER REEPERBAHN NACHTS UM HALB EINS – HANS ALBERS 389 LITTLE BIT LOVE – SUNRISE AVENUE 388 HIER KOMMT ALEX – DIE TOTEN HOSEN 387 SAMBA DE ALEMANHA (FUSSBALL WM HYMNE 2014) – POKALMATADOR 386 GOLD – DANIEL SCHUHMACHER 385 ATLANTIS LEBT – ANDREA BERG 384 DON'T STOP ME NOW – QUEEN 383 GENTLEMAN – PSY 382 I WANT TO BREAK FREE – QUEEN 381 I'D DO ANYTHING FOR LOVE (BUT I WON'T DO THAT) – MEAT LOAF 380 HOLD ON WE'RE GOING HOME – DRAKE 379 LIKE A PRAYER – MADONNA 378 ÜBER SIEBEN BRÜCKEN MUSST DU GEHN – PETER MAFFAY 377 BED OF ROSES – BON JOVI 376 ZOMBIE – CRANBERRIES 375 A NIGHT LIKE THIS – CARO EMERALD 374 HELLO – LIONEL RICHIE 373 WHO WANTS TO LIVE FOREVER – QUEEN 372 IN A WORLD LIKE THIS – BACKSTREET BOYS 371 THE MAN – ALOE BLACC 370 IN DIESEM MOMENT – ROGER CICERO 369 ABENTEUERLAND – PUR 368 WE ARE THE CHAMPIONS – QUEEN 367 AN DEINER SEITE – UNHEILIG 366 SAY SOMETHING – A GREAT BIG WORLD FEAT CHRISTINA AGUILERA 365 OH JONNY – JAN DELAY 364 FRANKFURT ODER – BOSSE FEAT. ANNA LOOS (SILLY) 363 SKINNY LOVE – BIRDY 362 SOBER – P!NK 361 HALT DICH AN MIR FEST – REVOLVERHELD FEAT. MARTA JANDOVÁ 360 APOLOGIZE – TIMBALAND FEAT. ONEREPUBLIC 359 DANCING QUEEN – ABBA 358 WONDERWALL – OASIS 357 KUSSKUSSKUSS – FETTES BROT 356 HEAVY CROSS – GOSSIP 355 DON'T YOU WORRY CHILD – SWEDISH HOUSE MAFIA 354 RED LIGHTS – TIESTO 353 ICH LIEBE DICH – CLOWNS & HELDEN 352 YEAH 3X – CHRIS BROWN 351 BLACK SATURDAY – MANDO DIAO 350 I WILL SURVIVE – GLORIA GAYNOR 349 LOST – FRANK OCEAN 348 SATELLITE – LENA MEYER-LANDRUT 347 I GOTTA FEELING – THE BLACK EYED PEAS 346 I NEED YOUR LOVE – CALVIN HARRIS FEAT ELLIE GOULDING 345 WENN JETZT SOMMER WÄR – POHLMANN 344 HOLES – PASSENGER 343 FREE – RUDIMENTAL FEAT. EMELI SANDé 342 ALLES AUS LIEBE – DIE TOTEN HOSEN 341 AIN'T NOBODY – RUFUS & CHAKA KHAN 340 WE WILL ROCK YOU – QUEEN 339 DEAR MR. PRESIDENT – P!NK FEAT. INDIGO GIRLS 338 ONE (ALWAYS HARDCORE) – SCOOTER 337 GLAUB IHNEN KEIN WORT – CASSANDRA STEEN 336 I NEED A DOLLAR – ALOE BLACC 335 ALL NIGHT LONG (ALL NIGHT) – LIONEL RICHIE 334 EISERNER STEG – PHILIPP POISEL 333 IMAGINE – JOHN LENNON 332 ALL SUMMER LONG – KID ROCK 331 VAMOS A LA PLAYA – RIGHEIRA 330 ICH WAR NOCH NIEMALS IN NEW YORK – SPORTFREUNDE STILLER MIT UDO JÜRGENS 329 DIE BIENE MAJA – KAREL GOTT 328 GO WEST – PET SHOP BOYS 327 LASS DIE MUSIK AN – MADSEN 326 ASCHENFLUG – ADEL TAWIL FEAT. SIDO & PRINZ PI 325 SIMPLE MAN – ANDREAS KÜMMERT 324 WAHNSINN – WOLFGANG PETRY 323 JUMP – VAN HALEN 322 BAD KINGDOM – MODERAT 321 REHAB – RIHANNA 320 ÜBER DEN WOLKEN – REINHARD MEY 319 POSTCARDS – JAMES BLUNT 318 BREAKTHRU – QUEEN 317 DU HAST MICH TAUSENDMAL BELOGEN – ANDREA BERG 316 SMELLS LIKE TEEN SPIRIT – NIRVANA 315 DARE (LA LA LA) – SHAKIRA 314 GÄA – OONAGH 313 SOMMER, SONNE, KAKTUS! – HELGE SCHNEIDER 312 HALLELUJA – PETER MAFFAY 311 JUST CAN'T GET ENOUGH – DEPECHE MODE 310 NEVER FORGET – TAKE THAT 309 SEXY – MARIUS MÜLLER-WESTERNHAGEN 308 GORILLA – BRUNO MARS 307 BRUTAL HEARTS (FLIC FLAC EDIT) – BEDOUIN SOUNDCLASH 306 I FOLLOW RIVERS (LIVE AT GIEL) – TRIGGERFINGER 305 CRYSTALLIZE – LINDSEY STIRLING 304 VALERIE – MARK RONSON FEAT. AMY WINEHOUSE 303 SUPER FREAK – RICK JAMES 302 I WILL ALWAYS LOVE YOU – WHITNEY HOUSTON 301 EASY – CRO 300 RADIO GA GA – QUEEN 299 MY LOVE – ROUTE 94 FEAT. JESS GLYNNE 298 WATERLOO – ABBA 297 FINAL COUNTDOWN – EUROPE 296 MEIN DING – UDO LINDENBERG 295 FEEL THIS MOMENT – PITBULL FEAT CHRISTINA AGUILERA 294 LECK MICH WIE DER SOMMER – MAGGERS UNITED 293 NEW YORK - RIO - ROSENHEIM – SPORTFREUNDE STILLER 292 TNT – AC/DC 291 SUMMERTIME SADNESS – LANA DEL REY 290 MENSCH – HERBERT GRÖNEMEYER 289 A LIGHT THAT NEVER COMES – LINKIN PARK AND STEVE AOKI 288 BAD – MICHAEL JACKSON 287 RIGHT PLACE RIGHT TIME – OLLY MURS 286 LEIDER GEIL (LEIDER GEIL) – DEICHKIND 285 USE SOMEBODY – KINGS OF LEON 284 GLOW – MADCON 283 THE LAST UNICORN – AMERICA 282 GRENADE – BRUNO MARS 281 LOVE WILL TEAR US APART – JOY DIVISION 280 MA CHÉRIE – DJ ANTOINE FEAT. THE BEAT SHAKERS 279 SET FIRE TO THE RAIN – ADELE 278 GIRL ON FIRE – ALICIA KEYS 277 LONDON CALLING – CLASH 276 STAIRWAY TO HEAVEN – LED ZEPPELIN 275 PAPER PLANES – M.I.A 274 HOLY GRAIL – JAY-Z 273 ENGEL – RAMMSTEIN 272 IT'S A BEAUTIFUL DAY – MICHAEL BUBLÉ 271 WIND OF CHANGE – SCORPIONS 270 MÄNNER – HERBERT GRÖNEMEYER 269 (I CAN'T GET NO) SATISFACTION – ROLLING STONES 268 YOU MAKE ME – AVICII 267 XO – BEYONCÉ 266 A LITTLE PARTY NEVER KILLED NOBODY (ALL WE GOT) – FERGIE AND Q-TIP AND GOONROCK 265 BABY – JUSTIN BIEBER FEAT. LUDACRIS 264 ICH WILL IMMER WIEDER... DIESES FIEBER SPÜR'N – HELENE FISCHER 263 SOME NIGHTS – FUN 262 WRECKING BALL (LIVE BEI RADIO HAMBURG) – JAMES ARTHUR 261 MR. BRIGHTSIDE – THE KILLERS 260 SCHATZI, SCHENK MIR EIN FOTO! – MICKIE KRAUSE 259 CHEATING – JOHN NEWMAN 258 WITH OR WITHOUT YOU – U2 257 DANZA KUDURO – LUCENZO FEAT. DON OMAR 256 IN THE END – LINKIN PARK 255 LITTLE TALKS – OF MONSTERS AND MEN 254 INSTANT CRUSH – DAFT PUNK FEAT JULIAN CASABLANCAS 253 ANOTHER BRICK IN THE WALL (PART 2) – PINK FLOYD 252 120 SCHWEINE NACH BEIRUT – MIKE KRÜGER 251 WANNABE – SPICE GIRLS 250 FEHLERFREI – HELENE FISCHER 249 SHE LOOKS SO PERFECT – 5 SECONDS OF SUMMER 248 IM ASCHEREGEN – CASPER 247 PERSONAL JESUS – DEPECHE MODE 246 JE VEUX – ZAZ 245 NUR DIE BESTEN STERBEN JUNG – BÖHSE ONKELZ 244 MEIN HERZ – BEATRICE EGLI 243 MY NAME IS NOT SUSAN (70s FLANGE MIX) – WHITNEY HOUSTON 242 MUSIC – JOHN MILES 241 AUS DEM HOHEN NORDEN KOMMEN WIR – DIE JUNX 240 LET IT BE – BEATLES 239 LIGHTS – ELLIE GOULDING 238 SOMETHING I NEED – ONEREPUBLIC 237 ORDINARY LOVE – U2 236 WILD LOVE – REA GARVEY 235 MEXICO – BÖHSE ONKELZ 234 STARDUST – LENA 233 INSOMNIA – FAITHLESS 232 ERROR – MADELINE JUNO 231 MEIN HAMBURG LIEB ICH SEHR – ABSCHLACH! 230 CHASING CARS – SNOW PATROL 229 ERINNERUNGEN – BÖHSE ONKELZ 228 GOOD VIBRATIONS – BEACH BOYS 227 LIEBE IST MEINE REBELLION – FRIDA GOLD 226 TITANIUM – DAVID GUETTA FEAT. SIA 225 THE FIDDLER ON THE DECK – SANTIANO 224 LOCKED OUT OF HEAVEN – BRUNO MARS 223 HAMBURG CIDDY – MAGGERS UNITED 222 BEAT IT – MICHAEL JACKSON 221 SOMEBODY THAT I USED TO KNOW – GOTYE FEAT. KIMBRA 220 PARANOID – BLACK SABBATH 219 FREIHEIT (LIVE) – WESTERNHAGEN 218 UNCONDITIONALLY – KATY PERRY 217 SO WIE DU WARST – UNHEILIG 216 WAKA WAKA (THIS TIME FOR AFRICA) – SHAKIRA FEAT. FRESHLYGROUND 215 SONG FOR YOU – THE HEADSTONES 214 PURPLE RAIN – PRINCE 213 OVER THE RAINBOW – ISRAEL KAMAKAWIWO'OLE 212 HÄTT ICH DICH HEUT ERWARTET – ERNIE & BERT & IHRE FREUNDE 211 LIFE – THE HEADSTONES 210 DU – CRO 209 TAKE THE SILENCE – DANIEL SCHUHMACHER 208 HALO – BEYONCé 207 EIN STERN (DER DEINEN NAMEN TRÄGT) – DJ ÖTZI UND NIK P 206 FIX YOU – COLDPLAY 205 HALT DEIN MAUL – Y-TITTY 204 SAFE AND SOUND – CAPITAL CITIES 203 SANSIBAR – HAMBURGER LOKALPILOTEN 202 LISTEN TO YOUR HEART – ROXETTE 201 IT'S MY LIFE – BON JOVI 200 ONE DAY (RECKONING SONG) – ASAF AVIDAN AND THE MOJOS 199 TOO CLOSE – ALEX CLARE 198 I FOLLOW RIVERS (THE MAGICAN REMIX) – LYKKE LI 197 AM FENSTER – CITY 196 WE MUST BE CRAZY – MILOW 195 EVERYBODY (BACKSTREET'S BACK) – BACKSTREET BOYS 194 REFLEKTOR – ARCADE FIRE 193 NUR NOCH KURZ DIE WELT RETTEN – TIM BENDZKO 192 CREEP – RADIOHEAD 191 DIESER WEG – XAVIER NAIDOO 190 FAIRYTALE GONE BAD – SUNRISE AVENUE 189 HO HEY – THE LUMINEERS 188 LEVELS – AVICII 187 TAINTED LOVE – SOFT CELL 186 MARRY YOU – BRUNO MARS 185 INFINITY 2008 – GURU JOSH PROJECT 184 NUMB – LINKIN PARK 183 PLAY HARD – DAVID GUETTA FEAT NE-YO AND AKON 182 EINMAL UM DIE WELT – CRO 181 HELLS BELLS – AC/DC 180 JUNGE – HEINO 179 SZENEN MEINES LEBENS – HAMBURGER LOKALPILOTEN 178 ALL OF ME – JOHN LEGEND 177 HALL OF FAME – THE SCRIPT FEAT. WILL.I.AM 176 JEIN – FETTES BROT 175 ALWAYS – ERASURE 174 ALTES FIEBER – DIE TOTEN HOSEN 173 EUPHORIA – LOREEN 172 READ ALL ABOUT IT (PART 3) – EMELI SANDÉ 171 EARTH SONG – MICHAEL JACKSON 170 DO IT – THE BOSSHOSS 169 EIN KOMPLIMENT – SPORTFREUNDE STILLER 168 VIVA LA VIDA – COLDPLAY 167 TRY – P!NK 166 I SING A LIAD FÜR DI – ANDREAS GABALIER 165 HOW I FEEL – FLO RIDA 164 AUGENBLING – SEEED 163 JUST THE WAY YOU ARE – BRUNO MARS 162 PLAYED-A-LIVE (THE BONGO SONG) – SAFRI DUO 161 AM SEIDENEN FADEN – TIM BENDZKO 160 RUN – LEONA LEWIS 159 HOT N COLD – KATY PERRY 158 NORDISCH BY NATURE – FETTES BROT 157 YELLOW – COLDPLAY 156 ANYWHERE FOR YOU – JOHN MARTIN 155 HOTEL CALIFORNIA – EAGLES 154 UNTER DIE HAUT – TIM BENDZKO FEAT CASSANDRA STEEN 153 INTO THE BLUE – KYLIE MINOGUE 152 LILA WOLKEN – MARTERIA, YASHA & MISS PLATNUM 151 WHATEVER – CRO 150 I LOVE IT – ICONA POP FEAT. CHARLI XCX 149 HIGHWAY TO HELL – AC/DC 148 WRONG – DEPECHE MODE 147 DON'T GIMME THAT – THE BOSSHOSS 146 AI SE EU TE PEGO! – MICHEL TELÓ 145 CANDY – ROBBIE WILLIAMS 144 PARADISE – COLDPLAY 143 BEI MEINER SEELE – XAVIER NAIDOO 142 FEEL – ROBBIE WILLIAMS 141 SEX ON FIRE – KINGS OF LEON 140 TIME TO WONDER – FURY IN THE SLAUGHTERHOUSE 139 STAY – RIHANNA FEAT MIKKY EKKO 138 ON TOP OF THE WORLD – IMAGINE DRAGONS 137 IN THE AIR TONIGHT – PHIL COLLINS 136 FOR YOU – DISCO BOYS FEAT MANFRED MANNS EARTH BAND 135 EINER DIESER STEINE – SIDO FEAT MARK FORSTER 134 ICH BAU DIR EIN SCHLOSS – JÜRGEN DREWS 133 I WAS MADE FOR LOVING YOU – KISS 132 WESTERLAND – DIE ÄRZTE 131 PAPAOUTAI – STROMAE 130 ENJOY THE SILENCE – DEPECHE MODE 129 HINTERLAND – CASPER 128 POKER FACE – LADY GAGA 127 AUFRECHT STEHEN – EXISTENT 126 BOHEMIAN RHAPSODY – QUEEN 125 VOLLIDIOTEN – EXISTENT 124 CALL ME MAYBE – CARLY RAE JEPSEN 123 ALS WÄR'S DAS ERSTE MAL – UNHEILIG 122 STILL – JUPITER JONES 121 99 LUFTBALLONS – NENA 120 THRIFT SHOP – MACKLEMORE AND RYAN LEWIS FEAT. WANZ 119 SCHNAPPI, DAS KLEINE KROKODIL – SCHNAPPI 118 AND WE DANCED – MACKLEMORE FEAT ZIGGY STARDUST 117 ROLLING IN THE DEEP – ADELE 116 A.C.A. BEAUTIFUL – EXISTENT 115 MOONSHINE – BRUNO MARS 114 WEINEN – ADEL TAWIL 113 CASTLE OF GLASS – LINKIN PARK 112 BILLIE JEAN – MICHAEL JACKSON 111 MARRY ME – JASON DERULO 110 25 – DIE FANTASTISCHEN VIER FEAT DON SNOW AKA JONN SAVANNAH 109 THE SCIENTIST – COLDPLAY 108 WINGS – BIRDY 107 FLIEGEN – LOTTO KING KARL FISCHERING ROH 106 BREIT WIE 'NE NATTER – HAMBURGER LOKALPILOTEN 105 BUDAPEST – GEORGE EZRA 104 TSUNAMI – DVBBS & BORGEOUS 103 MIT DIR – FREUNDESKREIS MIT JOY DENALANE 102 MIRRORS – JUSTIN TIMBERLAKE 101 WIR SIND ALLE WIE EINS – UNHEILIG 100 LA LA LA – NAUGHTY BOY FEAT. SAM SMITH 99 DAS KANN UNS KEINER NEHMEN – REVOLVERHELD 98 APPLAUSE – LADY GAGA 97 NOTHING ELSE MATTERS (ORCHESTER) – METALLICA 96 SOMEONE LIKE YOU – ADELE 95 IMPOSSIBLE – JAMES ARTHUR 94 THINGS WE LOST IN THE FIRE – BASTILLE 93 HAUS AM SEE – PETER FOX 92 WHITE WALLS – MACKLEMORE AND RYAN LEWIS FEAT. SCHOOLBOY Q AND HOLLIS 91 STAY THE NIGHT – ZEDD FEAT. HAYLEY WILLIAMS 90 GANGNAM STYLE – PSY 89 POMPEII – BASTILLE 88 SKYFALL – ADELE 87 RUN BOY RUN – WOODKID 86 LOVE ME AGAIN – JOHN NEWMAN 85 THRILLER – MICHAEL JACKSON 84 WILLST DU – ALLIGATOAH 83 BURN – ELLIE GOULDING 82 SHOT ME DOWN – DAVID GUETTA FEAT SKYLAR GREY 81 EMPIRE STATE OF MIND (PART II) BROKEN DOWN – ALICIA KEYS 80 SCREAM & SHOUT – WILL.I.AM & BRITNEY SPEARS 79 HEART TO HEART – JAMES BLUNT 78 BILDER IM KOPF – SIDO 77 DIAMONDS – RIHANNA 76 CELLO (MTV UNPLUGGED) – UDO LINDENBERG FEAT. CLUESO 75 ECHO – FETTES BROT 74 SONNENTANZ – KLANGKARUSSELL 73 DAS BESTE – SILBERMOND 72 SKY AND SAND – PAUL & FRITZ KALKBRENNER 71 COUNTING STARS – ONEREPUBLIC 70 ANOTHER LOVE – TOM ODELL 69 GO GENTLE – ROBBIE WILLIAMS 68 SCHÖNSTE ZEIT – BOSSE 67 APPLAUS!! APPLAUS!! – SPORTFREUNDE STILLER 66 JUST GIVE ME A REASON – P!NK FEAT. NATE RUESS 65 WIR HAM' NOCH LANGE NICHT GENUG – BÖHSE ONKELZ 64 ANGELS – ROBBIE WILLIAMS 63 SANTIANO – SANTIANO 62 LET HER GO – PASSENGER 61 QUIETSCHE-ENTCHEN – ERNIE UND BERT UND IHRE FREUNDE 60 HOLLYWOOD HILLS – SUNRISE AVENUE 59 FÜR IMMER IMMER – FETTES BROT 58 HERO – FAMILY OF THE YEAR 57 SUPERGEIL – DER TOURIST FEAT FRIEDRICH LIECHTENSTEIN 56 STORY OF MY LIFE – ONE DIRECTION 55 REEPERBAHN 2011 (WHAT IT'S LIKE) (GUIDO CRAVEIRO REGGAE REMIX) – UDO LINDENBERG FEAT. JAN DELAY 54 LIEBE – SIDO 53 BROTHER – MIGHTY OAKS 52 GEBOREN UM ZU LEBEN – UNHEILIG 51 TREASURE – BRUNO MARS 50 THE FOX (WHAT DOES THE FOX SAY?) – YLVIS 49 RADIOACTIVE – IMAGINE DRAGONS 48 THE MONSTER – EMINEM FEAT. RIHANNA 47 OF THE NIGHT – BASTILLE 46 TRUMPETS – JASON DERULO 45 MONEY ON MY MIND – SAM SMITH 44 RIPTIDE – VANCE JOY 43 DEAR DARLIN' – OLLY MURS 42 HARD OUT HERE – LILY ALLEN 41 TEAM – LORDE 40 OMG! – MARTERIA 39 AUF GUTE FREUNDE – BÖHSE ONKELZ 38 IS IT RIGHT – ELAIZA 37 ANIMALS – MARTIN GARRIX 36 DEMONS – IMAGINE DRAGONS 35 TALK DIRTY – JASON DERULO FEAT. 2 CHAINZ 34 TAGE WIE DIESE – DIE TOTEN HOSEN 33 DO WHAT U WANT – LADY GAGA FEAT CHRISTINA AGUILERA 32 CAN'T HOLD US – MACKLEMORE AND RYAN LEWIS FEAT. RAY DALTON 31 WRECKING BALL – MILEY CYRUS 30 MAGIC – COLDPLAY 29 KIDS (2 FINGER AN DEN KOPF) – MARTERIA 28 STOLEN DANCE – MILKY CHANCE 27 LET ME GO – GARY BARLOW 26 ROAR – KATY PERRY 25 SUMMER OF '69 – BRYAN ADAMS 24 GET LUCKY – DAFT PUNK FEAT PHARRELL WILLIAMS 23 LIFESAVER – SUNRISE AVENUE 22 CHANGES – FAUL & WAD AD VS. PNAU 21 CAN'T REMEMBER TO FORGET YOU – SHAKIRA FEAT. RIHANNA #Die Top 20 20 BLURRED LINES - ROBIN THICKE FEAT. PHARELL WILLIAMS & T.I 19 ROYALS - LORDE 18 LIAR LIAR - CHRIS CAB FEAT. PHARREL WILLIAMS 17 JUBEL - KLINGANDE 16 BONFIRE HEART - JAMES BLUNT 15 ADDICTED TO YOU - AVICII FEAT. AUDRA MAE 14 ICH LASS FÜR DICH DAS LICHT AN - REVOLVERHELD 13 WAKE ME UP - AVICII FEAT. ALOE BLACC 12 HEY BROTHER - AVICII FEAT. DAN TYMINSKI 11 AM I WRONG - NICO & VINZ 10 LIEDER - ADEL TAWIL 9 RATHER BE - CLEAN BANDIT FEAT. JESS GLYNNE 8 DARK HORSE - KATY PERRY FEAT. JUICY J 7 HAMBURG MEINE PERLE - LOTTO KING KARL 6 ST. PAULI - JAN DELAY 5 I SEE FIRE - ED SHEERAN (Regen) 4 TIMBER - PITBULL FEAT. KE$HA 3 ATEMLOS DURCH DIE NACHT - HELENE FISCHER 2 WAVES - MR. PROBZ 1 HAPPY - PHARREL WILLIAMS",A Groovy Kind of Love,,https://genius.com/Radio-hamburg-radio-hamburg-top-825-lyrics,"22," -193,The Beach Boys,"November 5, 1988",[],"Aruba, Jamaica, ooh I wanna take ya Bermuda, Bahama, come on pretty mama Key Largo, Montego Baby why don't we go Jamaica Off the Florida Keys There's a place called Kokomo That's where you wanna go To get away from it all Bodies in the sand Tropical drink melting in your hand We'll be falling in love To the rhythm of a steel drum band Down in Kokomo Aruba, Jamaica, ooh I wanna take you to Bermuda, Bahama, come on pretty mama Key Largo, Montego Baby why don't we go Ooh I wanna take you down to Kokomo We'll get there fast And then we'll take it slow That's where we wanna go Way down in Kokomo Martinique, that Montserrat mystique We'll put out to sea We'll perfect our chemistry By and by we'll defy A little bit of gravity Afternoon delight Cocktails and moonlit nights That dreamy look in your eye Give me a tropical contact high Way down in Kokomo Aruba, Jamaica, ooh I wanna take you to Bermuda, Bahama, come on pretty mama Key Largo, Montego Baby why don't we go Ooh I wanna take you down to Kokomo We'll get there fast And then we'll take it slow That's where we wanna go Way down in Kokomo Port au Prince, I want to catch a glimpse Everybody knows a little place like Kokomo Now if you wanna go to get away from it all Go down to Kokomo Aruba, Jamaica, ooh I wanna take you to Bermuda, Bahama, come on pretty mama Key Largo, Montego Baby why don't we go Ooh I wanna take you down to Kokomo We'll get there fast And then we'll take it slow That's where we wanna go Way down in Kokomo Aruba, Jamaica, ooh I wanna take you to Bermuda, Bahama, come on pretty mama Key Largo, Montego Baby why don't we go Ooh I wanna take you down to...",Kokomo,Still Cruisin’,https://genius.com/The-beach-boys-kokomo-lyrics,"5," -194,The Escape Club,"November 12, 1988",[],"Forty seven dead beats living in the back street North, east, west, south, all in the same house Sitting in a back room, waiting for the big boom I'm in a bedroom waiting for my baby She's so mean but I don't care I love her eyes and her wild, wild hair Dance to the beat that we love best Heading for the nineties Living in the wild, wild west The wild, wild west (wild west) Well, Mandy's in the backroom, handing out Valium Sheriff's on the airwaves, talking to the D.J.'s Forty seven heartbeats beating like a drum Got to live it up, live it up, Ronnie's got a new gun She's so mean but I don't care I love her eyes and her wild, wild hair Dance to the beat that we love best Heading for the nineties Living in the wild, wild west The wild, wild west (wild west) Yeow Now put your flags in the air and march them up and down You can live it up, live it up all over the town And turn to the left, turn to the right I don't care as long as she comes tonight She's so mean but I don't care I love her eyes and her wild, wild hair Dance to the beat that we love best Heading for the nineties Living in the wild, wild west The wild, wild west The wild, wild west (wild west) Yeow, wild west Brrrr, here come a musical disc 'Cause some people them a-keep waitin' for This one's called the outlaw, wow They want me Ride the rhythm like me ridin' a bike Shine on me Murder me chatter when me chat on the mic Shorties thought this could keep them rockin' 'til the broad daylight And here comes the Escape Club to rock it all night, say Live it up, live it up Live it up, live it up Living in the wild, wild west The wild, wild west The wild, wild west The wild, wild west (Wild west) Heading for the nineties, living in the eighties Screaming in a back room, waiting for the big boom Give me, give me wild west, give me, give me safe sex Give me love, give me love, give me time to live it up Now put your flags in the air and march them up and down You can live it up, live it up all over the town And turn to the left, turn to the right I don't care as long as she comes tonight She's so mean but I don't care I love her eyes and her wild, wild hair Dance to the beat that we like best Heading for the nineties Living in the wild, wild west The wild, wild west The wild, wild west (wild west) Yeow, wild west","Wild, Wild West",Wild Wild West,https://genius.com/The-escape-club-wild-wild-west-lyrics,"12," -195,Bon Jovi,"November 19, 1988",[],"Your love is like bad medicine Bad medicine is what I need Oh-oh-oh, shake it up, just like bad medicine There ain't no doctor that can cure my disease (Bad medicine) I ain't got a fever got a permanent disease It'll take more than a doctor to prescribe a remedy I got lots of money but it isn't what I need Gonna take more than a shot to get this poison out of me And I got all the symptoms count them, one, two, three First you need, that's what you get for falling in love Then you bleed, you get a little but it's never enough On your knees, that's what you get for falling in love And now this boy's addicted cause your kiss is the drug Your love is like bad medicine Bad medicine is what I need Oh-oh-oh, shake it up, just like bad medicine There ain't no doctor that can cure my disease (Bad, bad medicine) I don't need no needle to be giving me a thrill And I don't need no anesthesia or a nurse to bring a pill I got a dirty down addiction, it doesn't leave a track I got a jolt for your affection like a monkey on my back There ain't no paramedic gonna save this heart attack When you need, that's what you get for falling in love Then you bleed, you get a little but it's never enough On your knees, that's what you get for falling in love Now I'm addicted and your kiss is the drug Your love is like bad medicine Bad medicine is what I need Oh-oh-oh, shake it up, just like bad medicine So let's play doctor, baby, cure my disease (Bad, bad medicine) That's what I want (Bad, bad medicine) That's what I need I need a respirator cause I'm running out of breath You're an all night generator wrapped is stockings and a dress When you find your medicine you take what you can get 'Cause if there's something better baby well they haven't found it yet Your love is like bad medicine Bad medicine is what I need Oh-oh-oh, shake it up, just like bad medicine There ain't no doctor that can cure my disease Bad medicine Bad medicine is what I need Oh-oh-oh, shake it up, just like bad medicine Your love's the potion that can cure my disease (Bad, bad medicine)",Bad Medicine,New Jersey,https://genius.com/Bon-jovi-bad-medicine-lyrics,"19," -196,Will to Power,"December 3, 1988",null,null,"Baby, I Love Your Way / Freebird Medley (Free Baby)",null,null,"3," -197,Chicago,"December 10, 1988",[],"SUMMARY OF EVIDENCE OF MONELL POLICY AND PRACTICE OF TORTURE AND COVER-UP, AND OF DEFENDANTS MARTIN’S, SHINES’, NEEDHAM’S AND HILLARD’S INVOLVEMENT 1. Mayor Richard M. Daley was the States’ Attorney of Cook County from 1981 through 1988, and he has served as Mayor of the City of Chicago from 1989 to the present. 2. On or about February 25, 1982, Police Superintendent Richard Brzeczek informed States Attorney Richard M. Daley by letter of the allegations made by Dr. John Raba, that Andrew Wilson had been beaten and electric shocked by Chicago Police detectives at Area 2 on February 14, 1982. 2/25/82 Brzeczek Letter to Daley; Brzeczek Affidavit. 3. Brzeczek further informed Daley that he would not initiate a criminal investigation into the allegations that Wilson was tortured unless Daley authorized such an investigation. Id. 4. Daley never authorized a criminal investigation, and the Chicago Police Department therefore did not initiate a criminal investigation into Wilson’s allegations, and on May 19, 1983, Daley honored Burge and four other Area 2 detectives for their work in the Wilson case” Brzeczek Dep., Wilson v. City of Chicago, pp 123-24; Brzeczek Affidavit; Chicago Tribune, 5/20/83, “Daley Hails 11 in Crime War.” 5. The Chicago Police Department never investigated numerous allegations of police torture and abuse which arose from the manhunt to find and arrest Andrew Wilson and which were lodged with its IAD and OPS in February of 1982. Wilson v. City of Chicago, 6 F3d 1230 (7th Cir. 1993). 6. On November 12, 1982, Andrew Wilson testified at his motion to suppress hearing that he was tortured by Jon Burge, John Yucaitis, and other Area 2 detectives by electric shock, bagging, beating and burning on a radiator. People v. Wilson. 2 7. In their Memorandum In Opposition To Motion To Bar Testimony Concerning Other Alleged Victims of Police Misconduct, filed on January 22, 1992 before the Chicago Police Board in the Matter of Charges Filed against Respondents Jon Burge, John Yucaitis and Patrick O’Hara, Cases # 1856-58, specially appointed City of Chicago lawyers, on behalf of the City of Chicago and Chicago Police Superintendent Leroy Martin, judicially admitted that: At the hearing, Andrew Wilson will testify that on February 14, 1982, he was arrested at an apartment by several officers, including respondents Burge and Yucaitis. As Wilson was being taken to the car to be transported to Area II, he heard Burge telling the transporting officers not to “mess with” Wilson and that they would deal with him when they arrived at the station. Wilson was then taken to Area II by Yucaitis and three other officers. Transcript of Testimony of Andrew Wilson, July 7, 10, 11, 1989, at 2914-31 When they arrived at Area II, Wilson was taken to a room where the four transporting officers, including Yucaitis, and other officers started beating him. They hit him, kicked him, knocked him down and slammed him into a window so hard that it broke. In addition, one of the officers grabbed a plastic garbage bag and put it over Wilson’s head, holding it around his neck so that he could not breathe. The officers took the bag off when Wilson bit a hole in it. The officers stopped beating Wilson when Burge entered the room and stated that if it had been him, he would not have left any marks on Wilson. Tr. at 2932-36 Wilson was taken to a second room and handcuffed to the wall. Yucaitis then took Wilson to a telephone and told him to call his brother. When Wilson replied that he did not want to talk but wanted a lawyer, he was taken back to the second room again handcuffed to the wall. Tr. At 2937-44. Burge entered the room and told Wilson he was going to make a statement because Burge’s reputation was at stake. Burge left the room and Yucaitis came in with a brown paper bag. Yucaitis opened the bag and took out a black box about 12-14 inches long, 8-9 inches wide and 6 ½-7 inches high. The box had a crank and two wires with clamps. Yucaitis squatted down in front of Wilson with the box between his own legs, and put one clamp in Wilson’s nose and one on Wilson’s ears, and cranked the box. The shock caused Wilson’s teeth to grind and was so painful that he kicked Yucaitis. Yucaitis punched him in the mouth and cranked the box again. Yucaitis left the room and then returned, put the black box in the bag, and left again. Tr. at 2947-55. Respondent O’Hara then came in and took Wilson to see the Assistant State’s Attorney, Lawrence Hyman. According to Wilson’s testimony, with O’Hara present, Wilson asked Hyman, “You want me to make a statement after they’ve been torturing me?” O’Hara took Wilson back to the second room. Tr. at 2956-59. Burge later returned to the second room with the brown paper bag and said, “Fun time.” Burge put a pair of handcuffs on Wilson’s other arm and another pair on Wilson’s 3 ankles. He then placed the bag in the garbage can and left. He returned, took out the black box, put the clamps on Wilson’s ears and cranked the box. The shock caused Wilson’s to grind his teeth and knocked Wilson out of his chair. Wilson kept rubbing the clips from the electrical device off his ears. Tr at 2961-63. Wilson was then handcuffed across the radiator, kneeling with his arms outstretched. Burge and another officer put the clamps on Wilson’s little fingers and cranked the box repeatedly this time for longer periods. As he was being shocked, Wilson’s chest, leg and face were forced against the radiator and he was burned. Tr. at 2963-66 When Burge stopped cranking and took the clamps off Wilson’s little fingers, he took another shocking device out of the bag. It plugged into an electrical outlet and had a cord sticking out of it. Burge placed the device very near Wilson’s skin so that he could feel it tingling. Burge then jabbed the second device into Wilson’s back and Wilson got a full jolt, slamming Wilson into the grill on the window. Wilson began spitting out blood. Burge and the other officer put the devices back in the bag and left. Tr. at 296-68. A while later, Wilson was taken to Area I headquarters for a lineup. At Area I, Burge stuck his gun in Wilson’s mouth and cocked it back and forth. When Wilson arrived back at Area II after the lineup, Burge told him that if he did not make a statement, he would shock him again. Later, Burge told Wilson he was going to “fry his black ass.” Tr. at 2969-75. Memorandum In Opposition, pp.4-6. 8. In February of 1992, Andrew Wilson testified before the Police Board on behalf of the City in the Matter of Charges Filed against Respondents Jon Burge, John Yucaitis and Patrick O’Hara, Cases # 1856-58, and described his torture in a manner consistent with how the City described it in its January 22, 1992 Memorandum In Opposition To Motion To Bar Testimony Concerning Other Alleged Victims of Police Misconduct, at pp. 4-6; Police Board Testimony of Andrew Wilson. 9. In Wilson v. City of Chicago, 86-C-2360, the City of Chicago, who was a Defendant in that case, admitted in its Amended Answer, dated July 13, 1995, that Andrew Wilson was tortured by Jon Burge on February 14, 1982. 10. Melvin Jones testified on August 5, 1982 at his motion to suppress hearing that he was arrested and transported to Area 2 at 92nd and Cottage Grove on February 5, 1982, and 4 placed in an interview room. People v. Melvin Jones, 8/5/82, pp. 61-62. 11. Melvin Jones testified that while being held in an interview room and interrogated, Lieutenant Jon Burge pulled up a chair and sat in front of Jones who was cuffed to the wall, that Burge had a little wooden box with a long cord, that Burge pulled down Jones’ pants to his ankles and electrically shocked Jones on his foot, then on his thigh and then on his penis. Jones testified that he kept hollering and telling Burge that he wasn’t supposed to do this to him, that Burge said to him that he had no proof, that Burge asked detective Flood, who was present for the shocking, if he saw anything and Flood looked at the ceiling and said no. Jones further stated that Burge said, “o court and no State are going to take your word against a Lieutenant’s word,” and Burge later hit him in the head with a stapler. People v. Jones, 8/5/82, pp. 65-71, 74. 12. Melvin Jones further testified that on February 6, 1982, while he was still being detained in an Area 2 interview room, Defendant McWeeny entered the room with another detective and questioned Jones, after which Lieutenant Burge entered the room and asked McWeeny if Jones had started talking yet. Jones further stated that when McWeeny said Jones hadn’t said anything yet, Burge pulled out a gun and cocked it, put it up to Jones’ head and said he was going to “blow Jones’ black head off.” Id. pp. 76-79. 13. Melvin Jones testified on February 19, 1992 on behalf of the City at the Chicago Police Board Hearing, that McWeeny told Burge to get out of the room and McWeeny stated to him later that evening that he “had got the Lieutenant off me for right now. He said, if you are going to talk, you know, it would be easier for me.” Id. at 79; Chicago Police Board, 2/19/92, p. 856. 14. Cassandra Watson, Melvin Jones’ attorney in 1982, testified at the Chicago Police 5 Board Hearings on 2/19/92 that Jones told her within the first 10 days of February, 1982 that he had been beaten and threatened at Area 2, that while he was in an interview room at Area 2 a gun had been placed to his head, and that Lieutenant Burge had electrically shocked him with an electrical shock box. Chicago Police Board Proceedings, 2/19/92, pp. 960-62. 15. Jones testified on behalf of the City in the Police Board proceedings against Burge, and again identified Burge as the person who tortured him. Id., p. 826). 16. In their Memorandum In Opposition, filed on January 22, 1992 before the Chicago Police Board, specially appointed City of Chicago lawyers, on behalf of Chicago Police Superintendent Leroy Martin and the City of Chicago, judicially admitted that: Melvin Jones will testify that on February 5, 1982, just nine days prior to Andrew Wilson’s arrest, he was taken to an Area II interrogation room where he was handcuffed and questioned by Area II detectives concerning his knowledge and participation in a murder. When he failed to give information implicating himself in the murder, respondent Burge entered the room and told Jones that he was going to talk. Burge then asked Jones if he had ever heard of him, and when Jones replied that he had not, Burge told him that before he left the station Jones would “wish he had never set eyes on him.” Burge left the interrogation room but returned after Jones persisted in his refusal to talk to the interrogating detectives. Burge had Jones cuffed to a second ring and then produced and plugged into the wall socket a wooden box measuring approximately 10"" x 6"" x 6"", with tweezers and a long nail type device. He again asked Jones if he was going to talk. When Jones again refused, Burge pulled down Jones’ pants and shorts and, using the electrical device, shocked Jones three times, on the foot, thigh, and penis. While he was shocking Jones, Burge demanded that Jones talk. He told Jones that he had also shocked “Satan” (Anthony Holmes) and “Cochise,” forcing them to crawl all over the floor. He also told Jones that nobody would believe his word against a lieutenant’s. Burge asked another Area II detective present in the room if he had seen anything, and the detective looked at the ceiling and said no. Burge also tied a sock in Jones’ mouth. Burge was interrupted in his interrogation of Jones, apparently by the news that a policeman had been shot and killed on a bus in his area. Later, Burge also struck Jones with a stapler. When Jones continued to deny knowing anything about the murder, Burge again entered the interrogation room. He pointed a gun at Jones’ head, cocked it and told Jones he was going to “blow his black head off.” 6 City and Martin’s Memorandum In Opposition, pp. 7-8. 17. On May 15, 1995, the City of Chicago admitted that Melvin Jones had been electrically shocked by Jon Burge on his genitals and thigh with a device in a wooden box and threatened with a gun, while he was handcuffed to a ring in the wall in an Area 2 interview room in an attempt to coerce a confession from him. Local Rule 12 N Statement of the City, ¶ 26. 18. In Wilson v. City of Chicago, 86-C-2360, the City of Chicago, who was a Defendant in that case, admitted in its Amended Answer, dated July 13, 1995, that Melvin Jones was tortured by Jon Burge in February of 1982. 18. In February of 1983, Leroy Martin was appointed Commander of Area 2, and he held this post for 10-11 months. Martin Dep., Czajkowski v. City of Chicago; Martin Notes, 6/24/96. 19. Lt Jon Burge, as commanding officer of the Area 2 Violent Crimes Unit, answered directly in the chain of command to Martin, whom he briefed on cases in person and in written summaries. Id.; Martin testimony, 8/27/04, Darrell Cannon Parole Revocation Hearing. 20. As Commander, Martin received the face or charging sheet of all citizens complaints made against officers under his command, and also reviewed police reports in cases under investigation. Id. 21. While Commander of Area 2, Martin learned of the allegations of torture made by Andrew Wilson against Burge and other Area 2 detectives. Martin notes, 6/1/95; 5/11/96. 22. While Martin was Commander of Area 2, there were numerous allegations of torture against Burge and his men, with four separate cases and five victims alleging electric shock, baggings and beatings in the time period of October 27, 1983 to November 18, 1983 alone. Plaintiff’s Listing of Known Burge, Area 2 and 3 Torture Victims, 1972-1991. 7 23. Jon Burge, Sergeant John Byrne, and more than twenty other Area 2 detectives who are alleged to have committed repeated acts of torture at Area 2 while Martin was Commander, have all invoked the Fifth Amendment when asked if they discussed any of these allegations with Martin. See, Generally, Depositions of Burge, Byrne, et. al. 24. In a memo dated October 24, 1984, which was addressed to OPS supervisors, OPS Director David Fogel directed that they submit reports listing allegations of the use of electric shocking devices by Chicago police during the last 12 month period. 25. In an October 29, 1984 memo to Fogel, OPS Supervisor Ann Peterson set forth two cases of electric shock. 26. In her October 29, 1984 memo to Fogel, one of the cases which Peterson described was “CR# 136454 (Inv. Folan) Unknown date in January of 1984, location: Area 2 Headquarters.” 27. In her October 29, 1984 memo to Fogel, Peterson further described “CR# 136454 as follows: “Description of device: There are two complainants, Leonard Kidd and Leroy Orange. Kidd described the device as a “small black box with a cord sticking out with a piece of metal extending from the cord” Kidd describes the device as a “black box the size of a battery re-charger. It has a plug and a silver piece that is flexible and comes to a point with a silver nipple on it.” 28. In her October 29, 1984 memo to Fogel, Peterson further described the Orange and Kidd complaint (“CR# 136454) as follows: “Allegations: Kidd and Orange were arrested for four charges of murder. There (sic) has publicized in the papers. Most of the publicity has related to the murders, but some has had the black bx as the subject. Kidd and Orange have made a multitude of allegations against officers (the accused have not been determined as of yet). However, they both alleged that in order to extract confessions, a black electrical device was used on them. 8 29. In her October 24 memo to Fogel, Peterson listed the second case as “CR # 141003 (Inv. Montgomery), date of incident: 16 Sept. 1984, location of incident, 20th district station, description of device, nightstick they use on dogs or animals/gives off electrical shock.” 30. Peterson further wrote in her October 24 memo to Fogel that the complainant alleged that he was “prodded several times with an electrical device,” the allegations were against two of the arresting officers, the arresting officers were from Unit 701, and that “it should be noted that CR #141536 (being investigated by Inv. Ortiz) has one of the same officers as the accused.” 31. By memo dated October 27, 1984, OPS Supervisor Frederick Smith responded to OPS Director Fogel’s memorandum of October 24, 1984. 32. In his October 27, 1984 memo to Fogel, Supervisor Smith listed three additional “complaint register investigations with an allegation of electrical shocking devices.” 33. In his October 27, 1984 memo to Fogel, Supervisor Smith first listed CR #134723, Date of incident: 2 November 1983, location unknown, Allegation: The victim, Darrell Cannon, related he was arrested in his home for murder, and then transported to an unknown location where he was cattle prodded between the legs.” 34. Reports in Complaint Register File #134723 establish that the accused officers in this complaint included Area 2 Sergeant John Byrne and Area 2 detectives Charles Grunhard and Peter Dignan. 35. In his October 27, 1984 memo to Fogel, Supervisor Smith also listed CR # 141164, date of incident: 22 September 1984, location - - -Montrose and Clark - - -20th District Station: Allegation: “The complainant alleged that during his arrest, he was beaten about the head and body, and then cattle prodded between the legs.” 9 36. In his October 27, 1984 memo to Fogel, Supervisor Smith also listed CR # 141638, Date: 17 October 1984, Location: Homan and Clark (Inside of a squad car), Allegation: the victim . . .alleged that during questioning by three white plainclothes officers he was poked in the stomach with an object that resembled the butt of a gun, this device gave him an electric shock 37. In a memo to Fogel dated October 24, 1984, Supervisor William Zylstra responded to Fogel’s memo of the same date as follows: The above reporting officer does not recall reviewing any cases regarding electric shocking equipment, especially during the last twelve months. However, prior to the above mentioned time, the above reporting supervisor recalls a case where Lt. Jon Burge, Unit 622 (Area 2) was accused of shocking a murder suspect into a confession. The matter was handled by the Office of Professional Standards but the other data is unknown. 38. In his memo to Fogel dated October 24, 1984, Supervisor William Zylstra further stated: “The above reporting supervisor suggests that Mr. Fogel assign an individual to peruse the Complaint register book for the amount of time desired, in order to obtain a more accurate account of the incidents in question.” 39. By memo dated October 26, 1984, OPS Supervisor R. Mankovich responded to OPS Director Fogel’s memorandum of October 24, 1984, reporting CR # 141775, date of incident: 22 October, 1984, location: 1640 N. Kimball, Allegation: “Victim stated that during the course of his arrest, a male/white uniformed officer shocked him several times about the body with a small black handheld electrical shocking device.” 40. By memo dated October 25, 1984, OPS Supervisor Jose Ortiz responded to OPS Director Fogel’s memorandum of October 24, 1984, reporting CR # 141536, date of incident: 12 October, 1984, location: 1117 W. Lawrence, Allegation: 10 That in the process of being searched by the arresting officers, he was struck with a long black flashlight on the side and with an unknown electrical device in the back. The victim was unable to describe this device because he could not see it. stated that he received a shock when struck with this device and heard a humming sound. Victim’s injury(ies) (sic) were photographed. 41. By memo dated October 28, 1984, OPS Supervisor John Buchanan responded to OPS Director Fogel’s memorandum of October 24, 1984, reporting CR # 135552, location: 1st District Station, Date of incident: October 28, 1983, Allegation: The complainant alleged that he was arrested by two officers in plainclothes and taken to the 001 District. The officers were writing up the charges for him and he was handcuffed and he looked down to see what the officer was writing. He was punched in the face by this officer about eight or nine times. Another officer came in and both officers struck him about the head, eyes, and face a total of about seventy to eighty times. One police officer put something like an electrical wire in his left ear causing the ear to be damaged. 42. In a memo of November 5, 1984 which was addressed to Superintendent Fred Rice,David Fogel wrote: “the following is a list of Complaint Register Investigations involving the use of electrical shocking devices during the past twelve month period.” 43. In this memo of November 5, 1984, addressed to Superintendent Fred Rice, Fogel listed CR #134723, Date: 2 November 1983, Location: Area 2 Auto Pound, Allegation: “Mr. Darrell Cannon was arrested in his home for murder, and then transported to an unknown location where he was cattle prodded in his mouth and testicles.” 44. In this memo of November 5, 1984, addressed to Superintendent Fred Rice, Fogel also listed CR # 135552, location: 1st District Station, Date of incident: October 28, 1983, Allegation: “ alleged that he was arrested, handcuffed, punched in the face several times and struck in the head, eyes, and face several more times. Further it is alleged that an electrical wire was placed in his left ear causing damage to his ear. 11 45. In this memo of November 5, 1984, addressed to Superintendent Fred Rice, Fogel also listed CR # 141003, Date: 16 September 1984, Location: 20th District Station, Allegation: “ alleged that he was prodded several times with an electrical device that looked like a nightstick they use on dogs or animals and gives off electrical shock”. Accused: P.O Robert T. Phillips, Star #12045, Unit 020; P.O. John J Murphy, Star 5315, Unit 020. 46. In this memo of November 5, 1984, addressed to Superintendent Fred Rice, Fogel also listed CR # 141164, Date: 22 September 1984, location: Montrose and Clark and 20th District Station: Allegation: alleged that when several police approached him, they slapped him in the face without saying a word, and “cattle pronged” him with an object between his legs. While at the district station, he alleged that he was “pronged” repeatedly, his hands were stepped on, his head was banged against the wall and his hair was pulled. Accused: PO James C. Leyden, star #12038, Unit 661, Michael P. Adkins, Unit 661. 47. In this memo of November 5, 1984, addressed to Superintendent Fred Rice, Fogel also listed CR # 141536, Date: 12 October, 1984, Location: 1117 W. Lawrence, Allegation: alleged that, in during process of being searched, he was struck with a long black flashlight on the side and was also struck with an unknown electrical device in the back. He received a shock from the humming electrical device. Accused: PO Lon J. Nigro, star #11177, Unit 701; PO Timothy W. Monahan, Star #15454, Unit 701; PO Russell Schaeffer, Star #10125, Unit 701. 48. In this memo of November 5, 1984, addressed to Superintendent Fred Rice, Fogel also listed CR # 141638, Date: 17 October 1984, Location: Homan and Chicago (Inside of a squad car) (11th District) Allegation: “ alleged that he was poked in the stomach with an object resembling the butt of a gun which gave him an electric shock.” 12 49. In this memo of November 5, 1984, addressed to Superintendent Fred Rice, Fogel also listed CR # 141775, Date: 22 October, 1984, Location: 14th District Station Interview Room, Allegation: “ stated that, during the course of his arrest, a male/white uniformed officer shocked him several times about the body with a small black handheld electrical rod shocking device.” 50. In this memo of November 5, 1984, addressed to Superintendent Fred Rice, Fogel also listed CR# 139503, Date: 6 June 1984, Location: 20th district Interview Room, Allegation: was allegedly struck with unknown objects; Accused: P.O Robert T. Phillips, Star #12045, Unit 020; P.O. John J Murphy, Star 5315, Unit 020. 51. At David Fogel’s deposition on July 26, 1989 in the case of Andrew Wilson v. City of Chicago, 86-C-2360, he testified that he maintained a file (hereinafter referred to as the Fogel electric shock file) in which he kept CR’s related to electric shock. 52. The documents described in paragraphs above were included in this file. 53. Additionally, documents which contained the additional allegations of electric shock were also contained in the Fogel file: CR # Date Location Alleged victim Accused officers CR# 143912 2/20/85 11th Dist. CR# 152158 4/8/86 19th Dist CR# 154619 2/1/87 9th Dist 54. During Fogel’s July 26, 1989 deposition, a lawyer for Andrew Wilson, who was conducting the deposition, requested production of Fogel’s file. 55. Lawyers for the City of Chicago refused to produce this file. 13 56. At the Chicago City Council Police Torture Hearings, held on December 24, 1990, counsel for Andrew Wilson publicly informed the members of the committee conducting the Hearings about Mr. Fogel’s electric shock file, and requested that the Committee conducting the Hearings obtain these documents. City Council Hearing, 12/24/90, p. 36. 57. Neither this file nor the documents contained therein were produced by the City, the Police Department, or the OPS to the City Council or the Committee hearing the torture allegations, nor did the City Council nor the Committee obtained the file or the documents contained therein. 58. On or about August 11, 1992, in the case entitled Gregory Banks v. Burge, Byrne, City of Chicago, et. al., 91-C-6470, Plaintiff Gregory Banks served upon the City of Chicago Plaintiff’s First Request to Produce which requested in paragraph 11 production of “the CR files, summaries, and any other information concerning of (sic) all other torture and electric shock victims known to the defendant, including, but not limited to, those which former OPS director David Fogel collected and monitored while he was head of OPS.” 59. On or about September 11, 1992, the City, through Assistant Corporation Counsel Margaret Carey, formally responded to this request as follows: “the City has not located any documents pertaining to “known” victims of torture as described in Request # 11. 60. Neither the Fogel electric shock file, nor any documents contained therein, were produced by the City, the Police Department, the OPS, or Ms. Carey at any time during the pendency of his case to Plaintiff Banks or his lawyers. 61. On or about March 15, 1993, in the case entitled Marcus Wiggins v. Burge, Byrne, City of Chicago, et. al., 93 C- 199, Plaintiff Wiggins served upon the City of Chicago Plaintiff’s 14 First Request to Produce to All Defendants which requested in paragraph 11 production of “the CR files, summaries, and any other information concerning all other torture and electric shock victims known to the defendant, including, but not limited to, those which former OPS director David Fogel collected and monitored while he was head of OPS.” 62. On or about April 15, 1996, in a letter to the City seeking compliance with Request #11, Plaintiff Wiggins, through counsel, stated “as to the materials identified by former OPS Director Fogel in his deposition, he left these materials in his official OPS files when he left employment in 1990; hence those materials are clearly defined, not accessible to Plaintiff, but rather remain in your files.” 63. On or about May 16, 1996, the City, through Assistant Corporation Counsel Carey, formally responded by letter to the request for compliance concerning the Fogel File as follows: “I am attempting to see if, in fact, your assertions are correct as to whether David Fogel left these materials at OPS. If you have any information concerning how you know he left the records at OPS, it might assist the City in locating any such files. Once I have received this information, I will let you know what the City can or cannot produce.” 64. On or about May 23, 1996, in another letter to the City seeking compliance with Request # 11, Plaintiff Wiggins, through counsel, stated: “Former OPS Director Fogel testified that he left these documents in his file at OPS when he left at a deposition taken in Fallon and incorporated in this and other Monell cases on September 24, 1992, at pages 637-8. (See Attachment).” 65. In May, 1996, Ms. Carey, by letter, requested that the Police Department search for the Fogel electric shock file. 15 66. On or about July 9, 1996, the City, through Assistant Corporation Counsel Carey, formally again responded by letter to the request for compliance concerning the Fogel electric shock file as follows:”The City has been unable to locate the files plaintiff claims were maintained by Fogel, however we are continuing to look. Consequently, to date and to the extent possible, the City has complied with this request. 67. Neither the Fogel electric shock file, nor any documents contained therein, were produced by the City, the Police Department, the OPS, or Ms. Carey at any time during the pendency of his case to Plaintiff Wiggins or his lawyers. 68. On or about August 11, 2004, the Fogel file and some or all of the documents contained therein was produced by the City to the lawyers for Plaintiffs Patterson, Orange, Hobley and Howard in a Box labeled Box 2. 69. Neither the Fogel electric shock file, nor any documents contained therein, were produced by the City, the Police Department, the OPS, or Ms. Carey at any time to Plaintiff Patterson, to Leroy Orange, Darrell Cannon, Stanley Howard, Madison Hobley, or any of their lawyers, the Cook County State’s Attorney or any Assistant Cook County State’s Attorney, to any criminal defendant, civil Plaintiff, or their lawyers prior to August 11, 2004. 70. In 1988, shortly after shortly after Leroy Martin became Superintendent, he transferred Burge from his post as Commander of the Bomb and Arson Unit back to the Detective Division as Commander of Area 3. 71. Also in 1988, Burge requested that Martin intervene with the City Council Finance Committee to obtain private council at the City’s expense to represent him in the Wilson civil trial, and Martin conveyed his request. Letters of 8/23/88 and 10/25/88. 16 72. The City Council approved Burge’s request, William Kunkle, Richard Devine, and their law firm was selected by Burge, and the City paid them approximately $1 million dollars to represent Burge for the next eight years. Letters of 8/23/88 and 10/25/88, Payment Records, Phelan, Pope and John. 73. After Martin transferred Burge to Area 3, key members of Burge’s torture squad - - -including Sergeant Byrne, and Detectives Paladino, Maslanka and Mc Weeny - - - also transferred to Area 3 and allegations of torture began to proliferate there. Plaintiff’s Listing of Known Burge, Area 2 and 3 Torture Victims, 1972-1991. 74. From 1981, when State’s Attorney Daley assumed office, until the end of 1988, when he left office to run for Mayor, approximately 55 victims had alleged torture at Area 2, many allegedly tortured statements had been taken by his assistants, and many motions to suppress where Area 2 torture was alleged had been defended by his office, yet neither Daley nor the SAO initiated any investigations or brought any criminal charges against Burge or any of his men. Id. 75. On July 26, 1989, Mary Powers on behalf of Citizens Alert and several other community groups wrote to OPS Director David Fogel requesting that OPS “reopen an investigation into torture and other abuses by commander Jon Burge,” and that he “support our recommendation that the Chicago Police Board conduct open public hearings into patterns of torture by some members of the Chicago Police Department dating back at least 16 years.” Powers Letter of 7/26/89. 76. In the Powers letter of July 26, 1989, she specifically cited the allegations made by Melvin Jones that he was electric shocked and otherwise abused in February of 1982. Id. 17 77. Neither the OPS nor the CPD opened an investigation into Melvin Jones’ allegations of torture in response to this letter or at any other time. 78. On August 17, 1989, Mary Powers, and other community activists appeared before the Police Board and, in Superintendent Martin”s presence, detailed evidence of a pattern of torture at Area 2 which had come out in the Wilson civil trials, including a description of the torture device, and the finding by the Wilson Jury that there was a pattern and practice of abuse at Area 2, and demanded that a broad investigation be conducted, and that Burge be suspended pending the results of the investigation. Police Board Proceedings, 8/17/89. 79. On September 14, 1989, Mary Powers, and other community activists again appeared before the Police Board and, in Superintendent Martin”s presence, again raised the torture evidence and the demand that Burge be fired. Superintendent Martin responded by stating: “Commander Burge is working, as far as I know, he’ll be working Ms. Powers. I have no reason to suspend Commander Burge. You want him suspended. I have no reason to suspend him at this time.” Police Board Proceedings, 9/14/89, pp. 90-91. 80. In September and October of 1989, the City Council held several days of Hearings into police brutality and torture, at which Mayor Daley gave a statement, and Superintendent Martin and OPS Director Fogel attended and testified. City Council Hearings, September 28-; October 6, 10, 11 1989. 81. Mayor Daley made the following statement to the Committee at the Hearings: “Superintendent Leroy Martin was . . . reappointed by me. He has complete responsibility over the Chicago Police Department. I have full confidence in his administration. He has done an outstanding job.” City Council Hearing, 9/28/89, p. 4. 82. At the hearing, torture at Area 2 was presented through the testimony of Stanley Howard’s mother, OPS Director Fogel was questioned about Burge, electric shock, and 18 baggings at Area 2, Martin was also asked about Howard’s torture, and he promised to look into it. Hearing, 9/29/89, pp 172-215, 10/6/89, pp. 187-96, and 10/10/89, pp. 392-400. 83. On November 30, 1989, Mary Powers, and other community activists again appeared before the Police Board and, in Superintendent Martin’s presence, again raised the torture evidence and the demand that Burge be fired. Superintendent Martin responded by stating: that he wished the activists would follow up on cases where police officers are shot “the way you are following up on the Burge case and see to it that justice is done to the person who took my officer’s life.” Police Board Proceedings, 11/30/89, pp. 19-25. 84. On December 24, 1990, the City Council held Christmas Eve hearings, chaired by Finance Committee Chairman Ed Burke, on the question of police torture at Area 2 during which several witnesses presented numerous allegations of police torture at Area 2. City Council. Hearing, 12/24/90. 85. At the Chicago City Council Hearings held in December 24, 1990, counsel for Andrew Wilson tendered the Committee and its counsel, a 21 page document entitled “Fact Sheet: Evidence of Police Torture By Commander Jon Burge and His Men.” 86. The “Fact Sheet: Evidence of Police Torture By Commander Jon Burge and His Men” which was tendered by counsel for Andrew Wilson to the Committee and its counsel at the Chicago City Council Hearings held on December 24, 1990, listed more than thirty victims of alleged torture at Area 2, including Aaron Patterson, Madison Hobley, Stanley Howard, and Leroy Orange. 87. At the Christmas Eve hearing, evidence that SA Daley refused to investigate when requested to do so by Superintendent Brzeczek. was presented, and Daley responded publicly, with his office stating that “Andrew Wilson refused to testify before the grand jury about the 19 allegations.” Chicago Tribune, 12/25/90, “Hearing Examines Brutality Charges;” Chicago Sun Times, 12/25/90, “Davis Urges New Review of Police Brutality Cases.” 88. The “Fact Sheet: Evidence of Police Torture By Commander Jon Burge and His Men” which listed more than thirty victims of alleged torture at Area 2, including Aaron Patterson, Madison Hobley, Stanley Howard, and Leroy Orange, was tendered by counsel for Andrew Wilson to Superintendent Leroy Martin on or about December 19, 1990. 89. In a letter dated January 9, 1991, OPS Director Gayle Shines wrote to counsel for Andrew Wilson that “Superintendent Martin has referred to me your letter of 19 December and the attached Fact Sheet.” 90. The City Council or its Finance committee never issued a report or took any other action after the December 24th torture hearings. 91. On January 28, 1991, Amnesty International issued a Report calling for “a full inquiry into allegations that Chicago police systematically tortured criminal suspects from 1972 to 1984,” and in response, the spokesman for Mayor Daley said she had “‘no comment whatsoever.’” Chicago Sun Times, 1/28/91, “Police Torture Probe Sought Here.” 92. On or about November 2, 1990 OPS Director Gayle Shines approved as “compelling” and forwarded to Superintendent Martin the 25 page Report and findings made by OPS investigator Michael Goldston concerning allegations of torture and abuse at Area 2. This Report included the following findings: As to the matter of alleged physical abuse, the preponderance of the evidence is that abuse did occur and that it was systematic. The time span involved covers more than ten years. The type of abuse described was not limited to the usual beating, but went into such esoteric areas as psychological techniques and planned torture. The evidence presented by some individuals convinced juries and appellate courts that personnel assigned to Area 2 engaged in methodical abuse. 20 The number of incidents in which an Area 2 command member is identified as an accused can lead to only one conclusion. Particular command members were aware of the systematic abuse and participated in it either by actively participating in same or failing to take any action to bring it to an end. This conclusion is also supported by the number of incidents in which Area 2 offices are named as the location of the abuse. OPS Special Project Conclusion Reports and Findings, and Cover Letter, Shines to Martin, dated November 2, 1990 (Goldston Report). 93. In her forwarding memo of November 2, 1990, OPS Director Shines, while approving the conclusions of Goldston and Sanders, further informed Superintendent Martin that they both did “a masterful job of marshaling the facts in this intensive and extensive project and their conclusions are compelling.” 11/2/90 Cover Memo, Shines to Martin, with OPS Special Project Conclusion Reports and Findings enclosed. 94. On or about November 2, 1990, OPS Director Gayle Shines approved “as compelling” and forwarded to Superintendent Martin the 66 page report and conclusions of OPS investigator Francine Sanders which found that based on “the overwhelming body of evidence which supports the allegations” that administrative charges of excessive force should be sustained against Jon Burge and John Yucaitis including that they “repeatedly administered electrical stimulation to Mr Wilson’s body in order to create pain” and that Burge “held Mr. Wilson, while handcuffed, against a hot radiator causing burns to Mr. Wilson’s face, chest and thigh.” Chicago Police Office of Professional Standards (OPS) Special Investigative Report and Findings, October 26, 1990 (Sanders Report), pp.62-66. 95. Martin acknowledged the “ serious nature” of Goldston’s conclusions Martin memo to Shines, 11/18/90. 96. At no time from receiving the Goldston Report in November of 1990 until he left 21 office in April of 1992, did Martin, OPS Director Shines, or any other City policymaking official take any steps to further investigate the allegations made by the some fifty victims listed in the Goldston report. 97. Instead, Martin, after waiting three months, wrote Shines seeking “further clarification” concerning the Goldston and Sanders Reports. Memo, Martin to Shines, 2/6/91. 98. Despite all of the torture evidence contained in the Goldston and Sanders Reports, in the Fact Sheet, and that was previously presented to Martin and the City Council, the City and Martin did not seek the prosecution of Burge and his confederates in the Wilson case, for a continuing conspiracy on the basis of the numerous other torture cases listed in the Goldston report, or to prosecute Burge for the numerous other cases which were documented in the evidence presented, including the Patterson and Madison Hobley cases. 99. In her April 30, 1991 memorandum to Martin, Shines supplied the “clarifications” sought by Martin, and informed him that the OPS findings “reflect the unprecedented comprehensiveness of this investigation.” Shines memo, 4/30/91. 100. With her April 30, 1991 memorandum to Superintendent Martin, OPS Director Shines included investigator Goldston’s clarification memo, in which Goldston set forth that his investigation established that Area 2 detectives and supervisors Jon Burge, John Byrne, Peter Dignan, Charles Grunhard, John Yucaitis, Thomas McKenna, and Patrick O’Hara were “players” whose names “repeatedly appeared as connected to allegations of abuse.” Goldston Memo of 4/30/91, attached to Shines Memo to Martin of the same date. 101. After waiting an additional seven months, in November of 1991, Superintendent Leroy Martin approved the findings set forth in the Chicago Police Office of Professional 22 Standards (OPS) Special Investigative Report and Findings, dated October 26, 1990 (Sanders Report), Burge and Yucaitis were administratively charged by the CPD for abusing Andrew Wilson in the manner found in the Report, and separation proceedings were initiated before the Chicago Police Board. Cr 123543 (reopened). 102. However, after secret communications with Corporation Counsel Kelly Welch, which the City still refuses to produce, Martin refused to accept or adopt the Goldston findings, open any additional criminal or administrative investigations into the numerous allegations of Area 2 torture, to commission additional investigation into the alleged systemic pattern and practice of torture, or to discipline or seek criminal charges against any of the named officers, but rather contacted the Police Foundation in order to have them evaluate the methodology used by Goldston in arriving at his findings. Martin Letter to Williams, 11/8/91; City Privilege Log. 103. During this time period, community groups, including Citizen’s Alert, by letters and in face to face meetings, were demanding that Martin release the results of the OPS investigation into torture at Area 2. Powers Letter to Martin, 8/14/91. 104. Instead, Martin, through his lawyers at the Corporation Counsel’s Office, fought production and public release of the Goldston Report and its findings. See, generally, proceedings in Fallon v. Dillon, 90 C 6722. 105. In November of 1991, after Defendant Martin and Corporation Counsel Kelly Welsh had initiated proceedings before the Police Board to fire Burge, Yucaitis and O’Hara for torturing Andrew Wilson, Mayor Daley “defended his decision not to take action against the officers when he was state’s attorney in 1982, explaining that . . refused to cooperate with his office at that time.” Chicago Tribune, 11/26/91 “3 Cops Face Hearing in Torture Case.” 23 106. On or about February 7, 1992, the Goldston and Sanders were publicly released, over the City’s strenuous objection, pursuant to the order of Judge Milton Shadur in the case of Fallon v. Dillon, #90-C-6722. 107. In an article which appeared in the February 8, 1992 Chicago Tribune, Superintendent Leroy Martin, whgo was one of the previous Area 2 Commanders, was quoted as saying that it was an “outright lie” that Area 2 commanders knew about or condoned torture. Chicago Tribune, “13 Years of Cop Torture Alleged,” February 8, 1992. 108. In the same article, Mayor Richard M. Daley was quoted as saying of the Report, “these are only allegations . . . not substantiated cases,” as defending Martin’s suppression of the report, stating: “it’s allegations, rumors, stories, things like that” and of denying that the torture at Area 2 was “systematic.” Chicago Tribune, 2/8/92, “13 Years of Cop Torture Alleged;” Los Angeles Times, 2/8/92, “Chicago Police Used Torture Report Says,” 109. In their Memorandum In Opposition To Motion To Bar Testimony Concerning Other Alleged Victims of Police Misconduct, filed on January 22, 1992 before the Police Board in the Matter of Charges Filed against Respondents Jon Burge, John Yucaitis and Patrick O’Hara, Cases # 1856-58, specially appointed City of Chicago lawyers, on behalf of Chicago Police Superintendent Leroy Martin and the City of Chicago, made the following judicial admission concerning the testimony of “seven additional victims of torture tactics at Area II headquarters:” The testimony regarding similar acts sets forth detailed accounts of tortuous treatment that are almost identical to the torture suffered by Andrew Wilson. The testimony reveals an astounding pattern or plan on the part of respondents to torture certain suspects, often with substantial criminal records, into confessing to crimes or to condone such activity. 24 Memorandum In Opposition To Motion To Bar Testimony Concerning Other Alleged Victims of Police Misconduct, p. 1. 110. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Superintendent Leroy Martin and the City of Chicago, identified the “seven additional victims of torture tactics at Area II headquarters” as Melvin Jones, Anthony Holmes, George Powell, Donald White, Shadeed Mumin, Leroy Orange, and Lawrence Poree. Id., pp. 7- 14. 111. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Martin and the City, made the following judicial admission - - - that the similar acts testimony of Melvin Jones, Anthony Holmes, George Powell, Donald White, Shadeed Mumin, Leroy Orange, and Lawrence Poree s highly probative of the modus operandi used or condoned in the torturing of suspects to elicit statements. Respondents methods of torture through electric shock, bagging, and holding a gun to a suspect’s head are more that sufficiently unique to establish a modus operandi for 404 b purposes. In addition, the testimony establishes a pattern of and plan to torture these suspects in these similar ways to elicit confessions to violent crimes. Id. p. 17. 112. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Martin and the City, judicially admitted that the similar acts testimony of Melvin Jones, Anthony Holmes, George Powell, Donald White, Shadeed Mumin, Leroy Orange, and Lawrence Poree: clearly establishes respondents’ motive and intent in torturing or condoning the torture of Wilson. Respondents generally engaged in these similar practices in order to coerce a confession to a serious crime. Id. p. 22. 25 113. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Martin and the City, judicially admitted that the similar acts testimony of Melvin Jones, Anthony Holmes, George Powell, Donald White, Shadeed Mumin, Leroy Orange, and Lawrence Poree: shows the physical existence of one or more electric shock devices at Area II, prior to and subsequent to Wilson’s arrest, and Burge’s possession of and familiarity with the use of the devices. It is also admissible to show knowledge of that technique and of the bagging technique, about which respondents deny knowing, and the technique of putting a gun to the head of a victim. Id., p. 24. 114. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Martin and the City, made the following judicial admission: There is no question that the similarities between Wilson’s testimony and the similar victims’ testimony is more than sufficient to meet the 404 b standard. Burge was the main perpetrator of the torture in almost all of the cases, and, when he was not the principal, he was still involved. In the case of all but one of the victims, the victim was picked up and taken to Area II where he was then interrogated regarding his knowledge or involvement in a serious offense. Although Donald White was taken instead to Area I, he was taken there and interrogated by Area II detectives. All of the victims were black and generally had significant criminal histories. Also similar was the way in which several victims were threatened with consequences if they refused to make a statement. After an initial refusal, the punishment would begin and then would become stronger and more painful as the refusals to speak persisted. The most striking similarities, however, are found in the methods of torture used on the suspects. Wilson was electro shocked by Yucaitis using the black box and by Burge who used the black box and a curling-iron looking device, was “bagged” and beaten, and was threatened with a gun placed in his mouth. Jones, Holmes, Poree, Powell and Orange were similarly electro shocked by Burge. Holmes, Powell, White and Mumin were all “bagged” and beaten to the point where they lost or almost lost consciousness. Burge pointed a cocked gun at Jones’s head, hit Poree in the head with a pistol, and placed a revolver containing one bullet at Mumin’s head and snapped it three times slowly. White had a gun placed in his mouth. Additionally, each of the victims was slapped around and punched. Burge’s statements to the victims were also very similar. Burge told both Jones and Mumin that nobody would ever believe their word against his. As he did in relation to Wilson, he referred to the absence of marks on Mumin’s body. He said “fun time” as 26 he approached Wilson and Poree with the black box, and laughed when he bagged Mumin. He told Wilson he would “fry his black ass” and Jones he would “blow his black head off.” As the case law cited above aptly demonstrates, these actions or the condoning of these actions are overwhelming in their similarity. Id., pp. 25-26. 115. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Chicago Police Superintendent Leroy Martin and the City of Chicago, made the following judicial admission: Given the similarities between the serious offenses charged and the offenses to which the similar victims will testify, there is no question that the offenses are close enough in time to be relevant to this case. Tak the offenses in sequence, they reveal a pattern of almost identical acts of torture directed towards persons suspected of violent crimes. While the sequence spans twelve years, each offense is close enough to the next to connect it to the relevant pattern of behavior. Moreover, Melvin Jones’ and Donald White’s testimony will demonstrate that they were tortured just days before Andrew Wilson was tortured. Id., p. 28. 116. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Leroy Martin and the City of Chicago, judicially admitted: Indeed, as the testimony of the similar victims shows, respondents [Burge, Yucaitis and O’Hara] counted on the fact that their testimony would be believed over that of a convict when they persisted in their pattern of torture. Id., p. 28. 117. In a document filed in the case of Wilson v. City of Chicago, Jon Burge, Patrick O’Hara and John Yucaitis, 86-C-2360, entitled “City of Chicago’s Memorandum in Response To Plaintiff Andrew Wilson’s Motion for Summary Judgment,” the City, through its lawyers, made the following judicial admission: Plaintiff Andrew Wilson has testified that he was beaten, kicked, punched, burned by being harnessed to a radiator, and repeatedly electro shocked on his hands, face, ears, and 27 between his legs by defendant police officers. Plaintiff now seeks summary judgment that this outrageous conduct, unsanctioned and condemned by the City, and for which defendant officers were fired and/or disciplined, was within the defendants’ scope of employment. City Memorandum in Response To Plaintiff Wilson’s Motion for Summary Judgment, p. 1. 118. In a document filed in the case of Wilson v. City of Chicago, 86-C-2360, entitled “City of Chicago’s Memorandum in Response To Plaintiff Andrew Wilson’s Motion for Summary Judgment,” the City, through its lawyers, made the following judicial admission: The instrumentalities by which defendants tortured plaintiff also illustrate that defendant officers were not in the scope of their employment. Plaintiff has failed to furnish any evidence to suggest that the instruments used by the officers to shock him - - -the black box device and the modified curling iron - - were furnished by the City. Id., p. 17. 119. In its Memorandum in Response To Plaintiff Andrew Wilson’s Motion for Summary Judgment,” the City, through its lawyers, made the judicial admission that Burge “cruelly torture” Andrew Wilson and “denie him necessary medical assistance.” Id., p. 19. 120. In this Memorandum, the City, through its lawyers, made the following admission concerning it change of position from defending Burge for his alleged torture of Andrew Wilson to asserting that said torture was so outrageous as to be outside the scope of Burge’s employment: “The change in the City’s position was the result of inquiries undertaken by the City in good faith and in the public interest.” Id. p. 12. 121. On July 30, 1992, almost two years after Superintendent Martin had first received the Goldston findings, the Police Foundation submitted its report to Superintendent of Police Matt Rodriguez. After noting that because “hangings, shockings, ‘baggings’ beatings, chokings, and beatings were alleged to occur, many in the Area 2 Headquarters itself, a thorough and rigorous investigation seemed required,” and that it passed no judgment as to whether the torture alleged had in fact took place, the Report criticized Goldston’s methodology. Police Foundation 28 Report, “An Analysis of the Methods Employed in the Preparation of the Goldston Report,” 7/30/92. 122. The Police Foundation recommended, inter alia, that the Chicago Police Department investigate or re-investigate cases of serious misconduct listed in the Goldston Report, create a database concerning these investigations, rigorously and uniformly investigate them, and create a monitoring system to identify patterns of serious police misconduct. Id. 123. Almost three years after first receiving the Goldston Report, OPS Director Shines reopened the Cannon, Howard, Adkins, Craft, Holmes, White and Michael Johnson cases and assigned OPS investigators to them. Numerous other serious Area 2 torture cases, including those of Plaintiff, Leroy Orange, Melvin Jones, Anthony Homes, George Powell, and Madison Hobley, were not opened or reopened. Shines’ Dep. in Santiago v. Marquez; CRs of named Victims. 124. Leroy Orange testified on May 22,1985, at his trial that on January 12, 1984 he was taken to Area 2 and interrogated. During this interrogation, he was handcuffed behind his back to a circle in the wall, a plastic bag was put over his head, and when the bag was put over his head a second time he was punched in the stomach. People v. Orange, 5/22/85, pp. 1112-14. 125. Leroy Orange further testified that he was shocked on the arm with an electrical device, and that an officer stuck his hands between his legs and squeezed his testicles. Id. at 1114; Affidavits of Leroy Orange. 126. Leroy Orange averred in ¶¶ 11-13 of an affidavit that he was interviewed in the summer of 1990 by a male OPS investigator at Pontiac Correctional Center, and after reviewing a stack of photographs, he identified Jon Burge as one of the detectives involved in his torture. 29 127. OPS Investigator Michael Goldston listed Orange as a victim tortured by Burge in his 1990 OPS report. Goldston Report. 128. Detectives McWeeny and Madigan testified at Orange’s trial that they were partners and they arrested Orange on January 12, 1984, and they transported him to Area 2 Headquarters where they locked him in an interview room, and the next day they conducted lineups with him. People v. Orange, pp. 615-17, 624,1232-34. 129. Leroy Orange stated at his bond hearing on January 14, 1984 that he had pin marks on his butt, that was the only visible bruise he had to show, and that “other things happened.” People v. Orange, Kidd, 1/14/84, p. 3. 130. Orange’s co-defendant, Leonard Kidd, also stated at the January 14th bond hearing that he was hurting between his legs where the police jumped on him, and his lawyer also noted on the record that Kidd was limping and that he came in injured. Id. 131. On February 9, 1984, Orange’s attorney told a reporter for the Chicago Sun Times that officers administered electrical shocks to Orange’s buttocks and anus with a “black box.” “Cop ‘black box’ torture charged,” Chicago Sun Times, 2/9/84. 132. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Chicago Superintendent Martin and the City of Chicago, judicially admitted that: In January of 1984, Leroy Orange was taken to Area II where he was interrogated and tortured while Burge was in the room. Orange was shocked and jolted repeatedly with a black box plugged into the wall. Orange’s pants were pulled down while electroshock was applied to his body, including his buttocks. He was then asked if he was ready to make a statement, and he replied that he was. Orange reported this torture to his attorney, Earl Washington, who reported it to the media.. Memorandum In Opposition, January 22, 1992, p. 13. 133. In February of 1984, the OPS registered a complaint, number 136454, alleging that 30 Jon Burge and others who allegedly tortured Leroy Orange on January 12 and 13, 1984. 134. The OPS entered a not sustained finding on these allegations without ever taking a statement from Orange, Burge or any other Area 2 detective or supervisor. 135. The Chicago Police Department has since destroyed the OPS file in complaint number 136454. 136. On or about September 24, 1979, the OPS registered complaint number 108817 alleging that George Powell was beaten and suffocated with a bag while being questioned at Area 2, the OPS entered a not sustained finding on these allegations without ever taking a statement from Powell, Burge, or any other Area 2 detective or supervisor, and the Chicago Police Department has since destroyed the OPS file in complaint number 108817. 137. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Superintendent Leroy Martin and the City of Chicago, judicially admitted that: On September 20, 1979, George Powell was arrested at his girlfriend’s house and taken to Area II where he was handcuffed to a wall. Burge brought in a long object with a cord, similar to a cattle prod, and said he was go to do to Powell what he had done to “Satan.” Burge shocked Powell on his stomach and chest, such that Powell almost passed out. Also, while slapping ans questioning Powell, Burge put a bag over Powell’s head and Powell had to bite a hole in it in order to breathe. Powell’s mother filed a complaint with the office of Professional standards, who ultimately made a finding of not sustained. Memorandum In Opposition, filed on January 22, 1992 in the Matter of Charges Filed against Respondents Jon Burge, John Yucaitis and Patrick o’Hara, Cases # 1856-58, p. 9. 138. In a statement taken on June 14, 2004, George Powell stated that he was electric shocked, suffocated with a plastic bag, and beaten by Jon Burge and other Area 2 detectives during his interrogation in September of 1999. 31 139. On May 11, 1989, Andrew Wilson's lawyers in Wilson’s civil rights trial filed ""Plaintiff's Proffer of Other Acts of Beating, Torture and Electroshock By Defendant Burge and Other Detectives."" and served it on the City through counsel. 140. “Plaintiff’s Proffer “listed 19 alleged victims of Burge, Sergeant Byrne, and their fellow Area 2 detectives. 141. “Plaintiff’s Proffer” listed Anthony “Satan” Holmes, stating: Anthony Holmes, nicknamed “Satan, ” was taken to Area II headquarters at approximately 4:00 a.m. Jon Burge presided over his interrogation, during which, in an effort to obtain a confession, plastic bags were put over his head, causing him to pass out three separate times. Burge also applied the end of an electric shock device, housed in a black box, to Holmes’ handcuffs, giving Holmes an intense shock, and causing him to fall out of his chair and roll on the floor. 142. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Leroy Martin and the City of Chicago, judicially admitted: On May 30, 1973, at approximately 4:00 a.m., Anthony Holmes, whose street name is “Satan,” was taken to Area II headquarters where he was held, interrogated and tortured for approximately six hours. Respondent Burge presided over his interrogation, during which, in an effort to obtain a confession, plastic bags were placed over Holmes’ head, causing him to pass out three times. Burge also applied the end of an electric shock device, housed in a black box, to Holmes’ handcuffs, giving Holmes an intense shock, which caused him to fall out of his chair and roll on the floor. The shock was extremely painful and caused Holmes to press his jaws together and grit his teeth. Memorandum In Opposition filed on January 22, 1992, p. 9. 143. On April 19, 2004 Anthony Holmes gave a Court reported statement in which he described the allegations made in Plaintiff’s Proffer in even greater detail. 144. Neither the OPS nor the CPD opened an investigation into Anthony Holmes’ allegations in response Plaintiff Wilson’s Proffer, in response to the City’s statements in their January 22, 1992 Memorandum, or at any other time. 32 145. Plaintiff’s Proffer also listed Lawrence Poree, stating: Lawrence Poree was interrogated on two occasions in 1973 by Burge and Hoke. The first time they showed him a wooden box, with no top and a generator inside with two wires. Burge said “this is what we got for niggers like you.” Later (that year) Burge and Hoke put Poree, while handcuffed, on a table and hit him. They then pulled his pants down and applied electric shock to his arm, testicles and under his armpits. 146. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Leroy Martin and the City of Chicago, judicially admitted that: Lawrence Poree will testify that on two occasions in 1973, he was interrogated by respondent Burge and another detective. The first time they showed him a wooden box with no top, a generator inside, and two wires. Burge then said, “this is what we’ve got for niggers like you.” Later in 1973, Burge and Hoke put Poree, while handcuffed, on a table and hit him. They then pulled his pants down and applied electroshock to his arm and armpits, and to his testicles. On August 7, 1979, Poree was arrested and brought to Area II where he was interrogated by Burge. Poree was handcuffed in the interrogation room, and the black box was on the table. Burge came in and said, “fun time again.” Poree was handcuffed to the wall and hit in the head with a pistol. Apparently referring to Anthony Holmes, Burge said “You can ask your fat friend about the box.” Burge shocked Poree eight or nine times on the arms, chest, forehead, and back, causing him to clench his teeth and bite his tongue and his mouth to bleed. (Memorandum In Opposition, January 22, 1992, pp. 13-14. 147. On April 19, 2004 Lawrence Poree gave a Court reported statement in which he described the allegations which were made in Plaintiff’s Proffer in more detail. 148. Neither the OPS nor the CPD opened an investigation into Lawrence Poree’s allegations either in response Plaintiff Wilson’s Proffer, in response to the January 22, 1992, City Memorandum, or at any other time. 149. In U.S. ex. rel. Maxwell v. Gilmore, 1999 WL 130331 (N.D.Ill.) at *14; Judge Shadur stated the following in his decision: It is now common knowledge that in the early to mid-1980s Chicago Police Commander Jon Burge and many officers working under him regularly engaged in the physical abuse 33 and torture of prisoners to extract confessions. Both internal police accounts and numerous lawsuits and appeals brought by suspects alleging such abuse substantiate that those beatings and other means of torture occurred as an established practice, not just on an isolated basis. 150. At the May 13, 2003 oral argument in the Seventh Circuit Court of Appeals in US ex. rel. Leonard Hinton v. McArdory, Seventh Circuit Judge Diane Wood made the following statement from the bench: “terrible things were happening in Area 2, things that should make us ashamed of our police force and justice system.” 151. In Wilson v. City of Chicago, 120 F.3d 681, 683-85 (7th Cir. 1997), the Seventh Circuit Court of Appeals held that Defendant Burge acted within the scope of his employment with the City “when he tortured Wilson,” stating: Burge was not pursuing a frolic of his own. He was enforcing the criminal law of Illinois overzealously by extracting confessions from criminal suspects by improper means. He was, as it were, too loyal an employee. He was acting squarely within the scope of his employment. 152. OPS investigator Veronica Messenger was assigned to investigate the reopened Darrel Cannon OPS complaint (CR #134723) in May, 1993. CR # 134723, TillmanMessenger Testimony, People v. Cannon. 153. Pursuant to that investigation, she located the site Cannon had previously described as the location where he had been allegedly tortured. Id. 154. This location was under a viaduct at 12409 S. Torrence, and Tillman-Messenger had photographs taken of the site. Id. 155. OPS Investigator Messenger finished her investigation in January of 1994, and entered sustained findings against all three accused officers, finding that: a) Sergeant Byrne struck Cannon with a cattle prod on his testicles and penis and in his mouth; 34 b) Sergeant Byrne repeatedly called Cannon a “nigger;” c) Sergeant Byrne held a 9 mm handgun to Cannon’s head; e) Sergeant Byrne attempted to lift Cannon by the handcuffs; d) Detective Dignan played Russian roulette with a shotgun with Cannon; e) Detective Dignan attempted to lift Cannon by his handcuffs; f) Detective Dignan put a shotgun to Cannon’s head; g) Detective Grunhard lifted Cannon up while Byrne held onto the cuffs. 156. These findings in CR #134723 were approved by Ms. Messenger’s supervisor at OPS, Carmen Christia. Id. 157. The reopened Cannon OPS file and the sustained findings were forwarded to OPS Director Gayle Shines for her review sometime in 1994. Id. 158. Director Gayle Shines took no action on these findings from receipt of the findings and file in 1994 until her leaving the post of Director in 1998, and kept the Cannon file and findings in her office from receipt until her leaving. Shines Dep., Benefico Dep., Santiago v. Marquez. 159. No Chicago police or City of Chicago official or employee, including, but not limited to, Defendants Shines, Martin, Hillard, and Needham produced the reopened Cannon file and the sustained findings contained therein to Mr. Cannon, Plaintiff Patterson, Leroy Orange, Stanley Howard or their lawyers in their criminal cases from 1994 to 1999. 156. No Chicago police or City of Chicago official or employee, including, but not limited to, Defendants Shines, Martin, Hillard, and Needham, produced the reopened Cannon file and sustained findings to any other criminal defendant or his lawyers in his criminal case, or to any Cook County Assistant State’s Attorney from 1994 to 1999. 157. This file and the findings, was further withheld, despite repeated discovery demands, from several civil litigants alleging torture and abuse. See, e.g., Santiago v. Marquez, 35 Wiggins v. City of Chicago. 158. After Darrell Cannon presented evidence that he was tortured to the Illinois Prisoner Review Board on August 27, 2004 and September 3, 2004 at his parole revocation hearing, Board Chairman Jorge Montes was quoted in the September 10, 2004 Chicago Tribune as saying that he was “‘inclined to believe’ Cannon’s claim that detectives working under former police Cmdr John Burge extracted a confession from Cannon through torture” and that “personally, I was inclined to believe there was torture.” Chicago Tribune, September 10, 2004. 159. After Darrell Cannon presented evidence that he was tortured to the Illinois Prisoner Review Board on August 27, 2004 and September 3, 2004, Board Chairman Jorge Montes was quoted in the September 10, 2004 Chicago Sun Times as saying “was there credibility to the testimony? My inclination is to say ‘yes,’ Mr. Cannon may have been tortured. We found it fairly credible.” Chicago Sun Times, September 10, 2004. 160. Philip Adkins testified at his deposition in his civil case that after he was arrested on June 7, 1984, officers Ron Boffo, James Lotito and Peter Dignan transported him from his home on the south side of Chicago to the vicinity of 53rd and Federal Streets, where they struck him repeatedly about the genitals and abdomen with flashlights until he defecated on himself. Adkins deposition, pp. 5, 13-17. 161. Sergeant John Byrne admitted that he was present at Adkins’ house when he was arrested. Byrne Dep. p. 157; 1985 OPS Statement of John Byrne in CR 142201. 162. According to medical records, Adkins was transported to Area 2 and he eventually was taken to Roseland Community Hospital where a urinalysis showed a trace of blood in his 36 urine. He was then immediately transferred to Cook County Hospital. Adkin’s Medical Records from Roseland Community Hospital, CR 142201. 163. According to medical records, at Cook County Hospital Adkins was diagnosed with multiple blunt trauma, and he complained of having been beaten by the police with flashlights. Adkin’s Medical Records from Cook County Hospital, CR 142201. 164. On May 4, 1993, OPS re-opened an investigation into Adkins’ charges of abuse and investigator Leutie Lawrence was assigned to investigate the charges. People v. Cannon, 9/24/99, p. 18. 165. During the course of the investigation, Adkins again identified Boffo, Lotito and Dignan as the officers who had abused him on June 7, 1984. CR 142201, Attachment #141, AF, photographs of Lotito, Dignan and Boffo. 166. Adkins’ girlfriend Earlene Smalley, his brother Willie Adkins, and his sister Sarah Adkins Woodson all gave statements to OPS that Adkins was not sick or injured prior to being arrested on the morning of June 7, 1984. CR 142201. 167. Willie Cowyin, gave a statement to OPS in which he described seeing Adkins naked and changing into different clothes after Adkins had been arrested. He further described that Adkins looked as though he had been beaten up. Id. 168. On December 16, 1993 Office of Professional Standards investigator Leutie Lawrence made the following sustained findings against Boffo, Lotito and Dignan: a) Detective Boffo violated Rule 8, maltreatment of any person, by repeatedly striking Adkins about the body and groin area with a flashlight on June 7, 1984; b) Detective Lotito violated Rule 8, by striking Adkins repeatedly about the body with a flashlight on June 7, 1984; c) Detective Lotito violated Rule 14, making a false report, by stating to OPS that he had seen injuries to Adkins prior to arresting Adkins while Adkins was in his 37 house the morning of June 7, 1984 and for falsely stating that Det. Boffo had not been in the car while he was transporting Adkins; d) Sergeant Dignan violated Rule 14, making a false report, for writing in a police report dated June 15, 1984, and for stating to OPS on November 18, 1993, that he had observed injuries to Adkins’ chest and torso while inside Adkins’ house prior to his arrest on June 7, 1984. . Id. 169 The Adkins OPS file and the sustained findings were forwarded to OPS Director Shines for her review sometime in 1994. Lawrence Testimony, People v. Cannon. 170. Director Gayle Shines took no action on these findings from receipt of the findings and file in 1994 until her leaving the post of Director in 1998.and kept the Adkins file and findings in her office from receipt until her leaving. Shines and Benefico depositions, Santiago v. Marquez. 171. No Chicago police or City official or employee, including, but not limited to, Defendants Shines, Martin, Hillard, and Needham, produced the Adkins file and the sustained findings contained therein to Plaintiff Patterson, Darrell Cannon, Stanley Howard, Leroy Orange Madison Hobley, or any of their lawyers in their criminal cases from 1994 to 1999. 172. No Chicago police or City official or employee, including, but not limited to, Defendants Shines, Martin, Hillard, and Needham, produced the Adkins file and sustained findings to any Cook County Assistant State’s Attorney or any other criminal defendant or his lawyers in his criminal case from 1994 to 1999. 173. Gregory Banks testified that he was arrested on October 28, 1983, at approximately 8:30 p.m. and transported to Area 2 at 111th and Ellis Streets. People v Cannon, 4/19/2000, p. 8-9. 174. Banks further testified that at approximately 2:30 a.m., while he was being 38 questioned by Detectives John Byrne, Peter Dignan and Charles Grunhard, Byrne pulled out a chrome .45 and stuck it in Banks’ mouth, that after Banks refused to make a statement, Byrne then struck Banks with a flashlight, knocking him out of a chair to the ground, and that while he was laying on the ground with his hands cuffed behind his back, Grunhard kicked him in the ankles and left side of his body. Id. at 12-13. 175. Banks’ further testified that, when he continued to refuse to make a statement, Dignan took out a plastic bag, and stated to Banks “e have something special for niggers,” then he placed the bag over Banks’ head and held it there for 1 to 2 minutes during which time Banks could not breathe. Id. at 14-15. 176. Banks further testified that all three officers left, and returned a few minutes later, then, after Banks still refused to make a statement, Dignan again placed the bag over Banks’ head and suffocated him, for approximately a minute, after which Banks, fearing for his life, agreed to confess. Id. at 17-19. 177. Banks previously gave substantially the same testimony at his July 1, 1985 motion to suppress hearing in People v. Banks. 178. Dr. John Raba, M.D., Medical Director of Cermak Health Services sent a letter to the OPS dated November 14, 1983, requesting that OPS investigate allegations of excessive force made by Gregory Banks. The letter further stated that Dr. Ross Romine, examining Banks upon admission to Cook County Jail, noted multiple bruises on Banks’ body, evidence of trauma on his chest, abdomen and legs and scabbed abrasions on his wrist compatible with compression injuries caused by handcuffs. The letter also noted that Banks alleged that a plastic bag was placed over his head by the Chicago police department while he was being 39 beaten, in an effort to extract a confession. CR #188617, Letter from Raba to OPS dated 11/14/83, Attachment #29. 179. Dr. Ross Romine, the doctor who examined Gregory Banks at Cook County Jail on November 3, 1983, testified that Banks had told him he had been beaten and suffocated with a plastic bag by Chicago police officers; that he found injuries on Banks’ body consistent with what Banks had alleged, including scabs on both wrists, multiple scrapes and scratches over his chest and abdomen, and a bruised, swollen muscle on his left side; that he further observed that Banks’ chest area was swollen, discolored and tender and that there were scratches or scrapes around one of his ankles in addition to bruises on both legs in the upper posterior section of the upper thigh, and that the injuries on Banks’ chest appeared to have been caused by some blunt object. People v. Banks, 6/13/85 p. 168, 172-74, 176. 180. OPS investigator Robert Cosey was assigned to re- investigate the allegations of Banks when the OPS complaint register was re-opened in 1991. He closed the file in June, 1993, and entered findings of sustained against four accused officers, finding that: a) Sergeant Byrne violated Rule 6 by failing to report to OPS the use of excessive force against Gregory Banks; b. Sergeant Byrne violated Rule 14 by making a false report by testifying falsely before Judge Robert Sklodowski on June 3, 1985, that Gregory Banks was not physically abused in police custody; c. Sergeant Byrne violated Rule 8 by kicking Gregory Banks on October 29, 1983; d Sergeant Byrne violated Rule 6 by failing to report to a supervisor the use of excessive force against Banks; e) Sergeant Byrne violated Rule 14 by making a false report by giving a false statement to OPS that Banks was not injured while in police custody; f) Detective Peter Dignan violated Rule 6 by failed to report to a supervisor the use of excessive force against Banks; g) Detective Peter Dignan violated Rule 14 by giving false information while providing a statement to OPS about Banks; h) Detective Robert Dwyer violated Rule 6 by failing to report to a supervisor the use of excessive force against Banks; 40 i) Detective Robert Dwyer violated Rule 14 by giving false information while providing a statement to OPS about Banks. j) Detective Charles Grunhard violated Rule 8 by kicking Gregory Banks about the body while he lay handcuffed on the floor during his interrogation; k) Detective Charles Grunhard violated Rule 6 by failing to report to a supervisor the use of excessive force against Banks; l) Detective Charles Grunhard violated Rule 14 by giving false information while providing a statement to OPS about Banks CR 188617, Cosey Summary Report. 181. Shadeed Mumin testified on 5/13/87 at his motion to suppress hearing, that after he was arrested on October 30, 1985, he was taken to Area 2 and placed in an interview room. People v. Mumin, 5/13/87, p.45. 182. Mumin further testified that a man whom he identified as Lieutenant Burge took him into his office, handcuffed him to a chair, took out his .44 magnum handgun, put one bullet in it, spun the gun chamber around, put it to his head and pulled the trigger. Id. at 49, 54. 183. Mumin further testified that Burge then grabbed a typewriter cover off a typewriter, said “you will fucking talk or I’ll kill you” and then put the typewriter cover over his head and held it until he passed out. Id. at 56. 184. Mumin further testified that the plastic typewriter cover was grey, made of vinyl, and Burge attempted to suffocate him with it three times. (Id. at 57, 59, 75). 185. Mumin testified that Burge said to him “If you tell somebody, nobody will believe you because there’s no marks on you and you better sign the fucking statement when this attorney gets here tomorrow . . . If you don’t, you’ll get it even worse than what I did to you now.” Id. at 60. 186. Investigator Veronica Tillman of the OPS did a preliminary investigation of the 41 Mumin’s allegations in 1993 and obtained gun registration documents which established that Jon Burge had a 44 caliber 8 inch revolver registered to him on November 8, 1982 with the registration number #0023212 and serial number N413937. People v. Cannon, Tr.11/2/99; Mumin OPS File. 187. Area 2 Sergeant Sammy Lacey Jr. stated to Investigator Tillman on August 12, 1993 that Burge carried some type of revolver in October of 1985. OPS Statement of Sergeant Sammy Lacey Jr. in Mumin OPS File . 188. In February of 1992, the City and Superintendent Martin, through their specially appointed counsel, called Shadeed Mumin to the stand in the Police Board Hearings and offered his testimony that on October 30, 1985, he was tortured by means of suffocation with a plastic bag by Jon Burge and John Paladino, to obtain a statement. Police Board Hearings, 2/92. 189. In its Memorandum In Opposition, the City and Martin, through their specially appointed counsel, judicially admitted that: On October 30, 1985, Shadeed Mumin was pulled over and arrested by two police officers in an unmarked car. He was taken to Area II and placed in a small room upstairs. Burge entered the room and told Mumin to get up and turn around to the wall. Mumin was then handcuffed behind him to a ring or hook on the wall such that he could not sit down. Burge told Mumin that he wanted to know about the robbery, and Mumin replied that he had no knowledge of what burge was talking about. Burge told Mumin he would talk before Mumin left left there and tightened Mumin’s handcuffs. The handcuffs were painful and cut off Mumin’s circulation. Burge then left the room. Burge returned after a half hour and loosened the handcuffs, asking Mumin if he was ready to talk. When Mumin said he didn’t know what Burge was talking about, Burge became angry and pushed him into a wall. He then removed Mumin’s handcuffs, took him to an office down the hall and handcuffed him. Burge said, “You’re not going to talk, huh?” and Mumin replied that he didn’t know what Burge was talking about. Burge said, “do you know that we can bury you in the penitentiary?” Mumin replied that he still didn’t know what Burge was talking about. Burge then told Mumin that they really wanted his son, and Mumin repeated that he didn’t know what Burge was talking about. Burge became angry and pulled out a fully loaded .44 Magnum. He took out all the bullets except for one, spun it, placed it at 42 Mumin’s head and snapped it three times slowly. Burge told Mumin he was “damned lucky” that Burge didn’t kill him and that he wanted to know about the “fucking robbery.” Burge became angry, jumped up from the desk and snatched a brownish plastic typewriter cover. He said, “you’ll fucking talk or I’ll kill you,” and placed the cover over his head. Burge held the cover over his head and pushed it down in his face so he couldn’t breathe. Mumin, who was handcuffed behind his back, passed out. Burge put it on his head three times. The third time, Mumin hollered and Burge took the cover off and laughed. Burge asked him if he was ready to sign a statement and mumin told him he would do anything. Burge told Mumin that if he told anybody, nobody would believe him because there were no marks on him and that he had better sign the statement. Memorandum In Opposition, January 22, 1992 in the Matter of Charges Filed against Respondents Jon Burge, John Yucaitis and Patrick O’Hara, Cases # 1856-58, pp. 11-12. 190. The OPS never completed its investigation into Mumin’s charges. Mumin CR File, Tillman-Messenger testimony in People v. Cannon. 191. Stanley Howard testified at his January 1987 Motion to Suppress hearing that he was arrested on November 1, 1984 by 5 or 6 police officers and transported to Area 2 Police Headquarters at approximately 7 to 7:30 p.m. and interrogated. People v. Howard, 1/28/87, p. 23. 192. Howard further testified at his motion to suppress hearing that during this interrogation, in interview room 4 at Area 2, while both of his hands were handcuffed to a ring in the wall, Area 2 detective Lotitio put a plastic typewriter cover over his head and Sergeant Byrne and Detective Boffo punched hi, causing him to asphyxiate and black out. Id. at 45-46, 73. 193. Howard further testified at his motion to suppress hearing that when he denied any knowledge of Oliver Revell’s murder, the officers snapped and went insane punching and kicking him in his mid-section and back, they also slapped in him the face and Sergeant Byrne 43 repeatedly kicked him in his left shin while he was handcuffed to a ring in interrogation room 4. Id. at 26-27, 30, 37, 39-41, 46, 49-50, 72-73. 194. Additionally, Howard averred in an affidavit that on November 1, and 2, 1984, he was interrogated by Detective McWeeny. Howard Affidavit, ¶¶ 19, 21. 195. Howard further averred in his affidavit that after this interrogation, at 2 a.m. on November 3, 1984, Byrne, Boffo and Lotito further interrogated him, and that when he denied he was responsible for Oliver Ridgell’s murder, these officers began to slap him, punch him in the mid-section and kicked him repeatedly in the shin; Lotitio then placed a plastic bag over his head, held it tight around his neck, causing him to black out, and he was awakened by one of the officers slapping him in the face. Id. at ¶¶ 27-28. 196. Howard further averred in an affidavit that when one of the officers asked if he was ready to confess, he said no, and Lotito slapped him again, Byrne said “Lay off the head,” he was then punched in the stomach and chest by all three officers; they then started to put the typewriter cover over his head again, and he agreed to confess. Id. at ¶¶ 31-32. 197. Howard further averred in his affidavit that within days of being beaten and tortured, he told his mother and stepfather what happened and reported the beatings and torture to the Police Department and to the F.B.I. Id. at ¶ 39. 198. Theodore Hawkins gave a signed statement to OPS Investigator Leutie Lawrence, in C.R.# 142017, in which he stated that he was in police custody at 111th police station on November 3, 1984 at approximately 2:30 a.m., he observed Howard being questioned through a two way mirror, that Howard appeared to be flinching, dodging and injured about the face, and that one of the three interrogators was holding a plastic bag. CR 142017, OPS Statement of 44 Theodore Hawkins, 9/27/93. 199. In a sworn affidavit dated May 10, 1994, Byron Hopkins averred that in early November, 1984, he was taken into a room where Stanley Howard was being held and that Howard looked like he had been punched and slapped in the face and he could see his chest was red and discolored as if he had been punched or kicked in the chest. Affidavit of Byron Hopkins ¶ 4. 200. In a sworn affidavit dated May 24, 1994 Dr. John M. Raba, who was the medical director of Cermak Health Services in November of 1984, averred that Howard’s Cermak medical records reflected that Howard complained of rib pain and abrasions to the lower portion of his leg, and that the physician observed multiple abrasions on Howard’s left shin. Affidavit of Dr John Raba, ¶¶ 2-4. 201. In a sworn affidavit, Dr. Antonio Martinez, a psychologist with expertise in treating victims of torture, averred that he performed a psychological evaluation of Howard to determine whether he had been a victim of torture, that he interviewed him on four different occasions, and that he concluded to a reasonable degree of scientific and professional certainty that Howard was tortured by police, and this torture included blows to the mid-section, use of a plastic bag to achieve suffocation, and repeated kicks to his shin. Affidavit of Dr. Antonio Martinez, ¶¶ 4, 5, 10, 19. 202. In his March 1, 2000 deposition in People v. Patterson, Sergeant Byrne testified that he participated in the interrogation of Stanley Howard. Byrne Dep. p. 155. 204. On January 11, 1994, OPS investigator Leutie Lawence entered the following sustained findings: 45 a. Sergeant Byrne violated Rule 8, maltreatment of any person, by repeatedly striking Howard about the body with his fists inside interview room # 4 at Area on November 3, 1984; b) Sergeant Byrne violated Rule 8, maltreatment of any person, by repeatedly kicking Howard’s left leg inside interview room 4 at Area 2 on November 3, 1984; c) Detective Boffo violated Rule 8, maltreatment of any person, by repeatedly kicking Howard about the body inside interview room # 4 at Area on November 3, 1984; d) Detective Boffo violated Rule 8, maltreatment of any person, by repeatedly striking Howard about the body inside interview room # 4 at Area on November 3, 1984; e) Detective Lotito, violated Rule 8, maltreatment of any person, by repeatedly striking Howard about the body with his fists inside interview room # 4 at Area on November 3, 1984; f) Detective Lotito, violated Rule 8, maltreatment of any person, by jerking Howard’s body in the air causing the handcuffs to cut into Howard’s wrists inside interview room # 4 at Area on November 3, 1984. Summary Report, CR 142017. 205. The reopened Howard OPS file and the sustained findings were forwarded to OPS Director Gayle Shines for her review sometime in 1994. Lawrence, Shines and Benefico depositions, Santiago v. Marquez. 206. Director Shines kept the Howard file and findings in her office from receipt in 1994 until her leaving in 1998 and took no action on these findings. Id. 208. No Chicago police or City of Chicago official or employee, including, but not limited to, Defendants Shines, Martin, Hillard, and Needham produced the reopened Howard file and the sustained findings contained therein to plaintiff Patterson, Leroy Orange, Madison Hobley, Stanley Howard or Darrell Cannon or any of their lawyers in their criminal cases from 1994 to 1999. Id. 209. No Chicago police or City of Chicago Official or employee, including, but not limited to, Defendants Shines, Martin, Hillard, and Needham produced the reopened Howard 46 file and sustained findings contained therein to any Cook County Assistant State’s Attorney or to other criminal defendant or his lawyers from 1994 to 1999. Id. 210. This CR file and the findings, was further withheld, despite repeated discovery demands, from several civil litigants alleging torture and abuse. See, e.g., Santiago v. Marquez, Wiggins v. City of Chicago. 211. Donald White testified at his deposition on July 14, 1989, that he was taken into police custody in February of 1982, brought to Police Headquarters at 11th and State by Area 2 detectives, and placed in a room by detectives Hill, McKenna, and O’Hara. White Deposition in Wilson v. City, 86 C 2360, 7/14/89, pp. 8-9, 17. 212. White further testified that the detectives asked him questions about who killed police officers Fahey and O’Brien, then Hill got angry and said “I’m tired of this fucking shit,” placed a black garbage bag over his head, and then beat him in the head and his chest. Id. at 18, 22, 41. 213. White testified that Hill put the bag over his head two additional times, and that while he was bagged, he was beaten over his head, preventing him from breathing. After the bagging, he said he would tell them anything they wanted to know. Id. at 19-20. 214. White testified that every time the bag was placed over his head, he was hit, and O’Hara, McKenna, Hill and two others were in the room and stood in a circle around him. Id. at 22-23. 215. White further testified that every time he got a detail wrong during the questioning, Detective Hill threatened to hit him and Hill then started to play with his gun and said that he should make him run, shoot him and say that he tried to escape. Id. at 19-21. 47 216. White testified that after they took a statement from him and he took a lie detector test, Hill threatened to shoot him or push him out of a window. Id. at 26, 107. 217. After reviewing 39 photographs at his deposition on July 14, 1989, White identified a picture of Jon Burge as one of the officers who was in the room during the bagging and beating. He also identified Detective Hill’s photograph and stated that he was the officer who put the bag over his head. Id. at 32-36, 38-40, 47, 56. 218. White further testified that at one time while he had the bag over his head, one of the officers put a gun to his mouth, and at another point, he was hit with fists and a book, or a stack of something. Id. at 42, 62. 219. In their Memorandum In Opposition, specially appointed City of Chicago lawyers, on behalf of Superintendent Martin and the City of Chicago, judicially admitted: On the evening of February 12, 1982, two days before Andrew Wilson’s arrest, Donald White was picked up by police officers and taken to 11th and State. He was taken to a room on the 5th floor by Hill, McKenna, Katalinic and respondent O’Hara, and they began asking him who killed the police officers. They continued to ask him and White repeatedly told them that he did not shoot the officers. Hill got mad and said “I am tired of this fucking shit.” He took a black garbage bag and put it over White’s head and then someone began beating him on his head. Although he could not see them with the bag over his head, there had to have been at least four people hitting him. O’Hara was in the room, as was Burge at various times. When White still stated that he did not shoot the officers and did not know anything, they put the bag back over his head two more times and beat him again. White almost lost consiousness. At one point, someone stuck a gun in his mouth. White then said he would tell them anything they wanted to know. Hill then asked him questions, and, when White didn’t have it right, Hill pretended he was going to hit White. White testified to these facts in a deposition taken in connection with Andrew Wilson’s civil trial. White had not told anyone for five years that he had been abused because he feared for his life at the hands of the police officers. When he finally agreed to testify about the abuse he suffered, he did so only on the condition that Wilson’s lawyers would move him out of Illinois. In addition, because he was afraid and did not know who he could trust, he did not file an OPS complaint. His mother, however, did file an OPS complaint in connection with his torture at the hands of the police officers. OPS reached a finding of “not sustained.” 48 Memorandum In Opposition filed on January 22, 1992 in the Matter of Charges Filed against Respondents Jon Burge, et. al. , Cases # 1856-58, pp. 10-11. 221. At his March 30, 1988 motion to suppress hearing, Aaron Patterson testified that he was arrested on April 30, 1986, taken to Area 2, placed in an interview room, handcuffed to the wall and questioned by Area 2 detectives about the Sanchez homicides, and he denied any involvement. People v. Patterson, 3/30/88, pp. 391-93. 222. Patterson testified that Detective Pienta told Petitioner that he was ""tired of this bullshit,"" left the room, and then returned with a gray plastic typewriter cover. Patterson further testified that when he continued to deny his involvement in the crime, he was handcuffed behind his back, the lights were turned out, he was repeatedly hit in the chest, the plastic cover was pushed over his face and ears, he was punched in the chest, and the officers held the bag over his head for at least a minute, suffocating him. Id., pp. 396-404. 223. Patterson further testified that Pienta threatened to do something worse to him if he did not cooperate, that he repeatedly asked for an attorney and persisted in refusing to cooperate, so the detectives again turned off the lights and put the plastic cover over his head. Patterson further testified that the same seven Detectives who were present for the first round of torture, including Pienta, William Marley, and William Pederson, were present again Id.,, pp. 405-7. 224. Patterson testified that on this second occasion, the ""bagging"" went on for at least two minutes, he was again punched on the body when the bag was over his head, and that suffocation was even more unbearable than the first time, so he stated to the detectives that he would say ""anything you say."" Id, pp. 406-7. 49 225. Aaron Patterson further testified that the detectives then left the room and were gone for an hour, and that during this time Petitioner scratched into a bench in the interview room that he was “suffocated with plastic” and that his statement to the police was false. Id., pp. 411-12. 226. Patterson further testified that a ""red haired"" officer, returned with an Assistant State's Attorney who told him that the red haired officer said that Patterson wanted to make a statement. Patterson further testified that he asked the ASA to ask the red haired officer to leave, and he did. Id., pp. 413-15. 227. Patterson further testified that when alone with the ASA, he told him he had nothing to say, and wanted a lawyer, the ASA then walked to the door of the room, opened it, and the red haired officer was standing on the other side, and the ASA told the officer that Petitioner did not want to give a statement. Id., pp. 415-16. 228. Patterson testified that the red haired officer returned to the room, said ""you're fucking up,"" took his revolver out, put it on the table top, and said ""we told you if you don't do what we tell you to, you're going to get something worse than before -- it will have been a snap compared to what you will get."" Patterson further testified that the red haired officer then asked Petitioner if he was going to cooperate, said that if Petitioner revealed the torture, ""its your word against ours and who are they going to believe, you or us,"" and stated that they could do anything they wanted to do to him. Id., pp. 417-19. 229. Patterson further testified that a second ASA, Peter Troy, came in sometime the next day with Detective Madigan, he first agreed to make a statement then refused to do so or to sign a written statement which Troy had written out. Id., pp. 422-34. 50 230. Aaron Patterson testified that he continued to refuse to sign the statement, ASA Troy physically attacked him, and then Detective Daniel McWeeney entered the room, professed not to be involved in the prior brutality, and urged him to cooperate because the other detectives ""could do something serious to him if he didn't."" Id., pp. 422-435. 231. In an affidavit, Aaron Patterson averred that the red haired officer was Jon Burge, and that he had so identified him to his criminal defense lawyer in 1989. Affidavit of Aaron Patterson, ¶ 10; Affidavit of Brian Dosch, ¶ 15. 232. In his affidavit and in his July 19, 1999 testimony at the motion to suppress hearing in People v. Cannon, Dr. Antonio Martinez averred that on August 12, August 23, September 1, and September 7, 1994, that he personally interviewed Plaintiff Patterson for the purpose of psychologically evaluating him. Affidavit of Dr. Antonio Martinez, ¶¶ 4-5, People v. Cannon, 7/19/99, pp. 10-11, 32, 53. 233. In his affidavit and in his Cannon testimony, Dr. Martinez averred that he had treated 200 victims of torture and supervised 800 other such cases over the previous eight years, Id. ¶¶ 3-4; People v. Cannon, 7/19/99, pp. 10-11, 32, 53. 234. In his affidavit and in his Cannon testimony, Dr. Martinez averred that during his evaluation of Patterson, he determined whether ""psychological markers identifying post Traumatic Stress Disorder resulting from torture were present, and whether present psychological condition showed evidence of a past incident of torture,"" and determined that in his expert opinion, Patterson ""was tortured at Area 2 during his interrogation"" because he exhibited ""six categories of psychological markers which qualify under Post Traumatic Stress Disorder as it is described by the American Psychiatric Association's DSM IV (1994)."" (Id., ¶¶ 51 ¶¶ 3-4, 8,10; People v. Cannon, 7/19/99, pp. 10-11, 32, 53, 58-59. 235. Neither the OPS nor the CPD has opened a complaint register investigation into Aaron Patterson’s allegations. 236. Madison Hobley testified at his motion to suppress hearing on August 29, 1989 that he was arrested on January 6, 1987, and he was taken by Detectives Lotito and Dwyer to Area 2 at 111th Street. People v. Hobley, 8/29/89, pp. 3-5. 237. Hobley further testified that he was taken from Area 2 to The Bomb and Arson Unit, which was under the Command of Jon Burge, at Police Headquarters at 11th and State, where he was taken by Dwyer and Lotito into a utility room containing a typewriter and cabinets. Id. 238. Hobley further testified that Dwyer cuffed his hands behind his back excessively tightly and then hit him in the stomach with a closed fist until Hobley fell from the chair onto the ground, at which point an officer kicked him in the groin. Id. at 18-22. 239. Hobley further testified that when he still refused to confess, Lotito said, “I got something for him,” and got a plastic typewriter cover off the typewriter and put it over his head and that Lotito held the cover over his head while Dwyer kept hitting Hobley in the stomach, until he blacked out. Id. at 22-23. 240. Hobley’s Cook County Jail bruise sheet indicates that Hobley informed the medical intake person at Cermak Health Services that he had been beaten by officers. The bruise sheet reflects injuries on his chest and both wrists, and contains an additional handwritten page attached and signed by “Mr. E Hamilton” which states that, “I got all the mark on his body. C/O of blunt trauma to the chest and wrist.” Cermak Health Services History and 52 Physical Exam of Madison Hobley with attached sheet dated 1/7/87. 241. Lt. Phillip Cline, who is now the Superintendent of Police was the Lieutenant in charge of the Area 2 Violent Crimes Unit on January 6, 1987. Deposition of Cline in People v. Hobley. 242. Lt. Cline was present at Area 2 during Hobley’s questioning, and discussed the questioning with Detective Dwyer. Id. 243. The OPS opened an investigation into Hobley’s allegations of torture on the basis of his sister’s complaint shortly after his January 1987 arrest. 244. Hobley gave a statement to the OPS detailing his allegations of torture shortly after the CR investigation was opened. 245. Pursuant to its policy and practice, the OPS suspended its investigation without taking the statements of the accused detectives until after Mr. Hobley’s was convicted of murder in July of 1991. 246. After Hobley’s trial was concluded in 1991, almost 4 years after the complaint was first filed, the OPS took the detectives’ statements and entered a finding of not sustained in Hobley’s OPS complaint. 247. On January 10, 2003, Illinois Governor George Ryan granted four Burge death row torture victims, Plaintiffs Aaron Patterson, Madison Hobley, Leroy Orange and Stanley Howard, pardons on the basis of innocence, finding: The category of horrors was hard to believe. If I hadn't reviewed the cases myself, I wouldn't believe it. We have evidence from four men, who did not know each other, all getting beaten and tortured and convicted on the basis of the confessions they allegedly provided. They are perfect examples of what is so terribly broken about our system. Statement of Governor George Ryan, Depaul University School of Law, January 10, 2003. 53 248. The arrest report of Lee Holmes reflects that he was arrested at his home on September 10, 1982, by Sergeant Byrne and Area 2 Detectives Dignan, Lotitio, Boffo, and Binkowski. Arrest Report of Lee Holmes, CR 126802. 249. On June 22, 1993, Holmes told OPS Investigator Veronica Messenger that following his arrest, he was taken to Area 2 at 91nd and Cottage Grove, that after he denied any involvement in a rape the detectives were investigating, he was taken into the basement of Area 2 by Dignan and Byrne, placed on a chair, cuffed behind his back, and was suffocated with a plastic bag which was placed over his head. 1993 OPS Statement of Lee Holmes; CR 126802; People v. Cannon, 11/2/99, p. 40. 250. Holmes further stated to OPS investigator Tillman-Messenger that he was also struck in the chest, back and genitals with a flashlight and a rubber hose. Id. 251. An Emergency Room Department Report from South Chicago Community Hospital, dated September 10, 1982, states that Lee Holmes told medical personnel he was beaten up by two policemen that day. Bruises to his chest and sternal area were noted on the report, as well as swelling to his left lower arm and elbow. Id. 252. On July 29, 1993, Holmes identified Byrne and Dignan from photographs as the officers involved in his torture, and Byrne admitted at his March 1, 2001 deposition in People v. Patterson that he participated in Holmes’s arrest and interrogation. People v. Cannon, 11/2/99, p. 44; Byrne Dep., pp. 123-24. 253. In a 1993 statement to the OPS, Stanley Wrice said that he saw Holmes, his codefendant, in court after Wrice’s arrest, and Holmes told him he had been bagged by the officers. CR 202019, 1993 OPS Statement of Stanley Wrice. 54 254. OPS investigator Messenger testified in People v. Cannon that she recommended that OPS allegations be sustained against Dignan for using excessive force against Holmes. An OPS memorandum indicates that she also found violations of Rule 8 against Dignan and Area 2 detective Dioguardi for hitting Holmes with a rubber hose and placing a plastic bag over Holmes’ head. People v. Cannon, 11/2/99, p. 46; Shines Memo, 12/21/94. 255. On January 13, 1993, Marcus Wiggins filed a lawsuit in Federal District Court against the City of Chicago, Jon Burge, John Byrne Anthony Maslanka, John Paladino, James O’Brien, and several other Area 3 detectives. Complaint, Wiggins v. Burge, #93-C-199. 256. In his lawsuit, Wiggins alleged that, as a 13 year old juvenile, he was arrested on September 25, 1991, and while being transported to the station, was hit in the head with a flashlight by detective O’Brien. Id. ¶¶ 13-15. 257. Wiggins further alleged that he was transported to Area 3, handcuffed to the wall, questioned about a murder, and repeatedly hit in the chest by Maslanka. Id. ¶¶ 16-17. 258. Wiggins further alleged that Maslanka later threatened him with a beating, then subsequently electric shocked him on his hands from a box which had cords, a knob and small paddles. Id. ¶¶ 21-26. 259. After the lawsuit was filed, the OPS opened a CR investigation into Wiggins’ allegations. CR # 193591. 260. At his deposition on June 4,1996, under questioning from City of lawyers, Wiggins again testified concerning his beating and electric shocking. Wiggins Deposition. 261. On September 25, 1991, Jon Burge was Commander of Area 3 and John Byrne was 55 a sergeant assigned to Area 3. CR 193591. 262. On November 9, 1992 at a motion to suppress in the case of one of Wiggins’ coarrestees, Jesse Clemon, Myron James testified that he was present at Area 3 during the time that Marcus Wiggins and several of his co-defendants were being questioned by Area 3 detectives. People v. Jesse Clemon, 91-C-25414, 11/9/92, pp 4-9. 263. On November 9, 1992 Myron James further testified that he heard Marcus Wiggins and Jesse Clemon screaming while he was at Area 3 on September 25, 1991. Id. pp 9-13. 264. Myron James further testified that he saw detectives go into a room at Area 3 where another of Marcus Wiggins’ co-arrestees, Damoni Clemons was being held, carrying a “little black thing,” and he heard screaming from that room. Id., pp. 17, 36. 265. Myron James testified that while at Area 3, he saw detectives hitting another coarrestee of Marcus Wiggins nicknamed “Squirt” for 15 or 20 minutes. Id., p. 18. 266. Judge Earl Strayhorn granted Jesse Clemon’s motion to suppress his confession, finding that: Given the atmosphere that existed in that District with eleven people under suspicion in custody in the same location the atmosphere must have been horrendously oppressive and I am going to suppress the statements People v. Clemon, 259 Ill. App.3d 5, 8 (1994). 267. The Illinois Appellate court subsequently affirmed Judge Strayhorn’s granting of the motion to dismiss. People v. Clemon, 259 Ill. App.3d 5, (1994). 268. On June 12, 1990, Plaintiff Andrew Wilson, by counsel, filed in Wilson v. City of Chicago and served upon the City, through counsel, a verified pleading entitled “Corrected and Verified Supplemental Filing In Conformance With Direction of District Court.” 56 269. In the June 12, 1990 Corrected and Verified Supplemental Filing, Wilson’s lawyers verified that true and accurate copies of the following documents were attached: #1) First Letter from anonymous police source, and envelope in which it was enclosed, postmarked February 2, 1989; #2) Advertisement dated February 7, 1989, placed in the Southtown Economist in Response to letter, and invoice for ad; #3) Second Letter from anonymous police source, and envelope in which it was enclosed, postmarked March 6, 1989; #4) Second Southtown Economist Ad, dated March 14, 1989; #5) Third Letter from anonymous police source, and envelope in which it was enclosed, postmarked March 15, 1989; #6) Phone message, dated March 15, 1989, from anonymous police source; #7) Fourth Letter from anonymous police source, and envelope in which it was enclosed, postmarked June 16, 1989. Corrected and Verified Supplemental Filing In Conformance With Direction of District Court, June 16, 1990. 270. In the First Letter from the anonymous police source, postmarked February 2, 1989, and attached to the June 12, 1990 Corrected and Verified Supplemental Filing, the source wrote that several witnesses including the Whites were severely beaten at 1121 S. State Street in front of the Chief of Detectives, the Superintendent of Police and the states attorneys, that Mayor Byrne and State’s Attorney Daley were aware of the actions of the detectives, that ASA Angarola told both of them and condoned their actions, that Mayor Byrne and state’s attorney 57 Daley ordered that numerous complaints filed against the police as a result of this crime not be investigated, and that this order was carried out by an OPS investigator named Buckley who is close to Alderman Burke. First Letter from anonymous police source, postmarked February 2, 1989, and attached to the June 12, 1990 Corrected and Verified Supplemental Filing. 271. In the First Letter from the anonymous police source, the source further wrote that several of the officers named in the suit had been previously accused of using torture machines in complaints given to OPS and in motions filed in criminal trials, that the device was destroyed by throwing it off of Lt. Burge’s boat, and that some of the Area 2 detectives were “disgusted” and “will tell all,” and that the torture was not necessary. Id. 272. In the Second Letter from the anonymous police source, postmarked March 6, 1989, and attached to the June 12, 1990 Corrected and Verified Supplemental Filing, the source wrote that “I believe that I have learned something that will blow the lid off your case. You should check for other cases where Lt. Burge was accussed (sic) of using this devices. (sic). I believe he started many years ago right after he became a detective.” Second Letter, postmarked March 6,1989, and attached to the June 12, 1990 Corrected and Verified Supplemental Filing. 273. In the Second Letter from the anonymous police source, postmarked March 6, 1989, the source wrote that “I have checked into who was assigned to Area 2 while this was going on and have some comments on the people assigned. You must remember that they all knew as did all of the state’s attorneys and many judges and attorneys in private practice. Id. 274. In the Second Letter from anonymous police source, postmarked March 6, 1989, the source set forth the following lists: Burge’s Asskickers. 58 Sgt. Jack Byrne (his main man-check his IAD record) Det. George Basile (his close friend) Det. Pete Dignan Det. Frank Glynn Det. Fred Hill (his invovment (sic) got him a joice (sic) job at 26th St.) Det. John Paladino Det. John Yucaitis Weak Links Sgt. Frank Lee (went to Area 3 to get away from Burge) Sgt. Joe Nolan (Burge dumped him) Sgt. Mike Hoke (He and Burge were constantly arguing and backstabbing each other) Sgt Tom Ferry (Burge dumped him) Sgt. Tom Bennett (an attorney and he and Burge split up with some anger) Det. Ray Binkowski (talks a lot) Det. Doris Byrd Det. Robert Dudak Det. Pat Hickey (Burge hated her because she was a woman) Det. Bill Kushner (escaped because of Burge and Byrne) Det. Frank Laverty Det Walter Young Det. John McCabe Id. 275. In the Third Letter from anonymous police source, postmarked March 15, 1989, and attached to the June 12, 1990 Corrected and Verified Supplemental Filing, the source wrote that “ I do not want to be involved in this affair. That is why I asked for the reassurance that these letters would remain private. I do not want to be shunned like Officer Laverty has been since he cooperated with you.” Third Letter from anonymous police source, postmarked March 15, 1989, and attached to the June 12, 1990 Corrected and Verified Supplemental Filing. 276. In the Third Letter from the anonymous police source, postmarked March 15, 1989, the source wrote that “Burge hates black people and is an ego maniac. He’d do any thing to further himself.” Id. 59 277. In the Third Letter from the anonymous police source,, the source further wrote that “I advise you to immediately interview a Melvin Jones who is in the County Jail on a murder charge. He is being retried in Markham. When you speak with him, compare the dates from 1982 and you will see why it is important. You will also find that the States Attorney knew that he was complaining and that is why his charges were dropped then. That decision was made in the top levels of 26th and California.” Id. 278. In the Fourth Letter from the anonymous police source, postmarked June 16, 1989, and attached to the June 12, 1990 Corrected and Verified Supplemental Filing, the source wrote that “the common cord is Burge. The machines and plastic bags were his and he is the person who encouraged their use. You will find that the people with him were either weak and easily led or sadists. He probably did this because it was easier than spending the time and the effort talking people into confessing.” Fourth Letter from anonymous police source, postmarked June 16, 1989, and attached to the June 12, 1990 Corrected and Verified Supplemental Filing. 279. In the Fourth Letter from anonymous police source, the source further wrote that “Burge thinks that this is his most important case and he brags about it. You could check in the taverns at 103rd and at 92 and Western and you will find that Burge youse (sic) to brag about everyone he beat.” Id. 280. In a 1994 OPS memorandum, Investigator Tillman-Messenger stated that she visited the old Area 2 at 9159 S. Cottage Grove, and was given a tour of the basement of Area 2 by Ray Peterson, who stated that he was the building engineer for the building and had been so since September of 1993, that he worked at Area 2 “off and on” from 1988 to 1993, that he resided at 9144 S. Cottage Grove from the late sixties until the early seventies, that “when this building was a police station, it had a pretty nasty reputation,” and that a lot of abuse went on in this station. 1994 OPS memorandum from OPS Investigator Tillman to Chief Administrator, OPS, Attachment 24 to CR file #202019. 281. On August 1, 2003, the Chicago Reader, quoting an unnamed Area 2 detective, 60 wrote the following concerning the five day manhunt in February of 1982 which resulted in the arrest and torture of Andrew Wilson: The five-day manhunt was directed by Burge, the violent crimes commander in Area Two. It dominated the news. Mayor Jane Byrne offered a $50,000 reward and met with Burge during the investigation. A now retired Area Two detective who took part in the dragnet told the Reader that ""there were a million volunteers....Normally you'd have 15 to 20 violent crimes guys on duty. Now you've got not only them, you've got the property crimes guys, the gang crimes guys. Detectives from Area One were there. The brass was there because it was such a heater case....My partner and I worked 36 hours straight. Burge had to send someone to his house to get clean socks and a shirt. He didn't go home."" The detective said, ""It was a reign of terror. I don't know what Kristallnacht was like, but this was probably close."" Complaints were widespread, with Jesse Jackson saying that the community was living ""under military occupation."" “Deaf to the Screams,” Chicago Reader, August 1, 2003. 282. In his May 20, 2004 affidavit, Melvin Duncan averred that he was a Chicago police detective assigned to the Area 2 Homicide/Sex Unit during the 1970's, and that while at Area 2 he had the occasion to know a Robbery Detective by the name of Jon Burge. Affidavit of Melvin Duncan, ¶¶ 1, 4. 283. In his affidavit, Melvin Duncan averred that during a visit to the Area 2 Robbery Office, he saw a dark wooden box which he thought could give electric shocks, like an electrical device with a crank, wires and prongs which his father had demonstrated on him and his brother when he was a child, did. Id., ¶¶ 5-7. 284. Duncan further averred that while working at Area 2, he sometimes heard loud and unusual noises coming from the Area 2 Robbery Unit Office. Id., ¶ 8. 285. In his affidavit, Melvin Duncan further averred that while working at Area 2 he heard that certain Robbery detectives used an electrical box and cattle prods on people to get confessions from them. Id., ¶ 9. 61 286. Duncan averred in his affidavit that he worked with detective Peter Dignan while at Area 2 and formed the opinion that Dignan had racist attitudes. Id., ¶ 10. 287. Duncan further averred that while working as an Area 2 detective, he became familiar with a practice of detectives of keeping their own “street” or “unit” files which were not turned over to the assistant state’s attorney or the defense lawyers on the case. Id., ¶ 11. 288. In a sworn court reported statement dated October 12, 2004, Sammy Lacey Jr. averred that he was a Chicago Police detective who worked in the Area 2 Violent Crimes Unit from 1981 to 1988. October 12, 2004 Statement of Sammy Lacey Jr., pp. 3-5. 289. In his sworn court reported statement, Lacey averred that he was at Police Headquarters at 1121 S. State Street in February of 1982 when a suspect was being questioned for the murder of Fahey and O’Brien on an upper floor of the building, and that Jon Burge and the Chief of detectives were also present on the upper floors where the questioning was being conducted. Id., pp. 7-9. 290. Lacey further averred that he went to the Area 2 Violent Crimes office on Sunday, February 14, 1982, while the Wilson brothers were being held there, and that there were “a lot of big brass,” including Deputy Superintendents also present. Id. p 11. 291. In his sworn court reported statement, Lacey averred that police personnel who worked at the 5th District police station asked him questions about “ what was going on midnights,” and “what are they doing to people up there on mid nights,” indicating to Lacey that something “was not right on the midnight shift,” and that it “seemed like” there was physical abuse going on at Area 2 on the midnight shift. Id., pp. 16-17. 292. Lacey averred that the midnight shift at Area 2, which was known to him and 62 other detectives as the “A Team,” had a very high percentage of obtaining written confessions. Id., p. 15. 293. Lacey further averred that Jon Burge was often present at Area 2 when Lacey left work at the end of his shift at midnight, and the midnight shift began its shift, and “if there was any questioning, he was there.” Id., pp. 17-18. 294. Lacey further averred that after Burge left Area 2 and went to Area 3, many of the midnight shift detectives also transferred to Area 3 and that they heard that the same “scuttlebutt” began at Area 3, and that by “scuttlebutt” he meant that he heard off the record from department members that strange things were going on at Area 3 and a lot of confessions were being obtained. Id., pp. 19-20. 295. In a sworn court reported statement dated November 2, 2004, Walter Young averred that he became a Chicago police detective in 1970 and was assigned to Area 2 in 1980 or 1981. Court Reported Statement of Walter Young, pp. 2-4. 296. In his sworn court reported statement, Young averred that he saw a box like object with what appeared to be a crank in the basement area of Area 2. Id. p. 6. 297. Young further averred that after hearing certain stories, and overhearing conversations, innuendos, and gossip from other Area 2 detectives, he concluded that the box that he saw might have been the electrical box that was said to have been used on certain people brought into the Area. Id. 298. Young averred that in the conversations that he overheard at Area 2, there was a reference to the Vietnamese and Vietnam, that suspects could be made to talk if the same techniques were basically used that were used in Vietnam, and that the term “Vietnam special” 63 or “Vietnam treatment” was used. Id., pp. 7-8. 299. In his sworn court reported statement, Walter Young averred that based on seeing the box, and overhearing conversations, he later deducted that the “Vietnam treatment” probably referred to the use of electric shock.. Id., p, 18. 300. Young further averred that on one occasion, while walking past an interview room, he heard unusual noises, saw Burge walking out of the room, and a black suspect sitting on the floor handcuffed to a ring on the wall. Id. p. 10. 301. Walter Young further averred that Burge had a reputation of being forceful in his investigations. Id. p. 12. 302. Walter Young averred that during the manhunt for the killers of officers Fahey and O’Brien in February of 1982, he overheard conversations from detectives that force was being used on suspects at Area 2, and heard noises that sounded like furniture being moved in one of the interview rooms during the time that the Wilson brothers were in custody. Id., p. 25. 303. Young averred that he overheard Area 2 detectives say that a phone book would sometimes help people refresh their memories, and that phone books don’t leave marks and plastic bags help to cushion the phone book. Id. pp. 27-28. 304. Young further averred that he took an “Ostrich” approach to what went on at Area 2 and left the Area, when possible, when he thought “stuff” was going on there. Id., pp. 11, 27. 305. Young averred that he concluded from the way he and his fellow black detectives were treated by Jon Burge that Burge was a racist. Id., p. 31. 306. In a sworn court reported statement dated November 9, 2004, Doris Byrd averred that she became a Chicago police detective in 1980, was assigned to Area 2 in 1981, worked in 64 the Violent Crimes Unit on the 5:00 p.m. to 1:00 a.m. shift until 1984, and retired as a sergeant on April 15, 2004. She further averred that Jon Burge took over Command of the Unit shortly after she arrived in 1981. Court Reported Statement of Doris Byrd, pp. 3-6, 17. 307. In her sworn court reported statement, Doris Byrd averred that after Area 2 detective Frank Laverty came forward in the George Jones case and exposed the use of secret street files, Burge pointed a gun at the back of Laverty’s head after he left a room at Area 2 and said “bang,” and that she took the actions of Burge against Laverty to be a message as to what would happen if police officers came forward and broke the code of silence and exposed police misconduct Id., pp. 6-7.. 308. Doris Byrd averred that she sometimes stayed after 1:00 a.m. at Area 2 and from time to time heard screaming and other unusual noises coming from the interview rooms while detectives from the midnight shift or “A Team”were interrogating people, and the hollering included suspects saying “stop hitting me, or “what are you hitting me for?” Id., pp. 8-9, 16. 309. Byrd further averred that she was never questioned by any police investigative personnel about her knowledge of torture and abuse at Area 2 and that while on the force, she “would have to have to think twice” about talking to investigators because “they didn’t do much for Laverty when he spoke out.” - - - “they stuck him in a unit, never to make rank, and squashed his career.” Id., pp. 17-19. 310. Doris Byrd averred that she was told by suspects who were interrogated at Area 2 that they had been physically abused by telephone books, bags, and the electric shock box, that “the black box was running rampant through the little Unit up there” and that she heard about it both from detectives and suspects. Id., pp. 9-11. 65 311. Doris Byrd further averred that the telephone books, bags, and the electric shock box was somewhat of an open secret at Area 2, that Burge was the head of the Unit and that suspects linked this kind of abuse to Burge or Byrne and the midnight shift. Id., pp, 11-12. 312. Byrd averred that when she was in the Area 2 office during the five day period in February 1982 from the date that officers Fahey and O’Brien were killed until the time that the Wilson brothers were arrested, she heard arrestees screaming and hollering and observed one black male attached to a radiator with steam coming out. Id., p. 13. 313. Byrd averred that in 1983 she was involved in the questioning of arrestee Gregory Banks, that she did not use any force during the questioning, and Banks did not give an inculpatory statement. Id., p. 22. 314. Byrd further averred that the “A Team” then took Banks out of the Area, and when they returned, Banks gave an inculpatory statement to Dignan and Byrne, and that she heard that the confession was obtained with torture tactics. Id., pp. 22, 23. 315. Doris Byrd averred that it was part of a pattern that she often saw that the “A Team” was quite successful in getting statements from suspects and that it was part of the open secret at Area 2 that the tactics that they used to get these statements were the torture tactics she had heard about. Id. 316. Doris Byrd averred that from what she saw concerning how he ran his operation, and how he related to blacks and whites, that Jon Burge was a racist. Id., pp. 26-27. 317. In her sworn court reported statement, Doris Byrd averred that it was an open secret and known to the detectives that Burge was heading up a manhunt to find the killers of Officers Fahey and O’Brien where unnecessary force and torture tactics were being used. to 66 find the killers of Officers Fahey and O’Brien. Id., p. 28. 318. Doris Byrd further averred that it was also known to the detectives at Area 2 that Burge was given a mandate by the Mayor of the City of Chicago to do anything he had to do, including using torture tactics, to clear the murders of Fahey and O’Brien. Id., pp. 28-29. 319. Byrd averred that it was an open secret and known to the detectives that Burge was heading up a manhunt where unnecessary force and torture tactics were being used. to find the killers of Officers Fahey and O’Brien. Id., p. 28. 320. In her sworn court reported statement, Byrd averred that after she was named as a “weak link” in the anonymous police letters, she received a call from a Chicago Police Captain who was a friend of Peter Dignan’s named Phelan who said that he had been speaking to Dignan and that Dignan was worried about her testifying against him. Id. pp. 33-34. 321. Byrd averred that John Byrne was known as Burge’s main man, that he was the head of the A Team, and was identified as one of the people doing the torture. Id., pp. 33-34. 322. Byrd averred that George Basile was known as a close associate of Burge and also had a reputation of being in the group who were torturing people. Id., pp. 35-36. 323. Byrd averred that John Paladino was Basile’s partner and had the reputation of being one of Burge’s men. Id., pp. 36-37. 324. In her sworn court reported statement, Doris Byrd averred that Frank Glynn, Fred Hill and Peter Dignan were all on the A Team and were in the group who were Burge’s men who were involved in the same kinds of acts that Burge was. Id., pp. 36-37. 325. In her sworn court reported statement, Doris Byrd averred that John Yucaitis was on the A Team and had the reputation along with Burge for torture and abuse. Id., p. 37. 67 326. In her sworn court reported statement, Doris Byrd averred that she and one of her partners at Area 2, Sammy Lacey, both made Sergeant, and if they had come forward while they were on the force with what they knew and heard about police torture, Burge, and the A team, they would have been frozen out of the police system, ostracized, would definitely not have made rank, and would probably have been stuck in some do nothing job. Id., p. 41. 327. In her sworn court reported statement Doris Byrd averred that she also feared that one of her family members might be mistreated by Area 2 detectives, like George Jones was, if she came forward . Id., pp. 42-43. 328. In their statements Byrd, Young, and Lacey all averred that Burge treated them and the other few black detectives in a racist and discriminatory manner when it came to making assignments of cases and giving performance ratings, that they called this to Commander Leroy Martin’s attention, but Martin did nothing to stop the practice, but rather reported it to Burge, who then rebuked them for their complaints. Byrd, Lacey, and Young statements. 329. In a sworn court reported statement dated October 4, 2004, William Parker Sr. averred that he was a Chicago police detective assigned to Area 2 Robbery in 1972 or 1973 when he heard a loud human outcry coming from an office there. Statement of William Parker, pp. 5-6. 330. In his sworn court reported statement, Parker averred that the loud human outcry which he heard coming from an office there in 1972 or 1973 was a shrill inhuman type cry of someone obviously hurting or in pain. Parker further averred that other detectives in the Area heard the cries, but did not respond as he did. Id., pp. 6, 13. 68 331. Parker further averred that in response to the loud human outcry, he forced the closed door to the room open and entered the room. Id., pp. 5 , 7. 332. Parker further averred that upon entering the door to the room, he saw a black male with his pants open and down, handcuffed to a old fashioned radiator which constantly steamed all day, with Jon Burge standing to the black male’s left, right next to him, and two other white detectives standing to Burge’s left. He further averred that one of the detectives took something off the desk and put it on the floor, and that he believed that they were trying to conceal from him whatever they had taken off the desk and put on the floor. Id., pp. 7-9, 12. 333. Parker averred that later after he had learned about the torture techniques and tactics that they used, and some fellas said that it was something like a black box that they used to give electric shocks, he was led to believe that that could have been what was taken off the desk. Id., p. 8. 334. Parker averred that the black male looked panicked, scared and in pain, then later looked happy that someone was in there who was concerned about him, and that Burge, whom he described as a big redhead, looked shocked and turned beet red in the face when Parker entered the room Id., pp. 10-11. 335. Parker further averred that not long after he entered the room, a sergeant showed up and let him know that it wasn’t any of his business and he had no right to barge in while they were conducting their investigation. Id., pp, 13-14. 336. Parker averred that he believed that Lt. Walter Murphy was in charge of the Area 2 Robbery Unit at that time and Burge, Hoke, Houtsma, and several other detectives worked very closely with him and carried out his orders. Id., pp. 14-15. 69 337. Parker further averred that not long after the incident where he saw Burge in the room next to the male suspect, he was abruptly transferred out of Area 2, and he was led to believe that it was because of what he had witnessed during that incident. Id., p. 16. 338. In a videotaped sworn statement dated March 11, 2004, Eileen Pryweller, sister of Area 2 detective Robert Dwyer, stated that she had a conversation with her brother and Jon Burge at Dwyer’s house in mid-January, 1987. Statement of Eileen Pryweller, 3/11/04, pp. 5-6. 339. In her statement, Pryweller averred that during this conversation, Burge and Dwyer described how they dealt with “niggers” during interrogations, stating that they “give them hell,” “beat the shit out of them, throw them against walls, burn them against the radiator, smother them, poke them with objects, do something to some guys’ testicles.” Id., pp. 9- 10. 340. In her statement, Pryweller further averred that Dywer said, “this skinny little nigger, boy I got him just torturing him, smothering him,” while Burge laughed. They made reference to this torture victim in connection with a gas station and getting a gas can. Id., pp. 10-11. 341. Pryweller averred that Burge seemed proud of his torture tactics, that he and Dwyer were “full of hate,” that Burge “described some techniques that he had that no one could even fathom, ” and that Dwyer said he could “make anyone confess to anything.” Id., pp. 11-13. 342. Pryweller averred that in the summer of 2002, while visiting Marin County, California for her sister’s funeral, her brother, Robert Dwyer, approached her and in a private conversation, he brought up Burge and the prior conversation, and communicated what she perceived to be a threat. Id., pp. 24-32. 70 343. John Byrne in sworn testimony at his March 1, 2000 deposition in People v. Patterson, and Peter Dignan, in his 1996 sworn deposition in Wiggins v. Burge, both admitted that they, Burge and other Area 2 officers commonly used the term “nigger.” Byrne’s Dep., pp. 67-68, 136, 181; Dignan Dep., pp. 60-63, 64-65. 344. On November 1, 1999 at a motion to suppress hearing in People v. Cannon, Dr. Robert Kirschner testified as an expert that he was a forensic pathologist, a member of the Human Rights Program at the University of Chicago, a forensic consultant to physicians for human rights, that he had participated in several missions and investigations around the world investigating police and other governmental torture, that over the past 15 years he has evaluated approximately 200 torture victims around the world, and that he has often been called on to evaluate whether there is systematic torture being practiced by the police and other governmental authorities. Kirschner further testified that he has done much of his work on behalf of the United Nations, for whom he has written portions of a protocol which defines the methodologies of torture and how to properly investigate and evaluate cases of alleged torture. People v. Cannon, 11/1/99, pp. 5-6, 10-45, 57-59, 69, 80-81, 90-93, 96. 345. Dr. Kirschner further testified in Cannon that in his experience and opinion, electric shocking, plastic bagging or dry submarino, Russian roulette and other forms of mock executions, and hanging by handcuffs are common forms of police and governmental torture used across the world. Id. at 5-6, 10-45, 57-59, 69, 80-81, 90-93, 96. 346. Dr. Kirschner further testified that in his opinion there was a pattern and practice of torture at Area 2 and later at Area 3 Headquarters under the command of Jon Burge, and that this opinion was based, inter alia, on his evaluations of several alleged Area 2 and 3 torture 71 victims, including Andrew Wilson, Darrell Cannon, Leroy Orange and Marcus Wiggins, discussions with Chicago detectives who acknowledged that there was police torture at Area 2, the fact that frequent allegations of electric shock, bagging, Russian Roulette only arose from Area 2 and later from Area 3 Headquarters while Jon Burge was the commander, and not against other officers in other station houses, and that the patterns and methodologies at Area 2 and 3 under Burge and Byrne closely mirrored those which he observed, investigated, and evaluated in places such as Turkey and Israel. Id. at 5-6, 10-45, 57-59, 69, 80-81, 90-93, 96. 347. In an affidavit executed in August of 2004, Richard Brzeczek averred that he was the Chicago Police Superintendent from January 11, 1980 until April 29,1983. Affidavit of Richard Brzeczek, ¶1. 348. Brzeczek further averred that he made the following true and accurate statements to Chicago Tribune reporter Steve Mills which appeared in an April 29 2002 Chicago Tribune article: Twenty years later, Brzeczek, now a defense attorney, said that there is ‘no doubt in my mind’ that Burge and his detectives tortured some suspects. The whole situation at Area 2 a disgrace and an embarrassment. It’s time something is done about it,” Brzeczek said, referring to the former Burnside station on the southside where most of the torture allegedly occurred. Id., ¶¶ 4-5. 349. Brzeczek further averred that “subsequent to resignation from the Chicago Police Department, monitored litigation initiated by persons making claims and/or allegations regarding torture sustained at the hands of police officers at Detective Division Area 2. further monitored the prosecution of certain police officers previously assigned to Area 2 based on allegations of torture and other improper treatment of prisoners under their control 72 before the Chicago police Board. also monitored media coverage of allegations and legal actions arising out of allegations of torture and other improper treatment brought by persons against police officers assigned to Detective Division Area 2.” Id., ¶ 10. 350. Brzeczek further averred that “based on the fact that allegations continued to arise alleging torture and other improper treatment occurring at a time after left the Chicago Police Department on April 29, 1983, and based upon the fact that Richard M. Daley, State’s Attorney of Cook County, did not conduct (or at least affiant is not aware of any such action), any investigation into the allegations brought to his attention by the affiant in the letter as aforesaid, affiant was and is convinced that some persons held in custody at Area 2 had to be tortured.” Id., ¶11. 351. In his affidavit, Brzeczek further averred that “based on the sheer number of the allegations, the findings of the courts in certain litigation brought against officers assigned to the Detective Division Area 2, and the fact that police officers were discharged and/or suspended for their roles in allegations made against them for the improper treatment of prisoners while assigned to Detective Division Area 2, the affiant was and is convinced that some persons were tortured while in custody at Detective Division Area 2.” Id., ¶12. 352. Thirty former Area 2 and Area 3 detectives and supervisors, while under oath, and represented by lawyers paid for by the City of Chicago, invoked the Fifth Amendment in response to all questions concerning the arrest, interrogation, the alleged torture and abuse of scores of suspects, including, but not limited to, those named in this Summary, and the coercion and fabrication of evidence while they were assigned to Area 2 and Area 3. These officers include the following defendants and witnesses in the Hobley, Patterson, Orange and Howard cases: a. former Commander Jon Burge on 9/1/04 b. former Sergeant John Byrne on 8/20/04 c. former detective James Pienta on 10/7/04 d. Sergeant Raymond Madigan on 9/15/04 e. former detective John Paladino on 7/29/04 73 f. former detective William Pedersen on 10/5/04 g. former detective James Lotito on 8/16/04 h. Commander William Garrity on 8/5/04 i. former detective Daniel McWeeny on 9/20/04 j. former Lieutenant Dennis McGuire on 11/17/04 k. former detective Raymond McNally on 11/8/04 l. former detective Robert Flood on 10/8/04 m. former detective William Marley on 9/23/04 n. former detective David Dioguardi on10/5/04 o. former Lieutenant. Peter Dignan on 8/27/04 p. detective Robert Dwyer on 7/27/04 q. former detective Joseph Danzl on 10/5/04 r. former detective Leonard Bajenski on 1/20/05 s. detective Michael Bosco on 9/3/04 353. Thirty former Area 2 and Area 3 detectives and supervisors, while under oath, and represented by lawyers paid for by the City of Chicago, invoked the Fifth Amendment in response to all questions concerning whether there were policies and practices of police torture, fabrication of evidence, and police code of silence while they were assigned to Area 2. These officers include the following defendants and witnesses in the Hobley, Patterson, Orange and Howard cases: a. former Commander Jon Burge on 9/1/04 b. former Sergeant John Byrne on 8/20/04 c. former detective James Pienta on 10/7/04 d. Sergeant Raymond Madigan on 9/15/04 e. former detective John Paladino on 7/29/04 f. former detective William Pedersen on 10/5/04 g. former detective James Lotito on 8/16/04 h. Commander William Garrity on 8/5/04 i. former detective Daniel McWeeny on 9/20/04 j. former Lieutenant Dennis McGuire on 11/17/04 k. former detective Raymond McNally on 11/8/04 l. former detective Robert Flood on 10/8/04 m. former detective William Marley on 9/23/04 n. former detective David Dioguardi on10/5/04 o. former Lieutenant. Peter Dignan on 8/27/04 p. detective Robert Dwyer on 7/27/04 q. former detective Joseph Danzl on 10/5/04 74 r. former detective Leonard Bajenski on 1/20/05 s. detective Michael Bosco on 9/3/04 355. Thirty former Area 2 and Area 3 detectives and supervisors, while under oath, and represented by lawyers paid for by the City of Chicago, invoked the Fifth Amendment in response to all questions concerning whether they participated in, witnessed, or were aware of the alleged torture and abuse of Plaintiffs Aaron Patterson, Leroy Orange, Madison Hobley and Stanley Howard. These officers include the following defendants and witnesses in the Hobley, Patterson, Orange and Howard cases: a. former Commander Jon Burge on 9/1/04 b. former Sergeant John Byrne on 8/20/04 c. former detective James Pienta on 10/7/04 d. Sergeant Raymond Madigan on 9/15/04 e. former detective John Paladino on 7/29/04 f. former detective William Pedersen on 10/5/04 g. former detective James Lotito on 8/16/04 h. Commander William Garrity on 8/5/04 i. former detective Daniel McWeeny on 9/20/04 j. former Lieutenant Dennis McGuire on 11/17/04 k. former detective Raymond McNally on 11/8/04 l. former detective Robert Flood on 10/8/04 m. former detective William Marley on 9/23/04 n. former detective David Dioguardi on10/5/04 o. former Lieutenant. Peter Dignan on 8/27/04 p. detective Robert Dwyer on 7/27/04 q. former detective Joseph Danzl on 10/5/04 r. former detective Leonard Bajenski on 1/20/05 s. detective Michael Bosco on 9/3/04 356. On October 11, 1989, Chief Office of Professional Standards Administrator David Fogel testified before the Chicago City Council and gave the following answers to the following questions by Alderman Rush: Q: All right. Mr. Fogel, what have you done to discourage, well, first of all do you acknowledge the fact that there is a code of silence that exists in the Chicago 75 Police Department? A: In all professions. Q: Okay. And its, do you acknowledge - - - A: Including, including the Chicago Police Department. City Council Hearing, Committee on Police, Fire an Municipal Institutions, Public Hearing on Police Brutality, Day 5, October 11, 1989, p. 285. 357. On October 11, 1989, Police Superintendent Leroy Martin testified before the Chicago City Council and gave the following answers to the following question by Alderman Caldwell: Q: One final question, Superintendent, and this was asked of Dr. Fogel on numerous occasions. It has to do with the suggested code of silence among police officers. As Superintendent of Chicago’s Police Department, do you agree or - - - A: Yes. Q: Do you agree that there is in fact in force and functioning a code of silence among police officers? A: To some extent, yes, sir. Id., pp. 368-69. 358. On or about October 19, 1987, OPS Director Fogel sent a document entitled “Proposed Revamping of Office of Professional Standards,” to the Mayor of the City of Chicago in which he wrote: By accepting all cases, even erring on the liberal side, to be accommodative to the public, OPS gives the appearance of moving forward on all complaints. The opposite occurs. The appearance of doing a thorough investigation with full due process and endless unnecessary reviews for all, actually operates to immunize police from internal discipline, increases their overtime, leads to an enormous “paper storm” and has institutionalized lying. “Proposed Revamping of Office of Professional Standards,” October 19, 1987, p. 2. 359. 360. In Jones v. City of Chicago, 856 F. 2d 985, (7th Cir. 1987) the Seventh Circuit 76 Court of Appeals affirmed a jury verdict against Area 2 Violent Crimes detectives, supervisors and commanding officers, including detectives James Houtsma, Dennis McGuire, John McCabe, and Raymond McNally, Sgt. Alvin Palmer, Lt. Griffith, and Commander Milton Deas, for conspiracy to “railroad” 18 year old George Jones for a 1981 murder, stating: We cannot say that the jury acted unreasonably in finding that all of the individual defendants were voluntary participants in a common venture to railroad George Jones. Jones v. City of Chicago, 856 F. 2d at 992. 361. In Jones v. City of Chicago, the Seventh Circuit affirmed a jury verdict against the City of Chicago for maintaining a “street files”custom or policy which led to the railroading of 18 year old George Jones for a 1981 murder, stating: The custom in question is the maintenance of the ""street files,"" police files withheld from the state's attorney and therefore unavailable as a source of exculpatory information that might induce him not to prosecute or, failing that, would at least be available to defense counsel under Brady v. Maryland, 373 U.S. 83, 10 L. Ed. 2d 215, 83 S. Ct. 1194 (1963). As we noted recently, information undermining the credibility of a government witness is within the scope of Brady's rule. See United States v. Herrera-Medina, 853 F.2d 564, slip op. at 5 (7th Cir. 1988). Although the lawfulness of the street-files practice has never been adjudicated, the City, which has abandoned the practice, does not challenge the jury's implicit finding that it denied criminal defendants due process of law. Brady v. Maryland does not require the police to keep written records of all their investigatory activities; but attempts to circumvent the rule of that case by retaining records in clandestine files deliberately concealed from prosecutors and defense counsel cannot be tolerated. The City sensibly does not attempt to defend such behavior in this court. There is little doubt that the clandestine character of the street files played a role in Jones's misfortunes. Cf. Harris v. City of Pagedale, 821 F.2d 499, 507 (8th Cir. 1987). If the state's attorney had had access to them, he would have discovered memos by Kelly and especially by Laverty that would have given any prosecutor pause. Alternatively, defense 77 counsel would have obtained them prior to trial and the trial would have ended even sooner than it did. The only question is whether this custom was a custom of the City of Chicago. As the custom was department-wide and of long standing, the jury was entitled to conclude that it had been consciously approved at the highest policy-making level for decisions involving the police department -- the standard suggested by the recent plurality opinion in City of St. Louis v. Praprotnik, 485 U.S. 112, 108 S. Ct. 915, 99 L. Ed. 2d 107 (1988). See also Stokes v. Bullins, 844 F.2d 269, 273 (5th Cir. 1988). Jones, 856 F. 2d at 995. 362. Jerry Mahaffey testified at his motion to suppress hearing in February of 1984 that he was arrested in his apartment at 11216 S. Indiana on September 2, 1983, and he was hit in the nose, thrown against the wall, had a gun pointed at his head, kicked in the groin and right ribs and had a garbage bag put over his head which made it difficult for him to breathe when he was arrested. People v. Jerry, Reginald Mahaffey, 2/16/84, pp. 39-40, 734-40. 363. Jerry Mahaffey further testified that he was taken to Area 2, handcuffed in a little room, and interrogated by Sergeant Byrne and drtective Grunhard. After he denied any knowledge as to a rifle, the officers tightened his cuffs and told him “You are going to tell us what we want to know because you are going to die anyway.” Id. at 741-44. 364. Jerry Mahaffey further testified that he appeared in Branch 66 on September 6, 1983, and that an order was signed at that time requesting an examination by a physician at Cermak Hospital and that the Judge in Branch 66 also stated on the record that Jerry Mahaffey had discoloration on the right side of his chest 4-5 inches below his right nipple which was 3 inches in length and one inch in width. Id. at 750-51. 365. Sergeant Byrne admitted at his March 1, 2001 deposition in People v. Patterson that he and Area 2 Detective Yucaitis participated in Jerry Mahaffey’s arrest and that he 78 participated in his interrogation. Byrne’s Dep., pp. 155-56. 366. Detective Grunhard testified at Jerry Mahaffey’s motion to suppress hearing that Sergeant Byrne and Detectives Lotito and Boffo were present at 11216 South Indiana when they spoke with Jerry Mahaffey. People v. Jerry, Reginald Mahaffey, 2/16/84, pp. 713-14. 367. Neither the OPS nor the CPD has opened a complaint register investigation into Jerry Mahaffey’s allegations. 368. Reginald Mahaffey testified at his motion to suppress hearing on February 9, 1984 that he was arrested on September 2, 1983, at 4:15 a.m. in his apartment and kicked in the groin area, rib area and head by an officer in plainclothes. People v. Reginald Mahaffey, 2/9/84, pp. 232, 234). 369. Reginald Mahaffey testified that he was taken to Area 2, and during his interrogation, he was suffocated with a plastic bag over his head while his head was being bumped against the wall. He also testified that he was beaten with a flashlight in his midsection, back, stomach, shoulder blades, shoulder, neck and he was kicked in the leg. (Id. at 236- 38, 239, 266-67, 289-90). 370. Sergeant Byrne admitted at his deposition in People v. Patterson that he participated in Reginald Mahaffey’s arrest and interrogation. Byrne Dep. at 74,155-56. 371. Detectives Yucaitis and Grunhard testified at Reginald Mahaffey’s motion to suppress hearing that they were present when Reginald Mahaffey was arrested. Byrne’s Dep., p. 74; People v. Jerry, Reginald Mahaffey, 2/13/84, pp. 77-121, 123, 172. 372. Neither the OPS nor the CPD has opened a complaint register investigation into Reginald Mahaffey’s allegations. 79 373. Michael Johnson testified at his June 14, 1989 deposition in Wilson v. City of Chicago that Jon Burge picked him up and took him to Area 2 at 91st and Cottage Grove in June of 1982. Johnson Dep., 6/14/89, pp. 7-8. 374. He further testified that Burge, in the presence of two other officers, questioned him about a homicide, beat him, shocked him with an electrical device, pointed a gun in his face and at his head, asked him if he was ready to talk, threw a chair at him, hit him in the face, and hit him on the head with a gun. Id. at 8, 11-13. 375. At his deposition, Johnson described the electrical device as a little box with a wire, and the wire had a little prong like a soldering iron or tweezers attached to it. Id. at 14-15. 376. Johnson further testified that Burge placed the prong on his genital area twice for a second each time and it felt like he received an electric current. Id. at 15. 377. Willie Porch testified on June 27, 1989 at the trial of Wilson v. City of Chicago that he was arrested on September 28, 1979, between 9 and 9:30 p.m., and he was eventually taken to Area 2 where he and Raymond Golden were placed in an interrogation room on the second floor and they were interrogated by Sergeant X, and detective Gorman about a shooting. Wilson v. City of Chicago, 6/27/89, pp. 1874-76). 378. Porch further testified that Sergeant X took out his revolver, unloaded it, put one bullet back in the gun, spun the barrel and pointed it at him and Golden. He further testified that X also stepped on his groin. Id. at 1877-79. 379. Porch further testified that he was then taken to a second interview room where Sgt. X hit him with his revolver, which was long and silver chromed with a brown handle, on the top and side of his head, and X and Gorman attempted to hang him from a hook while his hands were cuffed behind his back. Id. at 1882-85. 80 380. Porch testified that he was then transported back to an interview room where Raymond Golden was present and he saw Sgt. X hit Golden in the left side of his head with a shotgun. Id. 381. Porch further testified that he saw Tony Thompson, whose face and head were swollen and eye was closed, and the officers asked if he wanted to look like “Tony puff face.” Id. at 1887-89. 382. Porch further testified that when he refused to make a statement to the ASA, Sgt. X hit him with a revolver 3-4 times in the head and Gorman hit him in the head with his hand. Id. at 1890-92. 383. Judge Duff, the Judge in Wilson v. City of Chicago, ruled that Burge’s name could not be used by Porch before the jury; hence Porch referred to Burge as Sergeant X in his Wilson testimony. Wilson v. City of Chicago, 6/27/89, pp. 1874-92. 384. Timothy Thompson testified at his motion to suppress hearing on May 24, 1984 that he was arrested by Jon Burge and other officers on September 29, 1979, he was choked and hit in the eye by one of the arresting officers at the time he was arrested, that he was taken in a squad car by Burge and another Area 2 detective to the police station at 90th and Cottage Grove, and he was questioned by Burge and this detective at the police station People v. Porch, Thompson, 5/24/84, pp. 43-45, 52, 59. 385. Thompson further testified that at the station the arresting officers threatened that he would look like his brother, whom they referred to as “Tony puff face,” that he had seen Tony earlier at the police station, and when he saw him, both of Tony’s eyes were closed, and his face was puffed up and black and blue. Id. at 46-47. 386. Thompson testified that Sergeant Burge hit him in the jaw and he made a statement 81 to stop the constant hitting. Id. at 46-47, 50. 387. Thompson identified Jon Burge in his motion to suppress testimony, and described him as the “larger sergeant with red hair.” Id. at 43, 49, 64. 388. Neither the OPS nor the CPD has opened a complaint register investigation into Porch or Thompson’s allegations. 389. Sylvester Green testified at his motion to suppress hearing on April 23, 1983, that he was arrested on December 28, 1981, and brought to Area 2 located at 91st and Cottage Grove. People v. Green, 4/23/83, p. 47. 390. Green further testified that after he was brought to Area 2 on December 22, 1981, three white plain clothes detectives came into the room, pulled his hair pulled back, punched him in the eye, choked him, mashed down his left foot, called him a “nigger” and a “nigger bastard,” handcuffed him to the wall and left the room. Id. at 49, 51-53. 391. At his trial, Green identified Detective Basile as the officer who pulled his hair. , Trial transcript, People v. Green, p. 1170. 392. At his trial, Green testified that another officer, with sandy brown hair, approached him and said “These guys will tell you I’m the nicest officer in this police station. Just tell the truth and we’ll go easy on you.” Id. at 1174. 393. Green further testified at his trial that Lieutenant Burge entered the room the next morning and told him “You’re going to tell us everything we want to know, how you did it and everything. Now we’re going to put you through some real fucking changes. We’re going to start with your fucking balls. We are going to work on you way up again. Work our way back down ‘till you tell us everything we want to know.” Id. at 1177. 394. Green further testified at his motion to suppress hearing that Burge re-entered the 82 room with Area 2 Detectives McNally and McCabe, Burge uncuffed him from the wall, grabbed him by the throat, choked him, kneed him in the groin, banged his head against the wall and left him in the room with Detective McNally. People v. Green, 4/23/83, pp. 56-57. 395. Green further testified that Burge re-entered the room with a long white plastic bag, and Burge handcuffed both of his hands to an iron ring in the wall, and said “I’m going to do this eighty-seven more times, and I will try shock treatments if necessary.” Id. at 59-61. 396. Green further testified at his motion to suppress hearing that Burge then picked up the plastic bag, said “this will leave no visible marks on you,” then snapped it down over his head while asking him questions, and when Green said he didn’t know anything about a gun, Burge tightened the bag over his head, held his head back to the wall and pushed his head against the wall. Green testified that every time he denied knowledge of the crime, Burge tightened the bag up. Id. 397. Green further testified that after Burge let the bag go he said “I should hit you in the stomach” and then Burge hit him in the stomach. Id.. 398. Green testified that Detective Grunhard removed him from the room, he was taken to a victims’s house, and transported back to Area 2. At that time, Burge came in the room and said that if he said anything other than what he previously said to the State’s Attorney, he would get “the whaling of life.” Burge also kicked him in the knee one time. Id. at 61- 63, 67. 399. Neither the OPS nor the CPD has opened a complaint register investigation into Green’s allegations. 400. David Bates, who was Gregory Banks’ co-defendant, testified at the Cannon hearing that he was arrested on October 28, 1983, at approximately 7 or 8 a.m., and he was taken to Area 2 at 111th and Ellis Streets following his arrest. People v. Cannon, 4/20/00, pp. 104-5, 83 107. 401. Bates further testified that sometime in the early morning hours of October 29, 1983, two Area 2 detectives, whom he identified as Byrne and Grunhard, entered the interview room where he was being held, asked him questions, and on one occasion, Sergeant Byrne kicked him in the testicles. Id.. 402. Bates testified that after coming into the room to question him and leaving several times, Byrne and Grunhard again entered the interview room, stated “we got something for guys like you,” brought him to the middle of the room where Byrne put a plastic bag over his head, and kept it there for approximately one minute during which he could not breathe. Bates testified that while the bag was over his head, he was punched in the stomach, which caused him to gasp, and after he gasped out, the edges of the bag sucked in and he felt he was close to passing out. Id. at 108-10. 403. Bates further testified that Byrne and Grunhard left the room, then they both returned and again forced a bag over his head. Bates testified that he was more prepared and attempted to holler when the bag went over his head the second time, but the attempt used up all his air. Id. at 111-12. 404. Bates previously gave substantially the same testimony about his torture at his July 1, 1985 motion to suppress hearing. People v. Bates, 7/1/85. 405. Bates’ lawyer, Clarence Burch, testified at Bates’ motion to suppress hearing that while interviewing Bates at Area 2 on October 30, 1983, he noted that Bates had an abrasion in the middle, center part of his neck, that Bates informed Burch that he gave a statement regarding the murders because the officers put a plastic bag over his head, and Bates told him he had contusions or marks on his chest and stomach. People v. Bates, 7/1/85, pp. 298-300. 84 406. Sergeant Byrne admitted in his deposition in People v. Patterson that he participated in Bates’ interrogation. Byrne’s Dep., p. 150. 407. Alonzo Smith testified at the Cannon hearing that on January 22, 1983, he voluntarily went to the station at Area 2 at 91st and Cottage Grove, where he was placed in a line-up, and then taken from an interview room to the basement of Area 2 by Byrne and Dignan, where he saw an old white refrigerator. People v. Cannon, 4/20/00, pp. 6-26. 408. Smith further testified that Byrne and Dignan then placed him in a swivel chair with his hands cuffed behind his back, Dignan hit him in the groin with a nightstick, Byrne kicked him in the stomach, that Dignan then placed a plastic bag over his head and secured it with a rubber band, that Byrne then kicked him in the stomach, and that Dignan hit him on his thighs with the stick, after which he lost consciousness. Id. 409. Smith testified at his motion to suppress hearing that he awoke on the floor, that Byrne and Dignan then placed him back in the chair and resumed questioning him, and after he refused to make an inculpatory statement, they again placed the bag over his head for a second time, and again kicked him in the stomach and beat him on the thighs, causing him to again lose consciousness, and fall to the floor. Id. at 26-29. 410. Smith further testified that after coming to for the second time, Byrne and Dignan again placed him back in the swivel chair, and when Byrne started to put the plastic bag on Smith’s head for the third time, Smith noticed blood on the inside of the bag from his mouth, and he agreed to make a statement. Id. at 29-31. 411. According to medical records from Cermak Health Services, Smith, upon admission to the jail, was diagnosed as suffering from “multiple blunt trauma.” Alonzo Smith’s Cermak Health Services Emergency Room Record, 1/23/83. 85 412. Alonzo Smith also previously described his torture at his June, 1983 motion to suppress hearing. People v. Alonzo Smith. 413. Sharon Smith, Alonzo Smith’s wife, testified at Smith’s motion to suppress hearing that when she first saw her husband after his arrest, his lip was swollen, his rib area was swollen and bruised, and he complained of bruises on his thighs. People v. Smith, 6/27/83, pp. 71-75. 414. Paul Sebron, an employee of the Cook County Department of Corrections, Cermak Hospital, testified at the motion to suppress that he conducted an initial physical examination of Alonzo Smith in the receiving area of the Cermak facility on January 22nd or 23rd of 1983. He testified that Smith said he had swelling on his chest and leg, and that Smith complained about his thigh and his chest, and that “his lip was out.” Additionally, Sebron testified that in his reports he noted that Smith had swelling in his upper abdomen, portions of the left hand and left thigh. People v. Smith, 8/3/83, pp. 186-92. 415. Attorney Latif Abdul Mutakabbir testified at the motion to suppress that while meeting with Smith on January 22, 1983, at 11th and State Police Headquarters, he observed that Smith’s face, left side of his rib cage, upper thigh and hands were swollen and discolored and he saw a cut on Smith’s lip. People v. Smith, 5/30/84, pp. 1470-75. 416. Captain Hunt, a Shift Commander of Division 4 at Cook County Jail, averred in a sworn affidavit that on January 22, 1983, he interviewed Alonzo Smith, and he observed that Smith had bruises on his face and hands including discoloration around his eyes. He further averred that he sent Smith to the hospital because it looked like he needed medical attention. Affidavit of Captain Hunt, ¶¶ 6, 9. 417. Neither the OPS nor the CPD has opened a complaint register investigation into Alonzo Smith’s allegations. 86 418. Leonard Hinton testified at his motion to suppress hearing on July 1, 1985 that when he was arrested on November 25, 1983, he was hit in the stomach and stomped on the head, then taken to a room at Area 2 where he was handcuffed to a ring in the wall. People v. Hinton, 7/1/85, pp. 3-5, 7. 419. Hinton further testified that while he was handcuffed, he was slapped in the face, kicked in the stomach, punched in the mouth, hit with a gun on the elbow and under his chin, and then one of the Area 2 detectives said “Stop don’t hit him in the face.” Id. at 11-13, 18-22. 420. Hinton further testified at his motion to suppress hearing on July 1, 1985 that another Area 2 detective came in the room, offered him cigarettes and coffee and he said the “best thing is to start talking because these guys are going to come back in and they are pretty mean and they are pretty bad” and that they were not understanding like he was. Id. at 23. 421. Hinton further testified that the Area 2 detectives who initially abused him left the room, returned with a plastic bag, which he described as a hefty garbage bag but thicker, and an officer placed it over his head while another officer punched him in the stomach. He testified that they put the bag over his head twice. Id. at 24-27. 422. Hinton further testified that Lieutenant Burge later came into the room, asked him whether he knew who he was and then identified himself. Hinton testified that Burge asked him whether he was ready to talk or would he like to have the officers return and continue what they were doing, and when Hinton said he couldn’t tell him about the murders, Burge got mad and asked if he was familiar with the electric rod, which was “the same one that had the Wilson brothers.” Id. at 32-34. 423. Hinton further testified at his motion to suppress hearing on July 1, 1985 that the detectives returned to the room, and he was then taken to the basement, handcuffed to a pole, his 87 pants were pulled down, a cloth was put in his mouth, and he was electrically shocked on his genitals and buttocks by a rod attached to a black box. Id. at 37-42. 424. Lieutenant Burge testified at Hinton’s motion to suppress hearing on July 8, 1985 that he worked at Area 2 Violent Crimes from November 25th through the 28th of 1983, that he came into contact with Hinton, that he appeared in the room where Hinton was questioned to say hello to him because he had previous dealings with him, that he indicated to Hinton he remembered him from a previous dealing and asked Hinton if he remembered him. People v. Hinton, 7/8/85, pp. 97-101. 425. Area 2 Detectives Bajenski and Krippel testified at Hinton’s motion to suppress hearing on June 11, 1985 that they were involved in Hinton’s arrest and interrogation on November 25, 1983. People v. Hinton, 6/11/85, pp. 29-30, 34, 43-46. 426. Area 2 Detective Mokry testified at Hinton’s motion to suppress hearing on June 14, 1985 that he interrogated Hinton on November 26, 1983. People v. Hinton, 6/14/85, pp. 85- 86, 88, 90. 427. Neither the OPS nor the CPD has opened a complaint register investigation into Leonard Hinton’s allegations. 428. Lavert Jones, who was Thomas Craft’s co-defendant, testified on March 5, 1987 at his motion to suppress hearing that he was arrested on January 28, 1984, and transported to Area 2 at 111th Street. People v. Jones, 3/5/87, pp. 706-8. 429. Jones further testified that while he was handcuffed to the wall in an interview room at Area 2, John Byrne, Peter Dignan and John Yucaitis beat him on his body with telephone books and clubs, and kicked him. Id. at 709-14. 430. Jones further testified that while on the phone with his mother who he was telling 88 about the beatings, the phone went dead and he was again beaten and kicked in the genitals by Dignan and one of the other two detectives, causing him to vomit. Id. at 721-22. 431. According to his arrest report, Stanley Wrice, along with his brother Charles Wrice and friend Bobby Williams, were arrested at his home on September 9, 1982, at approximately 5:15 a.m. by Sergeant Byrne, Peter Dignan and David Dioguardi and taken to Area 2. Arrest Report of Stanley Wrice, CR 202019. 432. Wrice, who was also a co-defendant of Lee Holmes, stated in a 1993 OPS statement that Dignan and Byrne escorted him to the basement of Area 2 where there were a couple of chairs, and an old, white refrigerator. 1993 OPS Statement of Stanley Wrice. 433. Wrice further stated in his 1993 OPS statement that after he refused to give a statement, Byrne struck him on the forehead with a black flashlight, while Dignan struck him on the legs, arms and back with an object resembling a blackjack. Id. 434. Wrice further stated in his 1993 OPS statement that Dignan and Byrne took him back upstairs and recuffed him to a ring, then left and returned approximately 45 minutes later, telling Wrice that he was lying. Id. 435. Wrice further stated in his 1993 OPS statement that they then took him back to the basement of Area 2, where Byrne told Wrice to stand facing a set of iron bars, then struck him several times on the groin and about the body with a blackjack, while his hands were cuffed behind him. (Id.). 436. In a January 29, 1994 memorandum from OPS investigator Tillman, she wrote that she interviewed Bobby Williams on that date and he stated that after being arrested along with Stanley and Charles Wrice on September 9, 1982, he was subsequently taken to Area 2 where he was questioned in an interview room by the same two white male officers who transported him 89 to Area 2, and that one of the officers struck him several times on the thighs and once on the groin with a black, flex object with a ball on one end when he hesitated in responding. January 29, 1994 memorandum from OPS investigator Tillman to Chief Administrator, OPS, CR 202019. 437. In Tillman’s January 29, 1994 memorandum, she wrote that she interviewed Bobby Williams on that date and that he further stated that while handcuffed to a ring in the wall at Area 2, he heard Stanley Wrice yelling out and crying, and then saw the same officers who had beaten him pulling Stanley Wrice as he walked bent over, down the hall in the direction of a stairwell, then heard again heard Stanley Wrice crying and yelling out. Id. 438. In a motion to Quash Arrest and Suppress Statements and Identification, filed on December 23, 1982 in the Circuit Court of Cook County and later sworn to in open court, Rodney Benson averred that on September 9, 1982, he was arrested, taken to a police station, interrogated, and after he denied committing a rape, he was beaten by the arresting officers with a flashlight and with a black piece of rubber with tape on both ends, that he was picked up by the throat and hit in the groin with a flashlight. People v Benson, Motion to Quash and Suppress, 12/23/82. 439. In a motion to Quash Arrest and Suppress Statements and Identification, filed on December 23, 1982 in the Circuit Court of Cook County and later sworn to in open court, Rodney Benson averred that after he again denied the rape, he was hit on his groin, back, chest, stomach and knee by the officers, was threatened with hanging, was told by the officers that they had hung other niggers, who also threatened to kill him if they ever saw him in a white neighborhood. Id. 440. In this motion, Rodney Benson averred that the officers stopped beating him only after he gave a statement. People v Benson, Motion to Quash and Suppress, 12/23/82. 90 441. The arrest reports of Rodney Benson and his co-defendant Stanley Wrice establish that John Byrne, Peter Dignan and David Dioguardi arrested Benson and Wrice, and Byrne, Dignan, and Dioguardi admitted in their Motion to Suppress Hearing testimony that they arrested and questioned Rodney Benson at Area 2 on September 9, 1982. Arrest reports of Rodney Benson and Stanley Wrice, and testimony of Byrne, Dignan and Dioguardi in People v. Benson and Wrice,. 442. Neither the OPS nor the CPD has opened a complaint register investigation into Rodney Bebson’s or Bobby Williams’ allegations. 443. Ronald Kitchen testified at his February 2, 1990 motion to suppress hearing that he was arrested on August 25, 1986, transported to Area 3, and handcuffed to the wall in an interview room on the third floor. People v. Kitchen, 2/2/90, pp. 140-45. 444. Kitchen further testified that Detective Kill and a Sergeant punched, hit, slapped and kicked him in the face, head, ribs, side, back, chest, legs and groin in the interview room. He also testified that Detective Byron hit him in the head with a telephone receiver, and Officer Smith hit him with a telephone book and black jack in the ribs and groin. Id. at 146-48, 150, 152-55, 162, 172-73. 445. Kitchen further testified that he gave a statement because he was scared and tired of being beaten up. Id. at 189. 446. Kitchen further testified that he received treatment at Cermak Hospital including a sling for his scrotum and pain pills. Id. at 187-91. 447. At his motion to suppress hearing Kitchen identified Area 3 detective Michael Kill in court and he described the Sergeant as a tall, heavy-set man. Id. at 53, People v. Kitchen, 9/17/90, p. 1243. 91 448. After he was shown photographs of Area 2 and Area 3 officers, Kitchen averred in a sworn affidavit that Jon Burge was the Sergeant who hit him and kicked him numerous times in the groin. Affidavit of Ronald Kitchen; Affidavit of Steve Journey. 449. Detectives Thomas Byron, Kill and Smith admitted at Kitchen’s motion to suppress hearing that they were involved in the murder investigation and interrogation Kitchen at Area 3 Headquarters on August 25 and 26, 1988. People v. Kitchen, 2/1/90, pp. 38-43, 58, 83- 84. 450. Neither the OPS nor the CPD has opened a complaint register investigation into Ronald Kitchen’s allegations. 451. In an affidavit dated 10/21/85, Franklin Burchette averred that he turned himself in to the police on May 24, 1984. Affidavit of Franklin Burchette, 10/21/85. 452. Burchette testified at his motion to suppress hearing that on May 24th, 1984, he spoke to Area 2 Detective Michael McDermott and was interrogated about a homicide investigation in an interview room on the second floor of Area 2. People v. Burchette, pp. 4-5. 453. Burchette further testified that detectives repeatedly accused him of the murders and a detective said “We’re going to get the information before this night is over. You’re going to tell us everything that happened and why,” and when he asked whether he was going to be beaten up a detective said “we got other methods.” Id. at 7-8, 20. 454. Burchette further testified that the detective then pulled out an electric prodder, which was six to nine inches in length and when it was squeezed it would emit a blue flash from the middle of the device, and the detective then threatened him that if he did not talk that he would stick the electrical prodder on his genitals. Id. 455. Burchette testified that he was also threatened with a beating, he was not allowed to 92 sleep, and he gave the statement to the detectives that they were seeking so that they would leave him alone. Id. at 7-8, 20. 456. Area 2 Detective Solecki testified that he and Detective DiGiacomo interrogated Burchette and that Lieutenant Burge contacted the State’s Attorney and consulted with the State’s Attorney before the statement was taken. Burchette’s Habeas Petition, R. 58-75l; R. 667- 70. 457. Neither the OPS nor the CPD has opened a complaint register investigation into Franklin Burchette’s allegations. 458. Derrick King testified at his motion to suppress hearing on November 20, 1980 that he was arrested in the vicinity of 79th and Wood on February 23, 1980, around 7:30 p.m. and was first taken to the 6th District and then to he was taken to Area 2. People v. King, Coleman, 11/20/80, pp. 151-54, 158. 459. King testified that he was taken from the 6th District to another police station to a section called homicide where he was beaten by police officers in the kneecaps and chest with a baseball bat because he wouldn’t give them a statement concerning a murder. Id. at 67. 460. Michael Coleman, who was Derrick King’s co-defendant, testified at his motion to suppress hearing on November 20, 1980 that he was arrested as he entered his apartment in the early morning hours of February 24, 1980, by three police officers who were inside of his apartment. Two more were in an unmarked car that transported him to Area 2. Id., p.116. 461. Coleman further testified that after being taken to an upstairs interview room at Area 2, he was shown a gun, then Detective Dwyer kicked him in the groin. Coleman further stated that he then ran over to the wall and balled up to protect himself, and Dwyer continued to hit and kick him. Id. at 119. 93 462. Coleman further testified that a couple of hours after the initial beating, Dwyer and a bigger officer entered the interview room, at which time the bigger officer grabbed him in a choke hold and Dwyer took a pair of tweezers and started pulling out stitches on his head which were over his right eye. Id. at 123. 463. King’s attorney, Eugene O’Malley, filed a motion to suppress statements on behalf of King, asserting that King was subjected to “physical and psychological coercion” by members of the Chicago police Department which included being struck repeatedly by Chicago Police officers and being told that until he made a written confession the physical abuse would continue. People v. King, Coleman, King’s Motion to Suppress Statements. 464. King’s motion to suppress further asserted that one of the Chicago police officers who interrogated King was, “J. Pienta, Star 10063.” Id. 465. J. Pienta, #10063, is listed on the first page of an “Arrest and Clearing Report” dated February 24, 1980, for Derrick King and Michael Coleman, as a “Reporting Officer,” and described within the report as both an arresting officer for Coleman and as an investigating officer on the case; Pienta is further listed as a reporting officer on a Line-Up Report concerning the Coleman and King line-up as a reporting officer. King and Coleman’s Police Reports, dated 2/24/80. 466. Jon Burge testified at King and Coleman’s motion to suppress hearing that on February 23, 1980, he was the supervising Sergeant assigned to Area 2 Robbery and he was present with Detectives Corless and Basile for a conversation with King at approximately 8:30 p.m. on February 23, 1980, at Area 2 in an interview room. Burge further testified that between 8:30 p.m. on February 23, 1980 and 2:00 a.m. on February 24, 1980, he was in and out of King’s 94 and Coleman’s interrogations, and that he personally asked questions of both King and Coleman. People v. King, Coleman, 11/26/80, pp. 371-72, 378, 380, 384. 467. Basile testified at King and Coleman’s motion to suppress hearing that Sergeant Burge was present through most of King’s questioning regarding the homicide. He also admitted that a number of officers were involved in numerous interviews of King over the course of the evening and morning, “as many as half a dozen officers, perhaps seven either directly or indirectly involved,” in the interrogations of King, including Burge. People v. King, Coleman, 11/20/80, pp. 301, 303. 468. Detective Dwyer testified at King and Coleman’s motion to suppress hearing that Coleman and King were interviewed at Area 2 at various times by, inter alia, Detectives Dwyer, Corless, Basile and DiGiacomo, as well as Sergeant Burge. Id., p. 229. 469. Detective DiGiacomo testified at King and Coleman’s motion to suppress hearing that after he first encountered King at Area 2 on February 23, 1980 at approximately 8:00 p.m. and had a conversation, Sergeant Burge, Detectives Dwyer, DiGiacomo, Corless, Basile, and Pienta and Sergeant Burge all went with Derrick King to 65th and Loomis to look for Michael Coleman. People v. King, Coleman, 11/20/80, pp. 321-25. 470. Burge admitted in his testimony at King and Coleman’s motion to suppress hearing that he was present when Coleman was arrested and police reports set forth that Basile, Dwyer, Corless, DiGiacomo and Pienta were also present. People v. King, Coleman, 11/26/80, p. 376; Police Reports dated 2/24/80. 471. State witness Leon White testified at King and Coleman’s motion to suppress hearing that when he viewed the line-up conducted on February 24, 1980, containing Derrick 95 King and his co-defendant Michael Coleman, that King didn’t look like his picture which the police had previously shown him; that King’s face was swollen and his eye was bruised. People v. King, Coleman, p. 205. 472. Neither the OPS nor the CPD has opened a complaint register investigation into Derrick King or Michael Coleman’s allegations. 473. Mearon Diggins averred in a sworn affidavit that on October 9, 1985, he was beaten in an Area 2 interview room on his lower body with a flashlight by detectives Pienta, Marley, Paladino and Pederson, in order to obtain a statement, and that his complaint was corroborated by physical evidence. Affidavit of Mearon Diggins. 474. In October of 1985, Diggins’ filed an OPS complaint in which he alleged that he was repeatedly beaten by Area 2 Detectives during his October 9, 1985 interrogation. Diggins Affidavit.. 475. The City produced Diggins’ OPS complaint and CR file in September, 1989 for in camera review during Aaron Patterson’s criminal trial, and the Court made it part of the record, but it is now missing from the record. Patterson, Tr. 1424-34, 1626-33. 476. The City now asserts that it is unable to find Diggins’ CR file. Letter of Dan Noland. 477. In a sworn court reported statement dated July 5, 2004, Diggins identified detective John Paladino as the detective who repeatedly beat him, and Burge as the person who was repeatedly in and out of the interview room prior and subsequent to the beatings. July 5, 2004 Statement of Mearon Diggins. 478. Diggins further averred that pictures showing his injury were taken and made part 96 of the OPS file. Id. 479. Terrence Houston, a 16 year old juvenile, alleged in his signed statement to OPS and in a sworn deposition that he was hit with a flashlight on his knee and shocked with a stun gun on his left leg by a white male uniformed officer who arrested him and took him to the police station on October 13, 1986, after he was falsely accused of a robbery. Summary Report and OPS Statement of Terrence Houston in CR# 153302, Depositions in Houston v. Lotito et. al. 480. Fourth District Tactical Officers John Lotito, who is Area 2 detective James Lotito’s brother, and John Mablocki, have been identified as Houston’s arresting officers. Id. 481. Houston further stated that he was questioned at the Fourth District regarding the robbery, that he was punched in the stomach and slapped in the face by a white male plainclothes officer while being questioned, and that the officer was 5'6"" or 5'7"", 300 lbs. Id. 482. James Pienta stated in his interview with OPS and at his deposition that on October 13, 1986, that he interviewed Houston at the Fourth District, and he described himself as white male, 5'9"", 270 lbs., and 41 years old. Summary Report, 1987 OPS statement of James Pienta, and Pienta’s GPR documenting interviews with Houston and Darrell Cleveland in CR# 153302; Pienta Dep. in Houston. 483. Terrence Houston filed a civil lawsuit against Pienta, Mablocki, Lotito and the City of Chicago seeking damages for the abuse allegedly perpetrated against him on October 13, 1986, and the City subsequently settled Houston’s civil case for $25,000. Houston v. Marblocki, Lotito and Pienta. 484. Michael Tillman testified on November 21, 1986 at his motion to suppress hearing that on July 21, 1986, he was transported to the Area 2 police station at 111th Street by Area 2 97 Detectives Dignan and Boffo and held in a room on the second floor. People v. Bell, Tillman, 11/21/86, pp. 856-58. 485. Tillman further testified that Area 2 Detectives Yucaitis, Dignan, Boffo and Hines suffocated him with a thick, gray plastic bag over his head, hit him with a flashlight on his leg, hit him with a phone book on his head, hit him in the head and stomach with their hands, kicked him in the leg and threatened him with a gun to his head. Id. at 863-65, 875, 877-78, 881, 885, 887, 891, 897-98, 904, 908. 486. During his motion to suppress testimony, Tillman identified Detectives Dignan, Yucaitis, Boffo and Hines as the officers who interrogated him and committed the abuse. (Id.) 487. Neither the OPS nor the CPD has opened a complaint register investigation into Michael Tillman’s allegations. 488. Stephen Bell testified on December 11, 1986 that he voluntarily went to Area 2 on July 21, 1986, and after he was questioned and placed in a line up, he was returned to an interview room on the second floor. People v. Tillman, Bell, 12/11/86, pp. 2060-63. 489. Bell testified that three Area 2 detectives, including Detective Yucaitis, brought Michael Tillman into his interview room, then left with Tillman; later, Detectives Boffo, Yucaitis, Dignan and Sergeant Byrne entered the interview room while Bell had one hand cuffed to a bar above the bench he was sitting on. People v. Tillman, Bell, 11/20/86, pp. 794-99. 490. Bell further testified that Yucaitis, who was carrying a telephone book, told him that he was “going to start telling the truth;” then, after Dignan cuffed Bell’s free arm to the wall, Yucaitis began hitting Bell on the top of the head with the phone book. Id. 491. Bell further testified that Byrne then walked behind him, stood on the bench Bell 98 was sitting on, and kicked him in his ribs, while Dignan hit him on his forehead with the palm of his hand, causing Bell’s head to hit the wall, and also struck him in the face with his fist. Id. at 800-1. 492. Bell further testified that he eventually agreed to go along with whatever Byrne, Boffo, Byrne, Dignan and Yucaitis said about the crime in order to end the abuse. Id., p. 2071. 493. Sergeant Byrne testified on November 20, 1986 at the motion to suppress hearing that he was the supervising Sergeant on duty for the first watch from midnight to 8:00 a.m. at Area 2 on July 22, and 23, 1986, that Tillman and Bell were in custody at Area 2 on July 22, 1986, and that Yucaitis, Dignan and Boffo were working under his command on the first watch that morning. People v. Tillman, Bell, 11/20/86, pp. 498-500. 494. Byrne further testified that he entered both Bell’s and Tillman’s interview rooms while they were being held on September 22, 1986, and that it was possible that he was in the interview room with Bell, along with detectives Yucaitis, Dignan and Boffo. Id. at 504. 495. Neither the OPS nor the CPD has opened a complaint register investigation into Michael Tillman’s or Stephen Bell’s allegations. 496. Clarence Trotter testified that three weeks after Tillman and Bell’s interrogation, he was handcuffed and brought into Area 2 and questioned by Area 2 Detective Madigan about the same murder for which Bell and Tillman had been previously questioned and arrested. Trotter’s Petition for Post-Conviction Relief, p. 9 and People v Trotter, pp. 2525-26, 2562, 2676, 2688. 497. Trotter further testified that he requested to speak to an attorney and Detective Madigan slammed him against the wall and arrested him. Id.. 498. June Brown, Trotter’s sister, testified that she visited her brother at the station the 99 day after his arrest and that Trotter looked sickly, tired, and his right eye was bruised. Id. at 13, and People v. Trotter, pp. 3043-46. 499. Neither the OPS nor the CPD has opened a complaint register investigation into Clarence Trotter’s allegations. 500. LC Riley testified at his motion to suppress hearing that he was interviewed by Detectives Raymond Madigan and Robert Dwyer on August 28 and 29, 1985. People v. Riley, 230 Ill. App. 3d 1013, 1017, (1992); People v. Riley, March 13, 1987. 501. LC Riley further testified that he was handcuffed to a wall in an Area 2 interview room and when he did not supply answers or information, Detective Madigan slapped him, twisted his arm, and punched him in the stomach, and that Detective Dwyer punched him and struck him with a newspaper. Id. 502. On September 14, 1985, Riley received medical attention for “blunt trauma” at a hospital after he coughed up blood while brushing his teeth. Id. 503. Detectives Madigan and Dwyer testified at Riley’s motion to suppress hearing that they were involved in Riley’s detention and interrogation. Id. 504. Neither the OPS nor the CPD has opened a complaint register investigation into LC Riley’s allegations. 505. Andrew Maxwell testified at his motion to suppress hearing on July 23, 1987 that on November 4, 1986, he was taken to a police station, charged with robbery, and detained in Cook County Jail. People v. Maxwell, 7/23/87, pp.19, 21-23. 506. Maxwell further testified that on November 12, 1986, two detectives brought him to the State’s Attorney’s Office at 26th and California, they then transported him to the police 100 station at 111th and Ellis, where they placed him in an interview room and questioned him about a murder. Id. at 24-26. 507. Maxwell further testified that the detectives hit him on his back and side, kicked his leg, slapped him in the face, and his foot was stepped on causing him to give a statement to the murder. Id. at 27, 30, 32, 35, 38. 508. At his motion to suppress hearing Maxwell identified Area 2 Detective Glynn as one of the officers in the room. Id. 509. At Maxwell’s motion to suppress hearing, Area 2 Detective McDermott identified himself, Paladino and Glynn as participating in Maxwell’s interrogation on the 12th. Id. at 31; People v. Maxwell, 11/5/86, pp. 333-34, 346. 510. Jerry Thompson, Maxwell’s co-defendant, testified at his motion to suppress on July 23, 1987 that two Area 2 detectives beat him, repeatedly struck him with a flashlight, and kicked him while he was questioned on November 12, 1986. People v. Maxwell, Thompson and Howard, 7/23/87, pp. 101-108. 511. Maxwell’s other co-defendant, Gregory Howard, testified at his motion to suppress on July 23, 1987 that Area 2 detective Basile, in the presence of Glynn, kicked him several times and slapped him while he was being questioned on November 12, 1986. Id., pp. 493-500. 512. Neither the OPS nor the CPD has opened a complaint register investigation into Andrew Maxwell’s, Jerry Thompson’s, or Gregory Howard’s allegations. 513. James Cody testified at his motion to suppress on April 23, 1984 that he was taken into custody on November 11, 1983, and brought to Area 2 Police Headquarters. People v. Cody, 4/23/84, pp. 88-90. 101 514. Cody further testified that at Area 2 he was struck with a flashlight in the knees, punched in the back, shoved against a wall, and shocked with a stick on his testicles and buttocks. Id. at 89-90, 98-100, 110, 115, 122. 515. During his testimony, Cody identified Area 2 detectives Paladino, Basile, and McNally as the officers who interrogated and abused him. Id. at 90, 98-100, 115, 122. 516. Neither the OPS nor the CPD has opened a complaint register investigation into James Cody’s allegations. 517. Lonza Holmes testified at his motion to suppress hearing that he was taken to a room on the second floor at Area 2 on May 30, 1985, and questioned by several officers, including Lieutenant Burge and Detective Madigan. People v. Lonza Holmes, 12/12/85, p. 120. 518. Holmes further testified that Burge slapped him in the face and told him that they had ways of getting information. Id. at 123-27, 137-140. 519. Holmes testified that he was taken into another room where Burge handcuffed him tightly to a bar behind his back, and while he was in that room, Madigan and his partner punched him in the chest, kicked him around his ankles, and Burge hit him over the head with a yellow pages phone book. Id. at 123-27, 137-140. 520. Holmes further testified that when he refused to talk, Burge chopped him under the neck and hit him in the stomach with his fist, and that after Burge left the room, detective Madigan and his partner drove him to an alley behind the deceased’s house and to his house. Id. at 140. 521. In his trial testimony, Lonza Homes described Lieutenant Burge as a white man with red hair, on the heavy side, from 220 lbs. to 230 lbs. People v. Holmes, 6/26/86, p. 94. 102 522. McKinley Holmes, Lonza Holmes’s brother, testified at Lonza Holmes’ motion to suppress hearing that he saw his brother on May 31, 1985 in a police car driven near their home, and he saw that the right side of his brother’s face and his left eye were swollen and that his forehead was bruised. People v. Lonza Holmes, 12/12/85, pp. 182-85. 523. McKinley Holmes further testified that he went to Area 2 Headquarters in the evening of May 31, 1985, he was told that three to four officers were interrogating his brother including Officer Madigan. He testified that when he saw his brother at the station, his face was still swollen, and his brother said he was hit under the throat, hit with a telephone book in the head and that one of the officers repeatedly hit him in the stomach. Id. 524. Jon Burge testified at Holmes’ motion to suppress hearing that he was involved in Lonza Holmes’ criminal investigation, that he listened outside the door, and he stepped inside the room and observed parts of the interrogation. He also testified that he worked the four p.m. to midnight shift. He described himself as being 6'3"" and 240 lbs. on May 30, 1985. People v. Lonza Holmes, 2/29/86, pp. 3-4, 6-8. 525. Detectives Madigan and Dignan testified at Holmes’ motion to suppress hearing that they interrogated Lonza Holmes on May 31, 1985. Id. at 15-16; People v. Lonza Holmes, 2/12/86, pp. 15-18, 20-22. 526. Neither the OPS nor the CPD has opened a complaint register investigation into Lonza Holmes’ allegations. 527. At an October 1, 1984 motion to suppress hearing, James Andrews testified that he was picked up on April 26, 1983 and taken to Area 2 at 111th Street. People v. Andrews, 10/1/84, pp. 26-33. 103 528. James Andrews testified that on April 26, 1983, he was questioned about a murder by Detectives Madigan and McWeeny at Area 2 in an interview room. Id., pp. 37-41. 529. James Andrews further testified that during the questioning, Madigan grabbed him by the collar while he was handcuffed and punched him twice in the stomach, then punched him three additional times in the stomach Id., pp. 45-46, 48-49. 530. Andrews further testified that later in the questioning, detective Madigan hit him a few more times with his flashlight and with his fists. Id., pp. 57. 531. Neither the OPS nor the CPD has opened a complaint register investigation into James Andrews’ allegations. 532. Andrews’ co-defendant, David Faultneroy, also alleged in his motion to suppress that he was beaten by Madigan during his interrogation. People v. Andrews, Faultneroy. 533. At his November 8, 1991 Motion to Suppress hearing, Cortez Brown testified that on September 21, 1990, he was transported from Area 1 Police Station to the Area 3 Police Station where he was handcuffed to the wall in an interview room and questioned by Area 3 Detectives. People v. Brown, 11/8/91, pp. 9-11. 534. Brown further testified that during this questioning, two detectives “started whipping on the arms and in chest,” and that one hit him 8 or 9 times on the chest, and the other hit him several times with a steel flashlight on his hands and legs. Id., pp.12-14. 535. At the Brown motion to suppress hearing, Area 3 detectives Maslanka and Paladino testified that they participated in the questioning of Cortez Brown. People v. Brown. 536. Neither the OPS nor the CPD has opened a complaint register investigation into Cortez Brown’s allegations. 104 537. ""Plaintiff's Proffer of Other Acts of Beating, Torture and Electroshock By Defendant Burge and Other Detectives,"" filed on May 11, 1989 and served on the City of Chicago by Andrew Wilson's lawyers in Wilson’s civil rights trial set forth that: Edward James and James Lewis were arrested in Memphis, Tennessee by Burge and Area 2 detective Wagner. Burge said “wait until we get you back to the horror chamber. We know how to squeeze a man’s nuts.” When they returned to Chicago, Burge asked if the man on duty was the one who killed Fred Hampton and Mark Clark. Burge said “when we get through with you you’ll be glad to tell us what we want.” Area 2 Burge presided over the interrogation of Lewis and James in separate rooms. Burge laughed when each asked for an attorney saying “you know better than that.’ Lewis was hit in the throat and slapped in the side of the head, injuring his eardrum. When James refused to talk, he was struck in the mouth by Burge and punched in the neck. James was told he was “gonna talk before 12:00.” 538. James and Lewis previously set forth their versions of their arrests, transport, interrogations, and abuse in their testimony at their motion to suppress hearing in March of 1980. People v. James and Lewis, 3/10/80. 539. James again detailed these events in a law suit he filed and in a court reported statement given in Patterson v. Burge on April 19, 2004. 540. The OPS opened a Complaint Register, CR # 173408, as a result of the James lawsuit, but the complaint was found to be “not sustained.” 541. Plaintiff's Proffer set forth that sometime between 1972 and 1974: Howard Collins was arrested by Burge and then detective, now commander, Hoke. They drove him around in their police vehicle, pointed their guns at him and then pulled the triggers, but the chambers were empty. He was taken to Area II where he was interrogated and beaten by Burge and Hoke for one and one half hours, during which time they put a rope around his neck in a noose-like fashion, and injured his throat. When Reverend Daniel, a police Board member, came to Area II to inquire about Collins, he was released. An OPS complaint was subsequently filed. 542. . 105 543. 544. 545. . 546. In an Affidavit dated April 2, 2004, Robert Billingsley averred that he had been arrested for murder by Detective Robert Dwyer, who pointed a gun at him while he sat on the toilet, and two or three other white detectives and taken to the police station. Billingsley Affidavit, ¶¶ 3-5. 547. In his Affidavit, Billingsley averred that the arresting officers kicked him while going up the stairs, then handcuffed and beat him in the interrogation room. He further averred that they stuffed papers down his throat until he was gagging and bleeding, beat him on his arm where he had previously been burned while cooking, handcuffed him to the wall and whipped him with phone books and other objects; that his eye was messed up pretty badly, he was bleeding like a pig, and they kept trying to get him to confess to shooting the man. Id., ¶ 5. 548. Billingsley further averred that at one point the arresting detectives opened the door a girl he knew from high school saw him and started screaming for them to stop. Id.,¶ 6. 549. Billingsley averred that they beat him the next day, they took him into his neighborhood, he was bleeding a lot, he was seen by his family, by Henry Little, who was the man who committed the shooting, and Little’s father, and they came into the station because they thought the police would kill him if they didn’t. Id., ¶¶ 7-8. 550. Robert Billingsley further averred that Little confessed to being the shooter, Billingsley was released, and he went to South Shore Hospital for treatment, and an investigator spoke to him about what had happened to him. Id., ¶¶ 8-9. 106 551. Robert Billingsley further averred that his mother called in a complaint to OPS and sometime later, Dwyer and one of the other white detectives who had beaten him came to his house and offered him $3000 to drop the complaint. He further averred that he agreed to drop the complaint, and that Dwyer and the other officer drove him to some office to do so. Id. ¶¶ 10-11. 552. In his affidavit, Billingsley averred that given what the detectives had already done to him, he was afraid for his life. Id., ¶ 14. 553. In a sworn court reported statement dated July 24, 2004, Rodney Mastin averred that on August 4 or 5, 1972 detectives, including Jon Burge came to his house and took him and Philip “Smoky” Moore to Area 2 for questioning about a home invasion which had left a young white boy severely injured. Statement of Rodney Mastin, pp 4-6. 554. In his statement, Mastin averred that on August 4 or 5, 1972, Area 2 detectives, including Jon Burge, took him and Moore up the stairs at Area 2 then past a room where he saw an unrecognizable person handcuffed to the wall in a room he walked by. He further averred that the young black male looked like he had been in a car accident, with his facial features distorted, swollen and bleeding, apparently seriously injured and unconscious. Id., pp 7-9. 555. In his statement, Mastin averred that Burge and the other detectives then took him and Moore into an open room, told them that they knew that he and “Smoky” were involved in a home invasion during which a young boy had been severely beaten, and that before they left the room they were going to tell them everything they knew about the case. Id., pp 8-10. 556. In his statement, Mastin further averred that the detectives then brought the unrecognizable man in from the other room and sat him down across from Mastin and Moore, and he recognized the person as Lindsey Smith, a person he knew very well and saw on a daily 107 basis. Id., pp 10-11. 557. Rodney Mastin further averred that the detective asked Smith, who looked like a mess, who was involved in the beating and home invasion, and Smith said “Rodney and Smoky did it.” Id., pp 11-12. 558. In his statement, Mastin averred that Moore and Smith were taken from the room and he was questioned by Burge. He further averred that Burge was walking around him during the questioning, and when he gave answers that Burge did not like, he was either punched in the head or knocked to the floor, he was kicked once in the groin, slapped, backhanded, punched in the chest and face, snatched from the floor and slammed back into the chair, and hit on the head with an ashtray. Id., pp 13-16. 559. Mastin further averred that Burge was always in the room and was one of the officers who did the beatings. He further averred that there was always at least two officers in the room, with others coming and going. Id., pp 13-14. 560. Mastin averred that he gave a written statement so the beatings would stop. Id., pp 16-18. 561. Mastin further averred that pictures were taken of Smith which showed his distorted face and that Moore later told him that he was punched during his questioning. Id., pp 19-20. 562. In his statement, Mastin averred that there was a motion to suppress hearing at which evidence of the beatings was presented and at which Burge and other detectives testified and denied any abuse. Id., pp 25-26. 563. In a sworn court reported statement taken on August 25, 2004, Ollie Hammonds averred that on or about September 21, 1979, he was arrested by Chicago Police officers, 108 including Jon Burge, and George Basile,, and taken to Area 2 where he was questioned about the same homicide that George Powell was arrested for. 8/25/04 Hammonds Statement, pp. 2-5. 564. Hammonds further averred that when he denied involvement, Burge, Basile, and two other detectives beat him on his chest and legs. These beatings continued for six to eight hours. Id. pp. 6-8. 565. Hammonds further averred that sometime during this six to eight hour period, Basile produced a black box, the size of a car battery, which had prongs sticking up and two wires extending from it. Id., pp. 8-9. 566. Hammonds further averred that Burge asked him did he know what this did to a man’s dick if we put the two wires on it, and Basile demonstrated it by touching the two wires together, and sparks jumped out. Id., p. 9. 567. Hammonds averred that he told them he would tell them what they wanted him to say, but he would tell the judge that they told him to say it. The detectives were not satisfied, and they moved him to a cell where they handcuffed him to the wall, and held him incommunicado for two and one half days, without food, water, or access to the washroom. Id., pp. 9-10, 13 568. Hammonds further averred that during this period of time, he refused to cooperate, and Burge, Basile, and the other detectives punched him on numerous occasions. Id., pp. 10-11. 569. Hammonds averred that he was charged with the same murder as George Powell was charged with, was held inCounty Jail for 33 days, then released when the Judge found no probable cause. Id., pp. 15-16. 570. In an OPS statement, Ty Shaun Ross stated that he was electric shocked and otherwise abused by Area 3 detectives, including Daniel McWeeny, while he was being 109 interrogated on June 5, 1991. CR 185626. 571. while his co-defendant, Travis Richardson, stated that his head was slammed on a table. . 572. All of the 100 alleged victims of police torture and abuse by Area 2 and Area 3 detectives and supervisors whose allegations are known to the Plaintiff are African-American. Plaintiff’s Listing of Known Burge, Area 2 and 3 Torture Victims, 1972-1991. 573. On April 24, 2002, Judge Paul Biebel, Chief Judge of the Cook County Criminal Division, appointed Special Prosecutors Edward Egan and Robert Boyle to investigate allegations of police torture and abuse at Area 2 and Area 3. 574. On June 8, 2004, in open court, Special Prosecutor Robert Boyle stated that the Special Prosecutor’s Office was investigating 108 cases of alleged torture and physical abuse at Area 2 and 3. In Re: The Matters of Leonard Bajenski, et. al., June 8, 2004, p. 27. 575. From 1972 to the present, the only police department discipline which has been imposed against any Area 2 or Area 3 detective, supervisor, or command officer for any allegations of torture or physical abuse made against them has been the firing of Jon Burge and the suspension of John Yucaitis for the torture of Andrew Wilson on February 14, 1982. 576. From 1972 to the present, the City of Chicago and its Police Department has conducted no criminal investigations into any of the allegations of torture or other physical abuse made against Area 2 and Area 3 detectives and supervisors, including, but not limited to, the alleged victims named above. 577. From 1972 to the present, the City of Chicago and its Police Department has not sought criminal charges against any Area 2 and Area 3 detective or supervisor on the basis of 110 allegations of torture or other physical abuse, including, but not limited to, those made by the alleged victims named above. 578. On February 11, 1993., the Chicago Police Board ordered that Jon Burge be separated from the Chicago Police Department and John Yucaitis be suspended for 15 months for torturing and physically abusing Andrew Wilson. In The Matter of the Charges Filed Against Jon Burge, No. 91-1856 (Chicago Police Board, February 11, 1993). 579. On February 10, 1994, Cook County Circuit Court Judge Thomas O’Brien affirmed the Police Board’s order separating Burge and suspending Yucaitis, and on December 15, 1995, the Illinois Appellate Court affirmed Judge O’Brien’s ruling. Burge v. Police Board of the City of Chicago, No. 93 CH 2265, (Circuit Court of Cook County, February 10, 1994); Burge, O’Hara and Yucaitis v. Police Board of the City of Chicago, No. 1-94-999, 1-94-2462, 1-94-2475 (consolidated) (Ill. App. Ct., December 15, 1995, unpublished). 580. Twenty-nine of the 30 former Area 2 and area 3 detectives who have taken the fifth Amendment are either receiving salaries or pensions from the City of Chicago. a. former Commander Jon Burge (pension) b. former Sergeant John Byrne (pension) c. former detective James Pienta (pension) d. Sergeant Raymond Madigan (salary) e. former detective John Paladino (pension) f. former detective James Lotito (pension) g. Commander William Garrity (salary) h. former detective Daniel McWeeny (pension) i. former Lieutenant Dennis McGuire (pension) j. former detective Raymond McNally (pension) k. former detective Robert Flood (pension) l. former detective William Marley (pension) m.former detective David Dioguardi (pension) n. former Lieutenant Peter Dignan (pension) o. detective Robert Dwyer (salary) p. former detective Joseph Danzl (pension) q. detective Michael Bosco (salary) 111 r. former detective Leonard Bajenski (pension) 581. The following criminal defendants who have alleged torture and abuse by Area 2 or 3 detectives have received new hearings or trial, or had their statement suppressed on the basis of evidence of Area 2 or 3 torture and abuse in the following cases: a. Andrew Wilson : People v. Wilson, 116 Ill.2d 29 (1987); b. Darrell Cannon: People v. Cannon, 293 lll. App. 3d 634 (1997); c. Aaron Patterson: People v. Patterson, 192 Ill. 2d 93, (2000); d. Gregory Banks: People v. Banks, 192 Ill. App. 3d 986 (1989); e. David Bates: People v. Bates, 267 Ill. App. 3d 503, 505 (1994); f. Derrick King: People v. King, 192 Il. 2d 189 (2000); g. Stanley Howard: People v. Howard, 84 C 13134. (Ill. Sup. Ct. Order of 6/18/99); h. Jesse Clemon: People v. Clemon, 259 Ill. App.3d 5, (1994). 582. In a May 21, 2003 Chicago Tribune article, Special Prosecutor Egan was quoted as saying: ""We believe something happened. You'd have to be a chump not to."" “Probers Believe Brutality Claims,” Chicago Tribune, May 21, 2003. 583. On March 3, 1998, upon becoming Police Superintendent, Terry Hillard told the Chicago Sun Times that “barring new evidence, it's time to close the book on the Burge era and move on.” Hillard Dep., Santiago v. Marquez, 5/3/99, pp. 32-33, 35-36, 43-46 584. In an August 31, 1998 memo from the office of the Superintendent , Thomas Needham, General Counsel to the Superintendent, to Leonard Benefico, Office of Professional Standards, Needham listed the following cases: Darrell Cannon CR#134723 Stanley Howard CR# 142017 Gregory Banks CR# 188617 Lee Holmes CR# 126802 Philip Adkins CR# 142201 Donald White CR# 169867 Lavert Jones CR# 200390 Stanley Ware CR# 202019 112 Michael Johnson CR# 125071 and wrote that “you are hereby instructed to classify all of the allegations in the above referenced complaint register files as ‘not sustained.’” August 31, 1998 memo from Thomas Needham, General Counsel to the Superintendent, to Leonard Benefico, Office of Professional Standards. 585. As a basis for this unprecedented order, Needham cited the age of the cases and the purported lack of “new evidence,” when, in fact, a wealth of new evidence had been developed by the OPS investigators in almost all of the cases. Id.; CR files of listed cases; Testimony of OPS investigators at People v. Cannon Hearing. 586. Superintendent Hillard, after talking to Neeedham about his decision, ratified his actions in “not sustaining’” these cases, stating, under oath, that “I support Tom Needham 100 percent when it comes down to representing me in this department in hard cases like that.” Hillard Dep., Santiago v. Marquez, 5/3/99, pp. 32-33, 35-36. 587. In a letter dated August 2, 1999, from Citizens Alert, addressed to Superintendent Terry Hillard, OPS Director Callie Baird and Police Board President Demitrius Carney, the signators wrote: We write as a group of public officials, citizens and organizations concerned with police violence and discipline to urge you to immediately reopen and review several Office of Professional Standards (OPS) investigations into police torture, and to open investigations in numerous other torture cases where no OPS investigations have been conducted. We further urge you to commission an independent investigation into the obvious violations of police regulations and procedure and legal process by certain OPS and police officials during the torture investigations which were conducted by the OPS. August 2, 1999 Letter from Citizens Alert, Mary Powers et. al. to Hillard, Carney, and Baird. 588. In the August 2, 1999 letter, the signators further wrote: 113 Recent news articles and publicly released documents and depositions reveal that the OPS reopened nine torture investigations in 1992 and 1993 as a result of prior OPS findings that physical abuse of African American suspects at Area 2 from 1973 to 1986 included ""psychological techniques and planned torture,"" was ""systematic,"" and ""methodical,"" and that Area 2 command members, particularly Jon Burge, ""were aware of the systematic abuse and perpetuated it either by actively participating in same or failing to take any action to bring it to an end."" Goldston Report, pp 2-3. The now public evidence further reveals that OPS investigators Tillman, Lawrence, and Cosey conducted thorough investigations in each of these cases, discovered new evidence not available during the initial investigations, and sustained findings in six of the cases. The sustained findings included findings that victims were electric shocked, suffocated with a plastic bag, suspended in air by their handcuffs, beaten and stomped, and racially abused. The evidence further shows that these sustained findings were entered against several police officers who were and are still Chicago police officers in good standing, most notably Lieutenant Peter Dignan, who had allegations of torture and abuse sustained against him in five of the six cases. The evidence further reveals that these findings and the investigative files were tendered to OPS Director Gayle Shines in 1994 for her review, and that she overturned the findings in four of the cases in late 1994 and early 1995, at the same time that Peter Dignan was nominated by the Mayor and the Department for merit promotion to Lieutenant. Ms. Shines has admitted that in the approximately 2500 sustained cases which she reviewed during her eight year career as Director, she overturned a total of 10 cases, including these four against Dignan. The evidence further shows that in the other two cases, Darrell Cannon and Stanley Howard, Ms. Shines never completed her review of the sustained findings of torture, but rather kept these files in her office for four years, together with the other seven files. Cannon, who was on trial in a murder case, and Howard, who is on death row, sought these files by subpoena, but Shines and the Department failed to produce these files, which contained highly exculpatory evidence. Furthermore, after Ms. Shines left the OPS in 1998, counsel to the Superintendent, Thomas Needham, obtained the nine torture files from the OPS and, without consultation with the Superintendent, summarily reversed the sustained findings and closed the cases. Needham, who, as a longtime assistant state’s attorney, was closely connected to the prosecution of several torture victims, including Cannon, admitted that his summary reversals of the torture findings were not based on the merits of the cases, but rather on the fact that the files had languished in Shines’ office for so long a period of time. The Superintendent never reviewed these cases on the merits as he is required by police procedure to do, and he only learned of his counsel’s unjustifiable actions by reading about them in a February 1999 Chicago Tribune article. Additionally, the public evidence reveals that the OPS failed to investigate numerous additional documented cases of police torture against African American suspects. In the case of Melvin Jones, Mary Powers of Citizen’s Alert specifically requested by a letter dated July 26, 1989 that the OPS open an investigation into the recently revealed allegations that Jones was electric shocked at by Jon Burge and several other Area 2 detectives who remain on the force to this day. Contrary to police and OPS procedure, no investigation was ever opened, despite the fact that the City has subsequently admitted in 114 official court papers that Jones was in fact tortured. Similarly, in the Shadeed Mumin case, an investigation was opened and OPS investigators developed compelling new evidence that he was tortured by Burge and an unidentified detective. Just as the OPS investigator was about to identify this officer, the OPS discontinued the investigation, supposedly because the investigation had not been assigned a complaint register number. In numerous other cases, including Aaron Patterson and nine other men who are presently on death row as a result of confessions which they allege were tortured from them, the OPS has failed to conduct any investigation whatsoever into these most serious allegations. Id. 589. In the August 2, 1999 letter, the signators made the following demands: 1. Given Ms. Shines’ clear misconduct, lack of objectivity, and failure to complete her review of the Cannon and Howard sustained findings, that new OPS Director, Callie Baird, conduct an independent review on the merits of the six sustained torture cases; 2. If Ms. Baird concurs with one or more of the sustained findings, that the Superintendent fully and fairly review those findings on the merits, as he is required by police procedure to do; 3. That counsel Thomas Needham be disqualified from any role in reviewing or otherwise participating in any torture investigations; 4. That Peter Dignan and any other active officers against whom torture findings were entered by OPS investigators be suspended pending complete review; 5. That the department and its OPS open an investigation into the allegations that Melvin Jones was electric shocked by Jon Burge and other still active detectives and consider in making its findings that the City has admitted that Jones was in fact tortured; 6. That the Department and its OPS reopen and complete the Shadeed Mumin investigation; 7. That the Department and its OPS open investigations into the other numerous documented cases of police torture, as listed in the Appendix attached hereto, including those allegations made by men on death row; 8. That the Department commission an independent investigation into the serious violations of departmental rules and court process by high ranking police and OPS officials, including Thomas Needham and Gayle Shines; 9. That the Department and the OPS Director meet with representatives from the undersigned groups and discuss these proposals and to periodically report on the progress of these investigations; 10.That these investigations and findings be subject to public scrutiny. Id. 115 590. In the August 2, 1999, from Citizens Alert, the signators set forth the following cases for Director Baird’s Review: Darrell Cannon CR#134723 Stanley Howard CR# 142017 Gregory Banks CR# 188617 David Bates CR# 188617 Lee Holmes CR# 126802 Philip Adkins CR# 142201 Thomas Craft CR# 200390 Id. 591. In the August 2, 1999, letter, the signators listed the following cases to be Opened8 by OPS: Melvin Jones TyShaun Ross Shadeed Mumin Derrick King Aaron Patterson Michael Coleman Leonard Hinton Sylvester Green Leroy Orange Paul Mike Alonzo Smith Walter Johnson Leonard Hinton Roy Brown Leroy Orange Eric Smith Jerry Mahaffey Franklin Burchette Reginald Mahaffey Vincent Wade James Cody Willie Porch Lenard Kidd Raymond Golden Lonza Holmes Tony Thompson Michael Tillman Timothy Thompson Stephen Bell Andrew Maxwell Madison Hobley Ronald Kitchen Id. 592. Superintendent Hillard subsequently met with representatives from the signators of the August 2, 1999 Citizens Alert letter. 593. Other than Hillard’s meeting with representatives from the signators of the August 2, 1999 Citizens Alert letter, no action was taken on any of the demands made in the letter. 116 594. In an e mail dated 1/10/02, Corporation Counsel Mara S. Georges wrote to her assistant: “Sheila O’Grady would like us to explore bringing an action against Burge. Will you please think about it and give us your thoughts?” “New documents Report that City Considered Suing Burge, City continues Paying For Fired Commander’s Legal Defense,” NBC 5.com., 4/29/04. 595. On January 1, 2002, Sheila O’Grady was Mayor Daley’s Chief of Staff. Id. 596. In response, Jeffrey Given, Georges’ assistant, wrote that suing Burge “would seem to undercut our ability to defend suit by challenging the underlying facts . . .” “City Considered Suing Burge; Officials Weighed Their Options to Fight Growing Uproar over Torture Allegations Against the Fired Police Commander,” Chicago Tribune, 4/29/04. 597. Mindful that the torture allegations were gaining new momentum, Given and Georges also considered mounting a public relations campaign to counter continuing negative publicity about Burge and the City’s role in the torture scandal. Id. 598. Given and Georges recognized that the campaign would not be easy for a wide variety of reasons, including that some of Burge’s men were still on the police force, the department had been embarrassed by Needham’s unilateral shelving of the OPS torture investigations despite the investigators’ sustained findings, and that the Tribune’s then recent series on the continuing CPD practice of obtaining false confessions had again focused attention on the issue, and Given further stated “but query how we’ll do in the court of public opinion after a long, public, expensive and embarrassing discovery process?” NBC5.com; Chicago Tribune. 599. Instead of suing Burge, or otherwise distancing the City from him, the City decided 117 to invest unlimited public funds in representing Burge and at least thirty-five other Area 2 detectives accused of torture and abuse in the four torture cases and to fight production and public disclosure of additional documents that would further expose the City’s central role in the torture scandal in civil and criminal cases and with the Special Prosecutor. Id. 600. On August 27, 2004 in his sworn testimony before the Prisoner Review Board, former Area 2 Commander and Superintendent Leroy Martin falsely denied that he did not have contemporaneous knowledge of the allegations of torture and abuse against Jon Burge and other Area 2 detectives while he was Commander. Tr. of 8/27/04 Parole Revocation Hearing of Darrell Cannon. 601. In her concurring opinion in Hinton v. Uchtman (sub. nom.)___F 3d ___ (7th Cir. 2005), Seventh Circuit Court of Appeals Judge Diane Wood found: he claim Hinton has made regarding his confession illustrates dramatically the high price our system of criminal justice pays when police abuse runs rampant: a cloud hangs over everything that the bad actors touched . . . mountain of evidence indicates that torture was an ordinary occurrence at the Area Two station of the Chicago Police Department during the exact time period pertinent to Hinton's case. Eventually, as this sorry tale came to light, the Office of Professional Standards Investigation of the Police Department looked into the allegations, and it issued a report that concluded that police torture under the command of Lt. Jon Burge — the officer in charge of Hinton's case — had been a regular part of the system for more than ten years. And, in language reminiscent of the news reports of 2004 concerning the notorious Abu Ghraib facility in Iraq, the report said that ""he type of abuse described was not limited to the usual beating, but went into such esoteric areas as psychological techniques and planned torture."" The report detailed specific cases, such as the case of Andrew Wilson, who was taken to Area Two on February 14, 1982. There a group led by Burge beat Wilson, stuffed a bag over his head, handcuffed him to a radiator, and repeatedly administered electric shocks to his ears, nose, and genitals. See People v. Wilson, 506 N.E.2d 571 (Ill. 1987). Burge eventually lost his job with the police, though not until 1992. See In the Matter of the Charges Filed Against Jon Burge, No. 91-1856 (Chicago Police Board, February 11, 1993). To this day, Burge has not been prosecuted for any of these actions, though it appears that he at least thinks that he may still be at some risk of prosecution. See, for example, 118 ""Cop brutality probe must be thorough, fair,"" Chi. Sun-Times, May 16, 2002 (editorial); Hal Dardick, ""Burge repeatedly takes 5th; Former police commander stays mum on torture questions,"" Chi. Tribune, Sept. 2, 2004 (noting allegations that Burge or people reporting to him had tortured 108 Black and Latino suspects between August 1972 and September 1991). . . . Behavior like that attributed to Burge imposes a huge cost on society: it creates distrust of the police generally, despite the fact that most police officers would abhor such tactics, and it creates a cloud over even the valid convictions in which the problem officer played a role. Indeed, the alleged conduct is so extreme that, if proven, it would fall within the prohibitions established by the United Nations Convention Against Torture (""CAT""), which defines torture as ""any act by which severe pain or suffering, whether physical or mental, is intentionally inflicted on a person for such purposes as obtaining from him or a third person information or a confession . . .,"" thereby violating the fundamental human rights principles that the United States is committed to uphold. . . .",Look Away♪ (1989),,https://genius.com/University-of-chicago-chicago-police-torture-summary-of-evidence-annotated,"10," -198,Poison,"December 24, 1988",[],"We both lie silently still in the dead of the night Although we both lie close together we feel miles apart inside Was it something I said or something I did? Did my words not come out right? Though I tried not to hurt you Though I tried But I guess that's why they say Every rose has its thorn Just like every night has its dawn Just like every cowboy sings a sad sad song Every rose has its thorn Yeah it does I listen to our favorite song playing on the radio Hear the DJ say love's a game of easy come and easy go But I wonder does he know Has he ever felt like this And I know that you'd be here right now If I could have let you know somehow I guess Every rose has its thorn Just like every night has its dawn Just like every cowboy sings a sad sad song Every rose has its thorn Though it's been a while now I can still feel so much pain Like a knife that cuts you the wound heals But the scar, that scar remains I know I could have saved a love that night If I'd known what to say Instead of makin' love We both made our separate ways And now I hear you found somebody new And that I never meant that much to you To hear that tears me up inside And to see you cuts me like a knife I guess Every rose has its thorn Just like every night has its dawn Just like every cowboy sings a sad sad song Every rose has its thorn",Every Rose Has Its Thorn,Open Up and Say... Ahh!,https://genius.com/Poison-every-rose-has-its-thorn-lyrics,"24," -199,Bobby Brown,"January 14, 1989",[],"1-2, 1-2, 1-2, 1-2, uh Yeah, uh 1-2, 1-2, 1-2, 1-2, uh Yeah, uh I don’t know just what you used to We on that new new Fuck everything you used to Uh Fuck everything you're used to, we on that new new We riding Teslas while you pushin' that Isuzu We makin' history, man you know we need a news crew We gettin' money, we don’t care about what you do Fuck everything you're used to, we on that new new We makin' history, man you know we need a news crew We pushin' Teslas while you ridin' that Isuzu We gettin' money, we don’t care about what you do I say it once, man you know I meant it (I meant it) Wondagurl and me, you know that’s automatic (automatic) Anything fresh, you know I gotta have it (I need it) Addicted to the best, you know I got a habit (I need it) Started, I was uptown with no A/C (Lenox) Dead broke, now I’m tippin' that Maitre d’ (we made it) Flambé, cognac on my favorite dish Y’all haters want to live like me then make a wish (make a wish) Because aw man I’m winnin' Rock star like Chris Martin, I dream like John Lennon Dream like John Lennon, ride through and I’m tinted (Ghost) Hard times, I've been through 'em, they still all in my business Still all in my business, front page of that Post Still brushin' that dirt off and I'm still raisin' that toast (livin') You know the difference between a fake and a professional? (a milli) Six O’s on the left side of a decimal Fuck everything you're used to, we on that new new We riding Teslas while you pushin' that Isuzu We makin' history, man you know we need a news crew We gettin' money, we don’t care about what you do Fuck everything you're used to, we on that new new We makin' history, man you know we need a news crew We pushin' Teslas while you ridin' that Isuzu We gettin' money, we don’t care about what you do I spent a hundred on this dinner date It would have been about 40 until you ordered wine I spent a hundred on my ‘68 Let’s hit the back seat and do a 69 What you frontin' for, I know you tryna live So open up and take what I’ve been tryna give (Take it) And if they hatin' I know what the problem is (Stop hatin') I’m on my Bobby Brown, it’s my prerogative Fuck everything you're used to, we on that new new We riding Teslas while you pushin' that Isuzu We makin' history, man you know we need a news crew We gettin' money, we don’t care about what you do Fuck everything you're used to, we on that new new We makin' history, man you know we need a news crew We pushin' Teslas while you ridin' that Isuzu We gettin' money, we don’t care about what you do Les",My Prerogative,MZRT,https://genius.com/Ryan-leslie-new-new-lyrics,"14," -200,Phil Collins,"January 21, 1989",[],"Well, there was no reason to believe she'd always be there But if you don't put faith in what you believe in It's getting you nowhere Cause it hurts, you never let go Don't look down, just look up Cause she's always there behind you, just to remind you Two hearts, believing in just one mind You know we're two hearts believing in just one mind Cause there's no easy way to, to understand it There's so much of my life in her, and it's like i'm blinded And it teaches you to never let go There's so much love you'll never know She can reach you no matter how far Wherever you are Two hearts, believing in just one mind Beating together till the end of time You know we're two hearts believing in just one mind Together forever till the end of time She knows (she knows) There will always be a special place in my heart for her She knows, she knows, she knows Yeah, she knows (she knows) No matter how far apart we are She knows, i'm always right there beside her Two hearts, believing in just one mind Beating together till the end of time You know we're two hearts believing in just one mind Together forever till the end of time ",Two Hearts,...Hits,https://genius.com/Phil-collins-two-hearts-lyrics,"21," -201,Sheriff,"February 4, 1989",[],"I never needed love Like I need you And I never lived for nobody But I live for you Oooh, babe Lost in love is what I feel when I'm with you Maybe it's the way you touch me With the warmth of a sun Maybe it's the way you smile I come all undone Oooh, babe Lost in love is what I feel when I'm with you Baby, ooh, I get chills When I'm with you, oh Oh, baby, my world stands still When I'm with you When I'm with you I never cared for nobody Like I care for you And I never wanted To share the things I want to share with you Oooh, babe Lost in love is what I feel when I'm with you Baby, ooh I get chills When I'm with you, oh... Oh, baby, my world stands still When I'm with you When I'm with you Whoa, oh, oh..... Baby, ooh I get chills When I'm with you, oh... Oh, baby, my world stands still When I'm with you When I'm with you When I'm with you",When I'm with You,Sheriff,https://genius.com/Sheriff-when-im-with-you-lyrics,"4," -202,Paula Abdul,"February 11, 1989",[],"Lost in a dream I don't know which way to go (Ah-let me say it now) If you are all that you seem Then baby, I'm movin' (Movin') way too slow I've been a fool before Wouldn't like to get my love caught in the slammin' door How about some information, please? Straight up, now tell me Do you really wanna love me forever? (Oh, oh, oh) Or am I caught in a hit-and-run? Straight up, now tell me Is it gonna be you and me together? (Oh, oh, oh) Or are you just havin' fun? Time's standing still Waiting for some small clue (Ah-let me tell ya now) I keep getting chills When I think your love (When I think your love) is true I've been a fool before Wouldn't like to get my love caught in the slammin' door How about some information, please? Straight up, now tell me Do you really wanna love me forever? (Oh, oh, oh) Or am I caught in a hit-and-run? Straight up, now tell me Is it gonna be you and me together? (Oh, oh, oh) Or are you just havin' fun? You are so hard to read You play hide-and-seek With your true intentions If you're only playin' games I'll just have to say Abb-b-b-bye, b-b-b-bye Do, do you love me? (Do, do you love me, baby?) Do, do you love me? (Do, do you love me? Ah-hey, baby!) Do, do you love me? (Do, do you love me, baby?) C'mon now, do, do you love me? (Do, do you love me?) Ah-tell me, baby I've been a fool before Wouldn't like to get my love caught in the slammin' door Are you more than hot for me Or am I a page in your history book? I don't mean to make demands But the word and the deed go hand in hand How about some information, please? (Please, please, ah, please, please) Straight up, now tell me (Tell me) Straight up, now tell me (Tell me) Straight up, now tell me (Tell me) Straight up, now tell me Straight up, now tell me Straight up, now tell me Do you really wanna love me forever? (Oh, oh, oh) Or am I caught in a hit-and-run? Straight up, now tell me Is it gonna be you and me together? (Oh, oh, oh) Or are you just havin' fun? Straight up, now tell me Do you really wanna love me forever? (Oh, oh, oh) Or am I caught in a hit-and-run? Now tell me Is it gonna be you and me together? (Oh, oh, oh) Or are you just havin' fun?",Straight Up,Forever Your Girl,https://genius.com/Paula-abdul-straight-up-lyrics,"11," -203,Debbie Gibson,"March 4, 1989",[],"I get lost in your eyes And I feel my spirits rise And soar like the wind Is it love that I am in? I get weak in a glance Isn't this what's called romance? And now I know 'Cause when I'm lost I can let go I don't mind not knowing What I'm heading for You can take me to the skies It's like being lost in heaven When I'm lost in your eyes I just fell Don't know why Something's there we can't deny And when I first knew Was when I first looked at you And if I can't find my way If salvation is worlds away Oh, I'll be found When I am lost in your eyes I don't mind not knowing What I'm heading for You can take me to the skies It's like being lost in heaven When I'm lost in your eyes I don't mind not knowing What I'm heading for You can take me to the skies Oh it's like being lost in heaven When I'm lost in your eyes I get weak in a glance Isn't this what's called romance? Oh, I'll be found When I am lost in your eyes",Lost in Your Eyes,Electric Youth,https://genius.com/Debbie-gibson-lost-in-your-eyes-lyrics,"4," -204,Mike + The Mechanics,"March 25, 1989",[],"Every generation Blames the one before And all of their frustrations Come beating on your door I know that I'm a prisoner to all my father held so dear I know that I'm a hostage, to all his hopes and fears I just wish I could have told him in the living years Crumpled bits of paper Filled with imperfect thought Stilted conversations I'm afraid that's all we've got You say you just don't see it He says it's perfect sense You just can't get agreement In this present tense We all talk a different language Talking in defence Say it loud, say it clear You can listen as well as you hear It's too late when we die To admit we don't see eye to eye So we open up a quarrel Between the present and the past We only sacrifice the future It's the bitterness that lasts So don't yield to the fortunes You sometimes see as fate It may have a new perspective On a different day And if you don't give up, and don't give in You may just be OK I wasn't there that morning When my father passed away I didn't get to tell him All the things I had to say I think I caught his spirit Later that same year I'm sure I heard his echo In my baby's new born tears I just wish I could have told him in the living years",The Living Years,Living Years,https://genius.com/Mike-the-mechanics-the-living-years-lyrics,"25," -205,The Bangles,"April 1, 1989",[],"Close your eyes, give me your hand, darling Do you feel my heart beating Do you understand Do you feel the same Am I only dreaming Is this burning an eternal flame I believe it's meant to be, darling I watch you when you are sleeping You belong with me Do you feel the same Am I only dreaming Or is this burning an eternal flame Say my name Sun shines through the rain A whole life so lonely And then come and ease the pain I don't want to lose this feeling, oh Say my name Sun shines through the rain A whole life so lonely And then come and ease the pain I don't want to lose this feeling, oh Close your eyes, give me your hand Do you feel my heart beating Do you understand Do you feel the same Am I only dreaming Or is this burning an eternal flame Close your eyes, give me your hand, darling Do you feel my heart beating Do you understand Do you feel the same Am I only dreaming Is this burning an eternal flame Close your eyes, give me your hand, darling Do you feel my heart beating Do you understand Do you feel the same Am I only dreaming, ah An eternal flame Close your eyes, give me your hand, darling Do you feel my heart beating Do you understand Do you feel the same Am I only dreaming, ah Is this burning an eternal flame Close your eyes, give me your hand, darling",Eternal Flame,Everything,https://genius.com/The-bangles-eternal-flame-lyrics,"1," -206,Roxette,"April 8, 1989",[],"One, two, three, four Walkin' like a man Hitting like a hammer She's a juvenile scam Never was a quitter Tasty like a raindrop She's got the look Heavenly bound 'Cause heaven's got her number When she's spinnin' me around Kissin' is a color Her lovin' is a wild dog She's got the look She's got the look (She's got the look) She's got the look (She's got the look) What in the world can make a Brown-eyed girl turn blue? When everything I'll ever do I'll do for you And I go la la la la la She's got the look Fire in the ice Naked to the T-bone Is a lover's disguise Bangin' on the head drum Shakin' like a mad bull She's got the look Swayin' to the band Movin' like a hammer She's a miracle man Lovin' is the ocean And kissin' is the wet sand She's got the look She's got the look (She's got the look) She's got the look (She's got the look) What in the world can make a Brown-eyed girl turn blue? When everything I'll ever do I'll do for you And I go la la la la la She's got the look Ow! Walkin' like a man Hitting like a hammer She's a juvenile scam Never was a quitter Tasted like a raindrop She's got the look And she goes A-na na na na na Na na na na na Na na na na na na Na na na na na Na na na na na na na na She's got the look She's got the look (She's got the look) She's got the look (She's got the look) What in the world can make a Brown-eyed girl turn blue? When everything I'll ever do I'll do for you And I go la la la la la She's got the look What in the world Can make you so blue? When everything I'll ever do I'll do for you And I go la la la la la Na na na na na Na na na na na Na na na na na na Na na na na na Na na na na na na na na She's got the look She goes Na na na na na Na na na na na Na na na na na na Na na na na na Na na na na na na na na She's got the look She's got the look She goes Na na na na na Na na na na na Na na na na na na Na na na na na Na na na na na na na na She's got the look She's got the look She goes Na na na na na Na na na na na Na na na na na na Na na na na na Na na na na na na na na",The Look,Look Sharp! ,https://genius.com/Roxette-the-look-lyrics,"8," -207,Fine Young Cannibals,"April 15, 1989",[],"I can't stop the way I feel Things you do don't seem real Tell me what you've got in mind Cause we're running out of time Won't you ever set me free? This waiting 'round's killing me She drives me crazy Like no one else She drives me crazy And I can't help myself I can't get any rest People say I'm obsessed Everything you say is lies But to me there's no surprise What I had for you was true Things go wrong, they always do She drives me crazy Like no one else She drives me crazy And I can't help myself I won't make it on my own No one likes to be alone She drives me crazy Like no one else She drives me crazy And I can't help myself She drives me crazy Like no one else She drives me crazy And I can't help myself She drives me crazy Like no one else She drives me crazy And I can't help myself",She Drives Me Crazy,The Raw & The Cooked,https://genius.com/Fine-young-cannibals-she-drives-me-crazy-lyrics,"15," -208,Madonna,"April 22, 1989",[],"Life is a mystery Everyone must stand alone I hear you call my name And it feels like home When you call my name It's like a little prayer I'm down on my knees I want to take you there In the midnight hour I can feel your power Just like a prayer You know I'll take you there I hear your voice It's like an angel sighing I have no choice I hear your voice Feels like flying I close my eyes Oh God, I think I'm falling Out of the sky I close my eyes Heaven, help me When you call my name It's like a little prayer I'm down on my knees I want to take you there In the midnight hour I can feel your power Just like a prayer You know I'll take you there Like a child You whisper softly to me You're in control Just like a child Now I'm dancing It's like a dream No end and no beginning You're here with me It's like a dream Let the choir sing When you call my name It's like a little prayer I'm down on my knees I wanna take you there In the midnight hour I can feel your power Just like a prayer You know I'll take you there When you call my name It's like a little prayer I'm down on my knees I wanna take you there In the midnight hour I can feel your power Just like a prayer You know I'll take you there Life is a mystery Everyone must stand alone I hear you call my name And it feels like home Just like a prayer Your voice can take me there Just like a muse to me You are a mystery Just like a dream You are not what you seem Just like a prayer, no choice Your voice can take me there Just like a prayer, I'll take you there It's like a dream to me Just like a prayer, I'll take you there It's like a dream to me Just like a prayer, I'll take you there It's like a dream to me Just like a prayer, I'll take you there It's like a dream to me Just like a prayer Your voice can take me there Just like a muse to me You are a mystery Just like a dream You are not what you seem Just like a prayer, no choice Your voice can take me there Just like a prayer Your voice can take me there Just like a muse to me You are a mystery Just like a dream You are not what you seem Just like a prayer, no choice Your voice can take me there Your voice can take me there Like a prayer Like a prayer Just like a prayer, your voice can take me there It's like a dream to me Just like a prayer, your voice can take me there It's like a dream to me Just like a prayer, your voice can take me there It's like a dream to me Just like a prayer, your voice can take me there It's like a dream to me",Like a Prayer,Like a Prayer,https://genius.com/Madonna-like-a-prayer-lyrics,"22," -209,Bon Jovi,"May 13, 1989",[],"I guess this time you're really leavin' I heard your suitcase say goodbye Well as my broken heart lies bleedin' You say true love is suicide You say you've cried a thousand rivers And now you're swimmin' for the shore You left me drownin' in my tears And you won't save me anymore I'm prayin' to God you'll give me one more chance, girl I'll be there for you, these five words I swear to you When you breathe I want to be the air for you, I'll be there for you I'd live and I'd die for you, I'd steal the sun from the sky for you Words can't say what love can do, I'll be there for you I know you know we've had some good times Now they have their own hidin' place Well, I can promise you tomorrow But I can't buy back yesterday And, baby, you know my hands are dirty (But I wanted to be your valentine) But I wanted to be your valentine I'll be the water when you get thirsty, baby When you get drunk, I'll be the wine I'll be there for you, these five words I swear to you When you breathe I want to be the air for you, I'll be there for you I'd live and I'd die for you, I'd steal the sun from the sky for you Words can't say what love can do, I'll be there for you And I wasn't there when you were happy (And I wasn't there to make you happy) I wasn't there when you were down I didn't mean to miss your birthday, baby I wish I'd seen you blow those candles out I'll be there for you, these five words I swear to you When you breathe I want to be the air for you, I'll be there for you I'd live and I'd die for you, I'd steal the sun from the sky for you Words can't say what love can do, I'll be there for I'll be there for you, these five words I swear to you When you breathe I want to be the air for you, I'll be there for you I'd live and I'd die for you, I'd steal the sun from the sky for you Words can't say what love can do, I'll be there for you Woah, oh, oh, woah, oh, oh, woah, oh, oh, woah Woah, oh, oh, woah, oh, oh, woah, oh, oh, woah Woah, oh, oh, woah, oh, oh, woah, oh, oh, woah",I'll Be There for You,New Jersey,https://genius.com/Bon-jovi-ill-be-there-for-you-lyrics,"13," -210,Paula Abdul,"May 20, 1989",[],"Hey baby You gotta remember I'm forever your girl And baby, forever and ever and ever (You know I am) Baby, pick your head up (Head up) Come on and look me in the face 'Cause I can tell that somethin' is bringin' you down (Why are you down?) Is it the rumour that another boy wants to take your place? (I hear he's after your heart) Have you been hearin' the stories? They're goin' around (All of my friends are talkin') Baby, just remember I gave you my heart Ain't no one gonna tear us apart He could promise the moon and the stars above Even if he promised me the world Just remember I'm forever your girl He could promise the world You gotta remember I'm forever your girl Honey, listen to me (To me) Your love is all I need You should know that I don't need nothin' that money can buy (It's no lie) So if a boy were to come along And try to make me leave you (Girl, I'd go out of my mind) There'd be no need to worry I'm tellin' you why (I need to hear that you really love me) Baby, don't you know that I love ya? And I'd never put nobody above ya He could promise the moon and the stars above Even if he promised me the world Just remember I'm forever your girl He could promise the world You gotta remember I'm forever your girl I'm forever your baby Just remember I'm forever your girl He could promise the world Hey baby, just remember I'm forever your girl When the mountains crumble into the sea That's the day someone'll come between you and me Baby, just remember I gave you my heart (Tell me) Ain't no one gonna tear us apart Baby, he could promise me diamonds Even if he promised me pearls Honey, you know I ain't lyin' Listen as I tell it to the world Just remember, baby, remember Just remember Baby, forever and ever and ever We'll be together I'm forever your girl Baby, forever and ever and ever We'll be together I'm forever your girl Baby, forever and ever and ever We'll be together I'm forever your girl Hey baby, he could promise the world Girl, you know I love you And I always will (Hey baby) If we live 'til forever I'll be lovin' you I'll be lovin' you still Just remember I'm forever your girl Forever your girl Just remember I'm forever your girl",Forever Your Girl,Forever Your Girl,https://genius.com/Paula-abdul-forever-your-girl-lyrics,"20," -211,Michael Damian,"June 3, 1989",[],"Hey kids, rock and roll Rock on, ooh my soul Hey kids, boogie too, did ya? Hey shout, summertime blues Jump up and down in my blue suede shoes Hey kids, rock and roll, rock on And where do we go from here? Which is the way that's clear? Still looking for that blue jean Baby queen Prettiest girl I've ever seen See her shake on the movie screen Jimmy Dean And where do we go from here? Which is the way that's clear? Still looking for that blue jean Baby queen Prettiest girl I've ever seen See her shake on the movie screen Jimmy Dean (James Dean) Jimmy Dean Rock on Rock on Rock on Rock on Rock on Hey kid, rock and roll (Rock on) Rock on Hey shout, summertime blues (Rock on) Rock on Hey kid, boogie too (Rock on) Rock on Hey kid, rock and roll (Rock on) Rock on Hey, kid Boogie too",Rock On,Where Do We Go From Here,https://genius.com/Michael-damian-rock-on-lyrics,"3," -212,Bette Midler,"June 10, 1989",[],"Oh, oh, oh, oh It must have been cold there in my shadow To never have sunlight on your face You were content to let me shine, that's your way You always walked a step behind So I was the one with all the glory While you were the one with all the strength A beautiful face without a name for so long A beautiful smile to hide the pain Did you ever know that you're my hero And everything I would like to be? I can fly higher than an eagle For you are the wind beneath my wings It might have appeared to go unnoticed But I've got it all here in my heart I want you to know, I know the truth, of course I know it I would be nothing without you Did you ever know that you're my hero? You're everything I wish I could be I could fly higher than an eagle For you are the wind beneath my wings Did I ever tell you you're my hero? You're everything, everything I wish I could be Oh, and I, I could fly higher than an eagle For you are the wind beneath my wings Cause you are the wind beneath my wings Oh, the wind beneath my wings You, you, you, you are the wind beneath my wings Fly, fly, fly away, you let me fly so high Oh, you, you, you, the wind beneath my wings Oh, you, you, you, the wind beneath my wings Fly, fly, so high against the sky So high I almost touch the sky Thank you, thank you Thank God for you, the wind beneath my wings",Wind Beneath My Wings,Beaches (Original Soundtrack Recording),https://genius.com/Bette-midler-wind-beneath-my-wings-lyrics,"10," -213,New Kids on the Block,"June 17, 1989",[],"Yeah I'm not that kind of guy who can take a broken heart So don't ever leave I don't want to see us part The very thought of losing you means That everything Would go down under I'll be loving you forever Just as long as you want me to be I'll be loving you forever All this love's for you and me, yeah (I'll be loving you) I'll be (I'll be loving you) Loving you (The things you do) Yeah, it's forever (I'll be loving you) I'll be (I'll be loving you) Loving you Yeah I count the blessings that keep our love new There's one for me And a million for you There's just so much that I wanna say But when I look at you All my thoughts get in the way I'll be loving you forever Just as long as you want me to be I'll be loving you forever All this love's for you and me, yeah (I'll be loving you) I'll be (I'll be loving you) Loving you (The things you do) Yeah, it's forever (I'll be loving you) I'll be (I'll be loving you) Loving you Yeah We've learned to fall to every turn back now This love will last forever I can see it all now (I'll be loving you) I'll be (I'll be loving you) Loving you (The things you do) Yeah, is forever (I'll be loving you) I'll be (I'll be loving you) Loving only you, girl Yeah, girl Oh girl I'll be loving only you (I'll be loving you) (I'll be loving you) Be loving you girl",I'll Be Loving You (Forever),Hangin’ Tough,https://genius.com/New-kids-on-the-block-ill-be-loving-you-forever-lyrics,"17," -214,Richard Marx,"June 24, 1989",[],"Yeah, yeah Whoa We work our bodies weary To stay alive There must be more to living Than nine to five Why should we wait for some better time? There may not even be a tomorrow Ain't no sense in losing your mind I'm gonna make it worth the ride Don't you know I won't give up until I'm satisfied? Don't you know Why should I stop until I'm satisfied? Ignore the hesitation That ties your hands Use your imagination And take a chance Won't let my moment of truth pass me by I've gotta make my move, now or never And if they turn me loose on this town They're gonna have to hold me down Don't you know I won't give up until I'm satisfied? Don't you know Why should I stop until I'm satisfied? Yeah Don't you know Ain't gonna stop up until we're satisfied? Don't you know We shouldn't stop until we're satisfied? Yeh, yeah Don't you know Ain't gonna stop until I'm satisfied? Yeah Don't you know We won't give up until we're satisfied? Oh, oh, oh Why should I stop before I'm satisfied? Ow",Satisfied,Repeat Offender,https://genius.com/Richard-marx-satisfied-lyrics,"24," -215,Milli Vanilli,"July 1, 1989",[],"Babe, don't be shy When you're holding my hand 'Cause this time goes back You got to understand It's you Ba, ba, ba baby In your eyes I see it so clearly That our love it's so strong And you never go wrong I got the best for you So I'm waiting down If you need someone Baby, call my line Call me anytime I'll be there for you You, you I've been searching high High, high I've been searching low Ba, ba, ba, ba, baby Don't forget my number Baby, don't be stronger than a thunder Ba, ba, ba, ba, baby Don't forget my number Love will see you through I've been searching high I've been searching low I want to spend spend my life with you Ba, ba, ba, ba, ba, ba, ba, ba My desper youth Ba, ba, ba, ba, ba, ba, ba, ba Love will see you through Ba, ba baby In your eyes I see it so clearly",Baby Don't Forget My Number,All or Nothing,https://genius.com/Milli-vanilli-baby-dont-forget-my-number-lyrics,"1," -216,Fine Young Cannibals,"July 8, 1989",[],"The one good thing in my life Has gone away, I don't know why She's gone away, I don't know where Somewhere I cannot follow her The one good thing didn't stay too long My back was turned and she was gone Good thing Where have you gone? My good thing You've been gone too long People say I should forget There's plenty more, don't get upset People say she's doing fine Mutual friends I see sometime That's not what I want to hear I want to hear she wants me near Good thing Where have you gone? My good thing You've been gone too long Good thing Then one day, she came back I was so happy that I didn't ask Morning came into my room Caught me dreaming like a fool Good thing, my good thing My good thing, where have you gone My good thing, my good thing Where have you gone It's been so long Good God, girl Good God, girl Good God, girl Good God",Good Thing,The Raw & The Cooked,https://genius.com/Fine-young-cannibals-good-thing-lyrics,"8," -217,Simply Red,"July 15, 1989",[],"If you don't know me by now You will never, never, never know me, uh-uh-uh All the things, that we've been through You should understand me like I understand you Now girl I know the difference between right and wrong I ain't gonna do nothing to break up our happy home Don't get so excited when I come home a little late at night 'Cause we only act like children when we argue, fuss and fight If you don't know me by now (If you don't know me) You will never, never, never know me (No you won't), uh If you don't know by now You will never, never, never know me, uh-uh-uh We've all got our own funny moods I've got mine, woman, you've got yours too Just trust in me like I trust in you As long as we've been together it should be so easy to do Just get yourself together or we might as well say goodbye What good is a love affair when we can't see eye to eye If you don't know me by now (If you don't know me) You will never, never, never know me (No you won't), uh-uh-uh If you don't know by now (Youuuu will never, never, never know me) You will never, never, never know me, uh-uh-uh (Uh) If you don't know me by now (Uhhhh) You will never, never, never know me",If You Don't Know Me by Now,A New Flame,https://genius.com/Simply-red-if-you-dont-know-me-by-now-lyrics,"15," -218,Martika,"July 22, 1989",[],"Step by step Heart to heart Left, right, left We all fall down Like toy soldiers It wasn't my intention to mislead you It never should have been this way What can I say? It's true I did extend the invitation I never knew how long you'd stay When you hear temptation call It's your heart that takes Takes the fall (Won't you come out and play with me?) Step by step Heart to heart Left, right, left We all fall down Like toy soldiers Bit by bit Torn apart We never win But the battle wages on For toy soldiers It's getting hard to wake up in the morning My head is spinning constantly How can it be? How could I be so blind to this addiction? If I don't stop The next one's gonna be me Only emptiness remains It replaces all All the pain (Won't you come out and play with me?) Step by step Heart to heart Left, right, left We all fall down Like toy soldiers Bit by bit Torn apart We never win But the battle wages on For toy soldiers (We never win) Only emptiness remains It replaces all All the pain (Won't you come out and play with me?) Step by step Heart to heart Left, right, left We all fall down Like toy soldiers Bit by bit Torn apart We never win But the battle wages on For toy soldiers Step by step Heart to heart Left, right, left We all fall down (all fall down, all fall down) Like toy soldiers Bit by bit Torn apart We never win But the battle wages on For toy soldiers",Toy Soldiers,Martika,https://genius.com/Martika-toy-soldiers-lyrics,"22," -219,Prince,"August 5, 1989",[],"(""Oh, I got a live one here!"") Get the funk up! Batman Get the funk up! Batman Get the funk up! (""Go, go, go with a smile!"") Batdance Do it Keep busting I've seen the future and it will be Batman, Batman I've seen the future and it will be Batman (house, do it, house) ""And where, and where is the Batman?"" Do it, do it Let's do it, let's do it Do it, do it Do it, do it ""Stop the press"" ""Stop the press, who is that?"" ""Vicki Vale, Vicki Vale"" ""I like"" Batman Batman Batman ""Oh - that's nice"" ""Hi, Bruce Wayne"" ""I've tried to avoid all this, but I can't"" ""I just got to know... are we going to try to love each other?"" ""Stop the press - who is that?"" ""Vicki Vale"" ""She is great, isn't she?"" Ooh yeah, ooh yeah I wanna bust that body Ooh yeah, ooh yeah I wanna bust that body right ""I'd like to"" Ooh yeah, ooh yeah ""But he's out there right now"" I wanna bust that body Ooh yeah, ooh yeah tonight ""Well, Miss Vale"" ""Ever dance with the devil in the pale moon light?"" ""I always ask that of all my prey."" ""I just like the sound of it."" (screams) I've got to go to work Batman I've got to go to work Batman If a man is considered guilty Work! For what goes on in his mind Work! Then gimme the electric chair Work! For all my future crimes-OH Work! Electric chair Hey Ducky, let me stick the 7-inch In the computer HA, HA, HA Hey, we got the power Oh, we got the soul Hey, we got to sho'nuff get off To make the devil go, go ""This town needs an enema!"" ""I'm going to kill you"" Power ""I'm not going kill you"" Soul ""I'm going to kill you"" Power ""I'm not going to kill you"" Soul Let's do it ""I'm Batman"" Batman Don't stop dancing ""I'm Batman"" Batman Don't stop dancing Do it, do it, do it, do it Batman Batman Batman Don't stop, don't stop Let's do it Don't stop dancing Let's do it, Batman Let's do it, Batman Don't stop dancing Don't stop dancing No, damn it! Turn the music back up! You son of a bitch! Have you ever heard of the healing power of laughter? Who's going to stop 200 balloons? Nobody! Batman Stop!",Batdance,Batman,https://genius.com/Prince-batdance-lyrics,"5," -220,Richard Marx,"August 12, 1989",[],"Oceans apart, day after day And I slowly go insane I hear your voice on the line But it doesn't stop the pain If I see you next to never How can we say forever? Wherever you go, whatever you do I will be right here waiting for you Whatever it takes or how my heart breaks I will be right here waiting for you I took for granted, all the times That I thought would last somehow I hear the laughter, I taste the tears But I can't get near you now Oh, can't you see it, baby You've got me going crazy Wherever you go, whatever you do I will be right here waiting for you Whatever it takes or how my heart breaks I will be right here waiting for you I wonder how we can survive This romance But in the end if I'm with you I'll take the chance Oh, can't you see it, baby You've got me going crazy Wherever you go, whatever you do I will be right here waiting for you Whatever it takes or how my heart breaks I will be right here waiting for you Waiting for you",Right Here Waiting,Repeat Offender,https://genius.com/Richard-marx-right-here-waiting-lyrics,"12," -221,Paula Abdul,"September 2, 1989",[],"He's a cold-hearted snake Look into his eyes, uh-oh He's been tellin' lies He's a lover boy at play He don't play by rules, uh-oh Girl, don't play the fool, no You're the one givin' up the love Anytime he needs it But you turn your back and then he's off and runnin' with the crowd You're the one to sacrifice Anything to please him Do you really think he thinks about you when he's out? He's a cold-hearted snake Look into his eyes, uh-oh He's been tellin' lies He's a lover boy at play He don't play by rules, uh-oh Girl, don't play the fool, no It was only late last night He was out there sneakin' Then he called you up to check that you were waiting by the phone All the world's a candy store He's been trick or treatin' When it comes to true love, girl, with him there's no one home He's a cold-hearted snake Look into his eyes, uh-oh He's been tellin' lies He's a lover boy at play He don't play by rules, uh-oh Girl, don't play the fool, no You could find somebody better girl He could only make you cry You deserve somebody better girl He's c-cold as ice He's cold as ice He's cold as ice Stay away from him, girl C-c-c-cold-hearted, ooh-ah-ah C-c-c-cold-hearted, snnnnnake C-c-c-cold-hearted, ooh-ah-ah C-c-c-cold-hearted, snnnnnake He's a cold-hearted snake Look into his eyes, uh-oh He's been tellin' lies He's a lover boy at play He don't play by the rules, uh-oh Girl, don't play the fool Ooh, ahh, look into his eyes Ooh, ahh, he's been tellin' lies Ooh, ahh, he don't play by rules Ooh, ahh, girl, don't play the fool He's a cold-hearted snake Look into his eyes, uh-oh He's been tellin' lies He's a lover boy at play He don't play by the rules, uh-oh Girl, don't play the fool He's a cold-hearted snake Look into his eyes, uh-oh He's been tellin' lies",Cold Hearted,Forever Your Girl,https://genius.com/Paula-abdul-cold-hearted-lyrics,"2," -222,New Kids on the Block,"September 9, 1989",[],"Oh, oh, oh, oh, oh Oh, oh, oh, oh, oh Oh, oh, oh, oh, oh Oh, oh, oh, oh, oh Listen up, everybody, if you wanna take a chance Just get on the floor and do the New Kids' dance Don't worry 'bout nothing, cause it won't take long We're gonna put you in a trance with a funky song Cause you gotta be hangin' tough Hangin' tough Hangin' tough Are you tough enough? Hangin' tough Hangin' tough Hangin' tough We're rough Oh, oh, oh, oh, oh Oh, oh, oh, oh, oh Everybody's always talkin' 'bout who's on top Don't cross our path, cause you're gonna get stomped We ain't gonna give anybody any slack And if you try to keep us down, we're gonna come right back And you know we're hangin' tough Hangin' tough Hangin' tough Are you tough enough? Hangin' tough Hangin' tough Hangin' tough We're rough Oh, oh, oh, oh, oh Oh, oh, oh, oh, oh Oh, oh, oh, oh, oh Oh, oh, oh, oh, oh Get loose everybody, cause we're gonna do our thing Cause you know it ain't over till the fat lady sings Now check it out Everybody Just hangin' tough Oh, oh, oh, oh, oh, just hangin' tough Oh, oh, oh, oh, oh, hangin' tough Oh, oh, oh, oh, oh, just hangin' tough Oh, oh, oh, oh, oh, hangin' tough Oh, oh, oh, oh, oh, just hangin' tough Oh, oh, oh, oh, oh, hangin' tough",Hangin' Tough,Hangin’ Tough,https://genius.com/New-kids-on-the-block-hangin-tough-lyrics,"9," -223,Gloria Estefan,"September 16, 1989",[],"Sometimes it's hard to make things clear I know when to face the truth And I know when the moment is here I'll open my heart and show you inside My love has no pride I feel with you I've got nothing to hide So open your eyes and see who I am And not who you want for me to be I am only myself, myself I don't wanna lose you now We're gonna get through somehow I don't wanna lose you now forever Baby, I finally found the courage To stand my ground But if you want me I'll be around forever We all make mistakes We all lose our way But we stood the test of time And I hope that's the way it will stay It's all up to you to tell me to go 'Cause it won't be me to walk away When you're all that I know And I know that I don't wanna lose you Lose you now We're gonna get through somehow I don't wanna lose you now I don't wanna lose you I don't wanna lose you",Don't Wanna Lose You,Cuts Both Ways,https://genius.com/Gloria-estefan-dont-wanna-lose-you-lyrics,"16," -224,Milli Vanilli,"September 23, 1989",[],"I knew it from the start You would break my heart But you still I had to play this painful part You wrapped me 'round your itty-bitty finger With your magic smile You kept me hangin' on a lover's cross a while You put your spell on me Took my breath away But there was nothin' I could do to make you stay I'm gonna miss you All the love I feel for you Nothing could make me change my point of view Oh girl I'm gonna miss you, baby Giving all the love I feel for you Couldn't make you change your point of view You're leavin' Now I'm sittin' here wasting my time I just don't know what I should do It's a tragedy for me To see the dream is over And I never will forget the day we met Girl I'm gonna miss you Like a honey bee You took the best of me Now I can't erase those memories Like a fairy tale You are so unreal You left a scar that's so hard to heal When you had a taste of paradise Back on Earth can feel as cold as ice I'm gonna miss you I'm gonna miss you I miss you Giving all the love I feel for you Couldn't make you change your point of view You're leavin' Now I'm sittin' here wasting my time I just don't know what I should do It's a tragedy for me To see the dream is over And I never will forget the day we met Girl I'm gonna miss you It's a tragedy for me To see the dream is over And I never will forget the day we met Girl I'm gonna miss you Giving all the love I feel for you Couldn't make you change your point of view You're leavin' Now I'm sittin' here wasting my time I just don't know what I should do It's a tragedy for me To see the dream is over And I never will forget the day we met Girl I'm gonna miss you It's a tragedy for me To see the dream is over And I never will forget the day we met Girl I'm gonna miss you",Girl I'm Gonna Miss You,All or Nothing,https://genius.com/Milli-vanilli-girl-im-gonna-miss-you-lyrics,"23," -225,Janet Jackson,"October 7, 1989",[],"Shot like an arrow going through my heart That's the pain I feel I feel whenever we're apart Not to say that I'm in love with you But who's to say that I'm not I just know that it feels wrong When I'm away too long It makes my body hot So let me tell ya baby I'll tell your mama I'll tell your friends I'll tell anyone whose heart can comprehend Send it in a letter baby Tell you on the phone I'm not the kinda girl Who likes to be alone I miss ya much Boy-oh-I miss you much I really miss you much M-I-S-S you much I miss ya much Boy-oh-I miss you much Baby, I really miss you much M-I-S-S you much I'm rushing home Just as soon as I can I'm rushing home to see Your smiling face And feel your warm embrace It makes f-feel so g-g-g good So I'll tell you baby I'll tell your mama I'll tell your friends I'll tell anyone whose heart can comprehend Send it in a letter baby Tell you on the phone I'm not the kinda girl Who likes to be alone I miss ya much Boy-oh-I miss you much I really miss you much M-I-S-S you much I miss ya much Boy-oh-I miss you much Baby, I really miss you much M-I-S-S you much I miss ya much Boy-oh-I miss you much I really miss you much M-I-S-S you much I miss ya much Boy-oh-I miss you much Baby, I really miss you much M-I-S-S you much Miss you much I miss you much I really really miss you much Miss you much I miss you much I'm not ashamed to tell the world I miss you I'll tell your mama I'll tell your friends I'll tell anyone whose heart can comprehend Send it in a letter baby Tell you on the phone I'm not the kinda girl Who likes to be alone I miss ya much Boy-oh-I miss you much I really miss you much M-I-S-S you much I miss ya much Boy-oh-I miss you much Baby, I really miss you much M-I-S-S you much I miss ya much Boy-oh-I miss you much I really miss you much M-I-S-S you much I miss ya much Boy-oh-I miss you much Baby, I really miss you much M-I-S-S you much That's the end?",Miss You Much,Janet Jackson’s Rhythm Nation 1814,https://genius.com/Janet-jackson-miss-you-much-lyrics,"7," -226,Roxette,"November 4, 1989",[],"I know there's something in the wake of your smile I get a notion from the look in your eyes, yeah You've built a love but that love falls apart Your little piece of Heaven turns too dark Listen to your heart when he's calling for you Listen to your heart there's nothing else you can do I don't know where you're going and I don't know why But listen to your heart before you tell him goodbye Sometimes you wonder if this fight is worthwhile The precious moments are all lost in the tide, yeah They're swept away and nothing is what is seems The feeling of belonging to your dreams Listen to your heart when he's calling for you Listen to your heart there's nothing else you can do I don't know where you're going and I don't know why But listen to your heart before you tell him goodbye And there are voices that want to be heard So much to mention but you can't find the words The scent of magic, the beauty that's been When love was wilder than the wind Listen to your heart when he's calling for you Listen to your heart there's nothing else you can do I don't know where you're going and I don't know why But listen to your heart before Listen to your heart when he's calling for you Listen to your heart there's nothing else you can do I don't know where you're going and I don't know why But listen to your heart before you tell him goodbye Listen to your heart Listen to your heart Listen to your heart",Listen to Your Heart,Look Sharp! ,https://genius.com/Roxette-listen-to-your-heart-lyrics,"4," -227,Bad English,"November 11, 1989",[],"Sometimes I wonder How I'd ever make it through Through this world without having you I just wouldn't have a clue 'Cause sometimes it seems Like this world is closing in on me And there's no way of breaking free And then I see you reach for me Sometimes I want to give up, wanna give in I wanna quit the fight And then I see you, baby And everything's alright Everything's alright When I see you smile, I can face the world Oh, you know I can do anything When I see you smile, see a ray of light Oh, see it shining right through the rain When I see you smile Baby, when I see you smile at me Oh yeah Baby, there's nothing In this world that could ever do What the touch of your hand can do It's like nothing that I ever knew Hey And when the rain is falling I don't feel it 'Cause you're here with me now I want your answer baby It's all I'll ever need It's all I'll ever need When I see you smile, I can face the world Oh, you know I can do anything When I see you smile, I see a ray of light Oh, I see it shining right through the rain When I see you smile, baby Baby, when I see you smile at me Sometimes I want to give up I wanna give in, I wanna quit the fight Then one look at you, baby And everything's alright Hey, everything's alright, so right When I see you smile, I can face the world Oh, you know I can do anything, yeah When I see you smile, I see a ray of light Oh, I see it shining right through the rain, yeah When I see you smile, yeah, I can face the world Oh, you know I can do anything now When I see you smile, oh yeah Baby, when I see you smile Smile at me",When I See You Smile,Bad English,https://genius.com/Bad-english-when-i-see-you-smile-lyrics,"11," -228,Milli Vanilli,"November 25, 1989","[{'api_path': '/artists/1451051', 'header_image_url': 'https://images.genius.com/a1eb67a352405828cf2294a7159f7981.660x330x1.jpg', 'id': 1451051, 'image_url': 'https://images.genius.com/957bd29face0adbc5b5928254ee5f0b6.675x675x1.jpg', 'is_meme_verified': False, 'is_verified': False, 'name': '\u200b\u200b\u200b\u200b\u200b\u200b\u200b\u200b\u200b\u200b\u200b\u200b\u200b\u200b\u200b\u200b\u200bkiLL edward', 'url': 'https://genius.com/artists/Kill-edward'}]","Cop another bag and smoke today Cop another bag and smoke today Cop another bag and smoke today Cop another bag and smoke today Cop another bag and smoke today Cop another bag and smoke today Cop another bag and smoke today Cop another bag and smoke today I got thoughts, can't control Got me down, got me low Rest my mind, rest my soul When I blow, when I blow Am I wrong, let them know Feels so right to let things go Don't think twice, this is me This is how I should be But I'm aggravated without it My saddest days are without it My Saturdays are the loudest I'm blowing strong Some niggas graduated to powder I dabble later, I doubt it My database of narcotics It's growing long But I'm aggravated without it My saddest days are without it My Saturdays are the loudest I'm blowing strong Some niggas graduated to powder I dabble later, I doubt it My database of narcotics It's growing long I wrote this shit to talk about the word addiction To my niggas --- I hope you listening --- and ---, I hope you listening This is for the whole fucking Ville, I hope you're listening Smoking medical grade, but I ain't got prescription All the way in Cali where they ain't got precipi- -tation, feeling like the only one that made it And I hate it for my niggas 'cause they ain't got ambition Fuck did you expect, you can blame it on condition Blame it on crack, you can blame it on the system Blame it on the fact that 12 got jurisdiction To ride around in neighborhoods that they ain't ever lived in Blame it on the strain that you feel when daddy missing Blame it on Trump shit, blame it on Clinton Blame it on trap music and the politicians Or the fact that every black boy wanna be Pippen But they only got 12 slots on the Pistons Blame it on the rain, Milli Vanilli with the disk skip What I'm tryna say is the blame can go deep as seas Just to blame 'em all I would need like twenty CD's There's all sorts of trauma from drama that children see Type of shit that normally would call for therapy But you know just how it go in our community Keep that shit inside it don't matter how hard it be Fast forward, them kids is grown and they blowing trees And popping pills due to chronic anxiety I been saw the problem but stay silent 'cause I ain't Jesus This ain't no trial if you desire go higher please But fuck that now I'm older I love you 'cause you my friend Without the drugs I want you be comfortable in your skin I know you so I know you still keep a lot of shit in You running from yourself and you buying product again I know you say it helps and no I'm not trying to offend But I know depression and drug addiction don't blend Reality distorts and then you get lost in the wind And I done seen the combo take niggas off the deep end One thing about your demons they bound to catch up one day I'd rather see you stand up and face them than run away I understand this message is not the coolest to say But if you down to try it I know of a better way Meditate Meditate, meditate, meditate, meditate Don't medicate, medicate, don't medicate, medicate Meditate, meditate, meditate, meditate Don't medicate, medicate, don't medicate, medicate I got thoughts, can't control Got me down, got me low Rest my mind, rest my soul When I blow, when I blow Am I wrong, let them know Feels so right to let things go Don't think twice, this is me This is how I should be Cop another bag of smoke today Cop another bag of smoke today Cop another bag of smoke today Cop another bag of smoke today Cop another bag of smoke today Cop another bag of smoke today Cop another bag of smoke today Cop another bag of smoke today",Blame It on the Rain,KOD,https://genius.com/J-cole-friends-lyrics,"25," -229,Billy Joel,"December 9, 1989",[],"Harry Truman, Doris Day, Red China, Johnnie Ray South Pacific, Walter Winchell, Joe DiMaggio Joe McCarthy, Richard Nixon, Studebaker, Television North Korea, South Korea, Marilyn Monroe Rosenbergs, H-Bomb, Sugar Ray, Panmunjom Brando, The King And I, and The Catcher In The Rye, Eisenhower, Vaccine, England's got a new queen Marciano, Liberace, Santayana goodbye We didn't start the fire It was always burning since the world's been turning We didn't start the fire No, we didn't light it, but we tried to fight it Joseph Stalin, Malenkov, Nasser and Prokofiev Rockefeller, Campanella, Communist Bloc Roy Cohn, Juan Peron, Toscanini, Dacron Dien Bien Phu Falls, ""Rock Around the Clock"" Einstein, James Dean, Brooklyn's got a winning team Davy Crockett, Peter Pan, Elvis Presley, Disneyland Bardot, Budapest, Alabama, Khrushchev Princess Grace, Peyton Place, Trouble in the Suez We didn't start the fire It was always burning since the world's been turning We didn't start the fire No, we didn't light it, but we tried to fight it Little Rock, Pasternak, Mickey Mantle, Kerouac Sputnik, Zhou En-lai, Bridge On The River Kwai, Lebanon, Charles de Gaulle, California baseball Starkweather Homicide, Children of Thalidomide Buddy Holly, Ben-Hur, Space Monkey, Mafia Hula Hoops, Castro, Edsel is a no-go U-2, Syngman Rhee, payola and Kennedy Chubby Checker, Psycho, Belgians in the Congo We didn't start the fire It was always burning since the world's been turning We didn't start the fire No, we didn't light it, but we tried to fight it Hemingway, Eichmann, Stranger in a Strange Land, Dylan, Berlin, Bay of Pigs invasion Lawrence of Arabia, British Beatlemania Ole Miss, John Glenn, Liston beats Patterson Pope Paul, Malcolm X, British Politician sex J.F.K. blown away, what else do I have to say? We didn't start the fire It was always burning since the world's been turning We didn't start the fire No, we didn't light it, but we tried to fight it Birth control, Ho Chi Minh, Richard Nixon back again Moonshot, Woodstock, Watergate, punk rock Begin, Reagan, Palestine, Terror on the airline Ayatollah's in Iran, Russians in Afghanistan Wheel of Fortune, Sally Ride, heavy metal suicide Foreign debts, homeless Vets, AIDS, crack, Bernie Goetz Hypodermics on the shores, China's under martial law Rock and Roller cola wars, I can't take it anymore We didn't start the fire It was always burning since the world's been turning We didn't start the fire But when we are gone It will still burn on, and on, and on, and on... We didn't start the fire It was always burning since the world's been turning We didn't start the fire No, we didn't light it, but we tried to fight it We didn't start the fire It was always burning since the world's been turning We didn't start the fire No, we didn't light it, but we tried to fight it We didn't start the fire It was always burning since the world's been turning We didn't start the fire No, we didn't light it, but we tried to fight it We didn't start the fire It was always burning since the world's been turning",We Didn't Start the Fire,Storm Front,https://genius.com/Billy-joel-we-didnt-start-the-fire-lyrics,"9," -230,Phil Collins,"December 23, 1989",[],"I talk to God like, ""What's next for me?"" I'm just fulfillin' my destiny (destiny) Fulfillin' my destiny, yeah I talk to God like, ""What's next for me?"" I'm just fulfillin' my destiny (destiny) I'm just fulfillin' my destiny, yeah! I told y'all I'm a psycho Ain't no tellin' what I might do, yeah Doubt put his hands around my throat, so I cut him off That's what you get for steppin' on my toes At the top of the key, that's an iso My career about to take off, flight mode You don't like where we're headed, what you sittin' on my flight for, huh? Yeah, they said, ""Wait until your time comes"" Nope! Time's up You put in the album, got you thinkin' it's your birthday, woo! Yeah, I'm full of surprises A lot of pressure on the records, so you know I'm makin' diamonds Tell me, how would you define this? You witnessin' the finest Yeah, you never know what you can do until you try it, ah! I been workin' late nights like I'm Letterman He ain't workin' anymore? Well forget it then Somebody get the sedatives Too late, yeah the lightbulb's off in my head again Where is Edison for my adrenaline? Rushin' through my veins like it's never did What good is the body, man, if you ain't got the head with it? Since a kid up I've been a pessimist I like to focus on the negatives, oh Lord! I talk to God like, ""What's next for me?"" I'm just fulfillin' my destiny (all day!) Yeah, my pops told me he was proud, I don't think he knew what that meant to me Yeah, you try to take advantage of me before you die, you'll be dead to me (all day!) Before you die, you'll be dead to me Laugh when they question me, y'all ain't no threat to me, yeah I'm just fulfillin' my destiny I'm just fulfillin' my destiny (all day!) To the death of me, I'm just fulfillin' my destiny I'm just fulfillin' my destiny I'm just fulfillin' my destiny (all day!) To the death of me, I'm just fulfillin' my destiny Yeah, you know I keep it real honest Real topics, ain't no way I will stop it Chills watching everything that's going on around me, they wonder if I still got it I'm still rhymin', just another day in paradise, Phil Collins 'Til you put your hands on me, yeah, now we got a real problem Pay homage, make comments We in the same genre, but I can guarantee we don't put out the same product Get away from me, there ain't nothing you can say to me Tried to roll my name through the dirt, that's fine, I was made from it You ain't made it 'til they printin' shirts with your face on it Outside tryna sell 'em at your shows, those are fake, dummy This is something can't nobody ever take from me No mistakin' me, take a blade to me, take a vein from me Let me know what you get when you pull the DNA from me, woo! No matches, I've been the baddest, no way to match it You never seen the passion that's even half this I'm wreakin' havoc I think the fact that you think I'm average is kinda madness So quit your naggin', you couldn't fathom what I've imagined Forget the mansion, I'm in the attic It's pretty graphic, but had to happen You won't see it, get your glasses, forget the status Yeah, I feel like we might be on the come-up (all day!) Knew I was a problem how I showed up (ayy!) Did not have to sell out, but the show does (all day!) They ask me why I do it, so I told 'em (yeah!) I'm just fulfillin' my destiny I'm just fulfillin' my destiny (all day!) To the death of me, I'm just fulfillin' my destiny I'm just fulfillin' my destiny I'm just fulfillin' my destiny (all day!) To the death of me, I'm just fulfillin' my destiny I'm just fulfillin' my destiny I'm just fulfillin' my destiny (all day!) To the death of me, I'm just fulfillin' my destiny I'm just fulfillin' my destiny I'm just fulfillin' my destiny (all day!) To the death of me, I'm just fulfillin' my destiny",Another Day in Paradise,Perception,https://genius.com/Nf-destiny-lyrics,"23,"