Sce Reports 8

Total Page:16

File Type:pdf, Size:1020Kb

Sce Reports 8 SCE REPORTS 8 DECONSTRUCTIVE CRITICISM: DIRECTIONS FALL, 1980 SCE REPORTS # 8 FALL, 1980 - "DECONSTRUCT1 VE CRI TIC ISM: DIRECT IONS" Guest Editor's Foreword VINCENT B. LEITCH ............... 3 "Nothing Fails Like Success" BARBARA JOHNSON ...............7 Responses: "What is Deconstruction, and Why Are They Writing All Those Graff-ic Th~ngsAbout l t"? SCE Reports is pub1 ished by The, Society JOSEPH N. R I DDEL ............... 17 for Critical Exchange, a not4owrofit "Retr~evingHeidegger's De-Struction" corporation organized to encourage co- WILL l AM V. SPANOS ...............30 operative research in criticism and theory. Material published in SCE Reports is copy- "The Art of Being Taken By Surpr~se" JERRY AL lNE FL l EGER .............54 righted by the Society, with rights re-assign- ed to authors upon publication. For informa- "Tak~ngand Being Taken" tion, contact: JERROLD E. HOGLE ..............'68 "Of Polit~csand Limits: Derrida Re-Marx" Leroy Searle, Secretary ANDREW PARKER ................83 Society for Critical Exchange 6273 19th Avenue N .E . NEWS AND NOT ICES .................105 Seattle, Washington 981 15 "A Selected Bibliography of Deconstructive Criticism" R1 CHARD A. BARNEY ........Suppl emnt We grateful ly acknowledge the assistance of the English Departments of Mercer University and the University of Washington in the preparatiori of this issue. Special thanks to Allen Dunn and Steve Cole for production assistance. a 1980, SCE SCE REPORTS Some of the best minds of the present genera- tion have taken up deconstruction. Who are these people? Several groups comprise the "corporation" of deconstruction. First, there is a loose band of French intellectuals, associated in the late 1960s and early 1970s with the journal TEL QUEL, including most prominently Roland Baxthes, Jacques Derrida, Michel Foucault and Julia bisteva. All in alpha- betical order. Second, a stellax enclave of Ameri- can literary critics, residing at Yale University since the early 1970s, encompasses Harold Bloom, Paul de Man, Geoffrey Hartman and J. Hillis Miller. Teaching regularly at Yale since the middle 1970s as a visiting professar, Jacques Derrida binds these two companies. Third, a klatch of young French in- tellectuals, linked with Derrida during the late Copyright @ 1980 1970s in connection with the Parisian publishing house Flammarion, adds to the group Sylviane Agacin- by ski, Sarah Kofman, Philippe Iacoue-Labarthe a& The Society for Critical Exchange, I nc. Jean-Luc Nancy. Fourth, a small cadre of American literary scholars, identified since the mid 19709 with the journal BOUNDAI1Y 2, involves Paul All rights reserved. The Society for BOG, Joseph Riddel and William V. Spanos. A number of Critical Exchange is a not-for-profit other ranking intellectuals, connected with one or corporation for the advancement of co- more of these groups or people, brings to the "move- operative research in criticism and ment" Gilles Deleuze, Eugenio Donato, Rodolphe Gas- chg , Barbara Johnson, Jacques Lacan, Jean-Rangois theory. For information, contact: Lyotard, Jeffrey Hehlman, EdHard Said and Cayatri The Society for Critical Exchange, Inc. Spivak. The list of "interested parties" is not nearly complete. One could add dedicated transla- 6273 19th Avenue N. E . tors, vehement opponents, emerging British devotees, Seattle, Washington 981 15 and still others. Positively or negatively, many minds are taken with deconstruction. SCE REPORTS SCE REPORTS As a scholarly group, the "deconstructors" ex- hibit professional ties with or serious interests in and the Society for Critical Ecchange, I decided to phenomenology, structuralism, psychoanalysis, Marx- concentrate the meeting on "Deconstructive Criticism: ism and semiology. Any particular deconstructor may Directions." I convinced my colleagues on the Organ- devote herself to one, several or all of these izing Committee, then set out to recruit Barbara fields. In any case, the major forerunners are Max, Johnson, a young Yale deconstructor, to deliver tho Nietzsche, Freud, Saussure and Heidegger. And the main paper. After Professor Johnson agreed, I in- leading contemporary is unquestionably Jacques Der- vited Joseph Hiddel and William Spanos to serve on rida: his works constitute the canonical texts. the panel as respondents. Meanwhile, I sent out In America the major figure is Paul de Man. The through the MU NEWSLl3TTER a nationwide call for pro- most unforgiving purists might (and lately do) ex- posals on the announced topic, From the numerous communicate numerous pretenders and piddlers, but proposals received, three were selected8 Jerry Derrida and de Man remain singularly above any her- Aline Flieger, Jerrold Hogle and Andrew Parker all esy or vague suspicion. generously offered to contribute written responses to Barbara Johnson's position paper. Finally, T en- When in the mid 1970s deconstruction as a move- listed Richard Barney to put together a Selected ment expanded, taking in new adherents and numerous Bibliography of Deconstructive Criticism, which com- opponents, it reached a crisis stage, which has con- plements existing and forthcoming lists. All these tinued up to the present moment. The "doctrines" materials--the main paper, the responses and the bib- appear in danger of dilution or distortion. Sur- liography--make up Number 8 of the SCE HEPOdTS. prised, shocked or disturbed, the early "founders" sometimes express inchoate regret or knowing pessi- Taking up the topic "Deconstructive Criticism: mism at this turn of events. The charm of their Directions;' Barbara Johnson begins with the contin- churnings emerges in a snippy nostalgia. uing crisis: the diminishment of deconstruction through dilution and dogmatism, She suggests a Coming into the onrush of deconstruction in strategy, a tactics of ignorance, to keep vital the 1976, I was exhilarated to find an energetic alter- analytical energy of deconstruction, For his part native to pallid formalism tinged with histori- Joseph Hiddel questions whether or not deconstruc- cism, which my pooped-out teachers had all more or tion, as rigorously operated by Derrida and de Man, less propounded. What seemed a period of decay to has actually spread beyond a very few other practi- the "founders" of deconstruction struck me as a tioners. Along the way Riddel portrays several dom- time of intellectual frenzy and new freedom. I have inant modcs of reduction that turn deconstruction borne such sentiment for five years now. In this I into a domesticated systematics. Attacking decon- seem one part Miranda and one part Pollyanna. Al- struction frontally, William Spanos dramatizes together too youthful and naive. Withal too cute. Derridean practice as a falling off from Heider- A five-year smile. Yet the spread of deconstruction gerian destruction. He characterizes deconstructive remains good news to me. interpretation as an ahistorical and formalist crit- ical mode, doomed to rapid institutionalization Charged with organizing the fifth annual joint and unavoidable collaboration with technocratic cul- Discussion Session of the Modern Language Association ture. SCE REPORTS SCE REPORTS In her response, Jerry Aline Flieger extends the project of deconstruction by grafting its Barbara Johnson "strange logic" onto the Freudian-Lacanian logic of Yale University the Unconscious. In doing so, she demonstrates a striking consonance between the "analytics" of decon- NOTHING FAILS LIKE SUCCESS struction and of contemporary psychoanalysis. Dis- turbed by Johnson's "strategy of ignorance," Jerrold As soon as any radically innovative thought Hogle problematizes the ubiquitous desire-to-say or becomes an -ism, its specific groundbreaking will-to-meaning--the progranunatic intentionality-- force diminishes, its historical notoriety which drives all deconstructive analysis. He urges increases, and its disciples tend to become more inquiry into the suspicious "rational" discursive simplistic, more dogmatic, and ultimately more practices of deconstruction and into its increasingly conservative, at which time its power becomes complacent and predictable lust for sure success, institutional rather than analytical. The fact Taking off from Johnson, Andrew Parker examines the that what is loosely called deconstructionism ambiguous relationship of EIarxiat,discourse to is now being widely institutionalized in the Derridean deconstruction. fiather than confirming United States seems to me both intriguing and the apparent "absence" of Marx in Derrida's texts, paradoxical, but also a bit unsettling, although Parker situates the Marxist problematics, an en- not for the reasons advanced by most of its crypted "thematics," somewhere within the = of the opponents. The question I shall ask is the deconstructionist consciousness. following^ how can the deconstructive impulse retain its critical energy in the face of its In its most virile and virulent form deconstruc- own success? What can a reader who has felt tion shows itself more metacritical than critical: the surprise of intellectual discovery in a its objects of analysis are critical beliefs and work by Jacques Derrida or Paul de Man do practices. When it turns away from metacriticism, to remain in touch not so much with the content all involved--insiders and outsiders, friends and of the discovery kt with the intellectual foes, prophets and pests--get suspicious or uneasy, upheaval of the surprise? And sometimes plain nasty. The dynamics of such disturbance emerge variously and unconsciously in I would like to begin by examining briefly
Recommended publications
  • The Barbara Johnson Reader a John Hope Franklin Center Book the Barbara Johnson Reader the Surprise of Otherness
    The Barbara Johnson Reader A John Hope Franklin Center Book The Barbara Johnson Reader The Surprise of Otherness Barbara Johnson edited by melissa feuerstein bill johnson gonzález lili porten keja valens With an Introduction by judith butler and an Afterword by shoshana felman Duke University Press Durham and London 2014 © 2014 Duke University Press Afterword © 2014 Shoshana Felman All rights reserved Printed in the United States of America on acid- free paper ∞ Designed by April Leidig Typeset in Minion Pro by Westchester Publishing Services Library of Congress Cataloging-in-Publication Data The Barbara Johnson reader : the surprise of otherness / edited by Melissa Feuerstein, Bill Johnson Gonzalez, Lili Porten, and Keja Valens, with an introduction by Judith Butler and an afterword by Shoshana Felman. pages cm “A John Hope Franklin Center Book.” Includes bibliographical references and index. isbn 978-0-8223-5419-2 (pbk : alk. paper) isbn 978-0-8223-5403-1 (cloth : alk. paper) 1. Johnson, Barbara, 1947–2009. 2. Feminist literary criticism. I. Feuerstein, Melissa. II. Johnson Gonzalez, Bill, 1970– iii. Porten, Lili. IV. Valens, Keja, 1972– pn98.w64b37 2014 801.'95092—dc23 2013045003 Contents Ac know ledg ments vii Editors’ Preface xi Personhood and Other Objects: The Figural Dispute with Philosophy by Judith Butler xvii Barbara Johnson by Barbara Johnson xxvii part i | Reading Theory as Literature, Literature as Theory 1 The Critical Diff erence: BartheS/BalZac 3 2 Translator’s Introduction to Dissemination (abridged) 14 3 Poetry and Syntax:
    [Show full text]
  • Songs by Title Karaoke Night with the Patman
    Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P.
    [Show full text]
  • Karaoke Songs by Title
    Songs by Title Title Artist Title Artist #9 Dream Lennon, John 1985 Bowling For Soup (Day Oh) The Banana Belefonte, Harry 1994 Aldean, Jason Boat Song 1999 Prince (I Would Do) Anything Meat Loaf 19th Nervous Rolling Stones, The For Love Breakdown (Kissed You) Gloriana 2 Become 1 Jewel Goodnight 2 Become 1 Spice Girls (Meet) The Flintstones B52's, The 2 Become 1 Spice Girls, The (Reach Up For The) Duran Duran 2 Faced Louise Sunrise 2 For The Show Trooper (Sitting On The) Dock Redding, Otis 2 Hearts Minogue, Kylie Of The Bay 2 In The Morning New Kids On The (There's Gotta Be) Orrico, Stacie Block More To Life 2 Step Dj Unk (Your Love Has Lifted Shelton, Ricky Van Me) Higher And 20 Good Reasons Thirsty Merc Higher 2001 Space Odyssey Presley, Elvis 03 Bonnie & Clyde Jay-Z & Beyonce 21 Questions 50 Cent & Nate Dogg 03 Bonnie And Clyde Jay-Z & Beyonce 24 Jem (M-F Mix) 24 7 Edmonds, Kevon 1 Thing Amerie 24 Hours At A Time Tucker, Marshall, 1, 2, 3, 4 (I Love You) Plain White T's Band 1,000 Faces Montana, Randy 24's Richgirl & Bun B 10,000 Promises Backstreet Boys 25 Miles Starr, Edwin 100 Years Five For Fighting 25 Or 6 To 4 Chicago 100% Pure Love Crystal Waters 26 Cents Wilkinsons, The 10th Ave Freeze Out Springsteen, Bruce 26 Miles Four Preps, The 123 Estefan, Gloria 3 Spears, Britney 1-2-3 Berry, Len 3 Dressed Up As A 9 Trooper 1-2-3 Estefan, Gloria 3 Libras Perfect Circle, A 1234 Feist 300 Am Matchbox 20 1251 Strokes, The 37 Stitches Drowning Pool 13 Is Uninvited Morissette, Alanis 4 Minutes Avant 15 Minutes Atkins, Rodney 4 Minutes Madonna & Justin 15 Minutes Of Shame Cook, Kristy Lee Timberlake 16 @ War Karina 4 Minutes Madonna & Justin Timberlake & 16th Avenue Dalton, Lacy J.
    [Show full text]
  • Madonna MP3 Collection - Madonna Part 2 Mp3, Flac, Wma
    Madonna MP3 Collection - Madonna Part 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop / Pop Album: MP3 Collection - Madonna Part 2 Country: Russia Released: 2012 Style: House, Synth-pop, Ballad, Electro, RnB/Swing, Electro House MP3 version RAR size: 1708 mb FLAC version RAR size: 1392 mb WMA version RAR size: 1865 mb Rating: 4.8 Votes: 427 Other Formats: APE MP2 RA MP1 TTA VOX XM Tracklist Hide Credits Beautiful Stranger (Single) - 1999 1-1 Beautiful Stranger 4:24 1-2 Beautiful Stranger (Remix) 10:15 1-3 Beautiful Stranger (Mix) 4:04 Ray Of Light (Remix Album) - 1999 1-4 Ray Of Light (Ultra Violet Mix) 10:46 Drowned World (Substitut For Love (Bt And Sashas Remix) 1-5 9:28 Remix – Bt, Sasha Sky Fits Heaven (Sasha Remix) 1-6 7:22 Remix – Sasha Power Of Goodbay (Luke Slaters Filtered Mix) 1-7 6:09 Remix – Luke Slater 1-8 Candy Perfume Girl (Sasha Remix) 4:52 1-9 Frozen (Meltdown Mix - Long Version 8:09 1-10 Nothing Really Matters (Re-funk-k-mix) 4:23 Skin (Orbits Uv7 Remix) 1-11 8:00 Remix – Orbit* Frozen (Stereo Mcs Mix) 1-12 5:48 Remix – Stereo Mcs* 1-13 Bonus - What It Feels Like For A Girl (remix) 9:50 1-14 Bonus - Dont Tell Me (remix) 4:26 American Pie (Single) - 2000 1-15 American Pie (Album Version) 4:35 American Pie (Richard Humpty Vission Radio Mix) 1-16 4:30 Remix – Richard Humpty Vission* American Pie (Richard Humpty Vission Visits Madonna) 1-17 5:44 Remix – Richard Humpty Vission* Music - 2000 1-18 Music 3:45 1-19 Impressive Instant 3:38 1-20 Runaway Lover 4:47 1-21 I Deserve It 4:24 1-22 Amazing 3:43
    [Show full text]
  • Barbara Johnson Was Spread Upon the Permanent Records of the Faculty
    At a meeting of the FACULTY OF ARTS AND SCIENCES on October 6, 2015, the following tribute to the life and service of the late Barbara Johnson was spread upon the permanent records of the Faculty. BARBARA JOHNSON BORN: October 4, 1947 DIED: August 27, 2009 Barbara Johnson, a renowned thinker widely considered responsible for many of the major innovations in poststructuralism and deconstruction, started life near Cambridge, in Westwood, Massachusetts. A scholar of rare distinction from her earliest years, she was one of three Presidential Scholars from Massachusetts the year she graduated high school and went on to earn her undergraduate degree from Oberlin College in 1969 and her Ph.D. in French from Yale in 1977. At Yale Barbara’s professional rise began: she was a key member of the “Yale School” of literary theory (a group she later referred to as the “Male School”). Her thesis director was Paul de Man, whose place in the poststructuralist pantheon was secure until it wasn’t (a fall she addressed head-on in her writing). Her translations of Jacques Derrida’s work and her glosses on Lacanian psychoanalysis explicated the complexities of deconstruction for an American readership; through her grace and precision a generation of readers and critics came to understand literature as perpetually shifting ground, whose meaning could never be fixed and was always already multiple. Barbara was a professor at Harvard for 26 years in the departments of Romance Languages and Literatures, Comparative Literature, and English; in 2002, she was named the Frederic Wertham Professor of Law and Psychiatry in Society.
    [Show full text]
  • Notes and References
    Notes and References The following works by Henry James are cited directly in my text, with volume and page references in parentheses: The Novels and Tales of Henry James, vols 1-24 (New York: Scribner's, 1907-1909); vol. 25 (1917). The Complete Tales of Henry James, ed. Leon Edel, 12 vols (Philadelphia and New York: J.B. Lippincott, 1961-64). 'The Figure in the Carpet', in Stories of Writers and Artists, ed. F.O. Matthiessen (New York: New Directions, 1944). Cited parenthetically in the text as FIC The Sacred Fount, with an introductory essay by Leon Edel (London: Rupert-Hart-Davis, 1959). What Masie Knew (London: The Bodley Head, 1969). The American Scene, intro. Leon Edel (Bloomington: Indiana University Press, 1968). The Art of the Novel, ed. KP. Blackmur (New York: Charles Scribner's Sons, 1962). The Complete Notebooks of Henry James, ed. Leon Edel and Lyall H. Powers (New York, Oxford: Oxford University Press, 1987). 1 An 'Intimate Commerce with Figures': On Rereading/Rewriting Narratives 1. Andre Lefevere, 'Why Waste Our Time on Rewrites? The Trouble with Interpretation and the Role of Rewriting in an Alternative Paradigm', in The Manipulation of Literature: Studies in Literary Transla­ tion, ed. Thea Hermans (New York: St. Martin's Press, 1985), p. 216. 2. Samuel Weber, Institution and Interpretation (Minneapolis: University of Minnesota Press, 1987), p. 37. 3. Northrop Frye, 'The Survival of Eros in Poetry', in Romanticism and Contemporary Criticism, eds. Morris Eaves and Michael Fischer (Ithaca: Cornell University Press, 1986), p. 33. 4. See E.D. Hirsch, Jr., The Aims of Interpretation (Chicago: University of Chicago Press, 1976), p.
    [Show full text]
  • Misreading Hitchcock: Masked Signs in Young and Innocent Harry Sanderson University of Western Australia, Perth, [email protected]
    Cinesthesia Volume 9 Article 4 Issue 2 Cultural Touchstones April 2019 Misreading Hitchcock: Masked Signs in Young and Innocent Harry Sanderson University of Western Australia, Perth, [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/cine Recommended Citation Sanderson, Harry (2019) "Misreading Hitchcock: Masked Signs in Young and Innocent," Cinesthesia: Vol. 9 : Iss. 2 , Article 4. Available at: https://scholarworks.gvsu.edu/cine/vol9/iss2/4 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Cinesthesia by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. Sanderson: Misreading Hitchcock Misreading Hitchcock: Masked Signs in Young and Innocent I. INTRODUCTION Semiotics is in principle the discipline studying everything which can be used in order to lie Umberto Eco, Theory of Semiotics The plot of Alfred Hitchcock’s Young and Innocent (1937) is familiar, and like its title it comes to us in well-delineated, straightforward parts.1 A man is wrongly accused of a murder, and flees the authorities while trying to prove his innocence. Gradually he charms a female accomplice, and concludes by finding the true killer. Hitchcock had used this basic structure in his 1935 film The 39 Steps, and continued to develop it through to films such as North by Northwest (1959). In spite of its generic narrative and status as a minor work, however, Young and Innocent presents a deeply engaging play of signage and signification. The film has a symmetrical structure, which will dictate the structure of my reading.
    [Show full text]
  • Madonna's Postmodern Revolution
    Journal of Literature and Art Studies, January 2021, Vol. 11, No. 1, 26-32 doi: 10.17265/2159-5836/2021.01.004 D DAVID PUBLISHING The Rebel Madame: Madonna’s Postmodern Revolution Diego Santos Vieira de Jesus ESPM-Rio, Rio de Janeiro, Brazil The aim is to examine Madonna’s revolution regarding gender, sexuality, politics, and religion with the focus on her songs, videos, and live performances. The main argument indicates that Madonna has used postmodern strategies of representation to challenge the foundational truths of sex and gender, promote gender deconstruction and sexual multiplicity, create political sites of resistance, question the Catholic dissociation between the physical and the divine, and bring visual and musical influences from multiple cultures and marginalized identities. Keywords: Madonna, postmodernism, pop culture, sex, gender, sexuality, politics, religion, spirituality Introduction Madonna is not only the world’s highest earning female entertainer, but a pop culture icon. Her career is based on an overall direction that incorporates vision, customer and industry insight, leveraging competences and weaknesses, consistent implementation, and a drive towards continuous renewal. She constructed herself often rewriting her past, organized her own cult borrowing from multiple subaltern subcultures, and targeted different audiences. As a postmodern icon, Madonna also reflects social contradictions and attitudes toward sexuality and religion and addresses the complexities of race and gender. Her use of multiple media—music, concert tours, films, and videos—shows how images and symbols associated with multiracial, LGBT, and feminist groups were inserted into the mainstream. She gave voice to political interventions in mass popular culture, although many critics argue that subaltern voices were co-opted to provide maximum profit.
    [Show full text]
  • ALDEBARAN KARAOKE Catálogo De Músicas - Por Ordem De INTÉRPRETE
    ALDEBARAN KARAOKE Catálogo de Músicas - Por ordem de INTÉRPRETE 10 CC I'M NOT IN LOVE 10000 MANIACS MORE THAN THIS 2PAC DEAR MAMA 3 DOORS DOWN HERE WITHOUT YOU 4 NON BLONDES SPACEMAN 4 NON BLONDES WHAT'S UP 5 SECONDS OF SUMMER AMNESIA 5 SECONDS OF SUMMER HEARTBREAK GIRL 5 SECONDS OF SUMMER JET BLACK HEART 5 SECONDS OF SUMMER SHE LOOKS SO PERFECT 50 CENT IN DA CLUB A TASTE OF HONEY SUKIYAKI A TEENS SUPER TROUPER ABBA CHIQUITITA ABBA DANCING QUEEN ABBA FERNANDO ABBA GIMME GIMME GIMME ABBA HAPPY NEW YEAR ABBA I HAVE A DREAM ABBA KNOWING ME KNOWING YOU ABBA MAMMA MIA ABBA MONEY, MONEY, MONEY ABBA THANK YOU FOR THE MUSIC ABBA THE WINNER TAKES IT ALL AC-DC BACK IN BLACK AC-DC HIGHWAY TO HELL ACE HOW LONG ACE OF BASE ALL THAT SHE WANTS ACE OF BASE HAPPY NATION ADELE ALL I ASK ADELE CHASING PAVEMENTS ADELE DON´T YOU REMEMBER ADELE HELLO ADELE MAKE YOU FEEL MY LOVE ADELE ONE AND ONLY ADELE ROLLING IN THE DEEP ADELE SET FIRE TO THE RAIN ADELE SKYFALL ADELE SOMEONE LIKE YOU ADELE WHEN WE WERE YOUNG ADRIAN GURTVITZ CLASSIC AEROSMITH AMAZING AEROSMITH ANGEL´S EYE AEROSMITH CRAZY AEROSMITH I DON'T WANT TO MISS A THING AEROSMITH SEASONS OF WITHER AFTER THE FIRE DER KOMMISSAR A-HÁ CRYING IN THE RAIN A-HÁ HUNTING HIGH AND LOW A-HÁ TAKE ON ME A-HÁ THE SUN ALWAYS SHINES ON TV AIR SUPPLY ALL OUT OF LOVE AIR SUPPLY EVEN THE NIGHTS ARE BETTER AIR SUPPLY HERE I AM AIR SUPPLY I CAN WAIT FOREVER AIR SUPPLY JUST AS I AM AIR SUPPLY LONELY IS THE NIGHT AIR SUPPLY LOST IN LOVE AIR SUPPLY MAKING LOVE OUT OF NOTHING AT ALL AIR SUPPLY THE ONE THAT YOU LOVE AKON RIGHT
    [Show full text]
  • Madonna - 1982 - 2009 : the Lyrics Book - 1 SOMMAIRE
    Madonna - 1982 - 2009 : The Lyrics Book - www.madonnalex.net 1 SOMMAIRE P.03 P.21 P.51 P.06 P.26 P.56 P.09 P.28 P.59 P.10 P.35 P.66 P.14 P.40 P.74 P.15 P.42 P.17 P.47 Madonna - 1982 - 2009 : The Lyrics Book - www.madonnalex.net 2 ‘Cause you got the best of me Chorus: Borderline feels like I’m going to lose my mind You just keep on pushing my love over the borderline (repeat chorus again) Keep on pushing me baby Don’t you know you drive me crazy You just keep on pushing my love over the borderline Something in your eyes is makin’ such a fool of me When you hold me in your arms you love me till I just can’t see But then you let me down, when I look around, baby you just can’t be found Stop driving me away, I just wanna stay, There’s something I just got to say Just try to understand, I’ve given all I can, ‘Cause you got the best of me (chorus) Keep on pushing me baby MADONNA / Don’t you know you drive me crazy You just keep on pushing my love over the borderline THE FIRST ALBUM Look what your love has done to me 1982 Come on baby set me free You just keep on pushing my love over the borderline You cause me so much pain, I think I’m going insane What does it take to make you see? LUCKY STAR You just keep on pushing my love over the borderline written by Madonna 5:38 You must be my Lucky Star ‘Cause you shine on me wherever you are I just think of you and I start to glow BURNING UP And I need your light written by Madonna 3:45 Don’t put me off ‘cause I’m on fire And baby you know And I can’t quench my desire Don’t you know that I’m burning
    [Show full text]
  • Songs by Artist
    Sound Master Entertianment Songs by Artist smedenver.com Title Title Title .38 Special 2Pac 4 Him Caught Up In You California Love (Original Version) For Future Generations Hold On Loosely Changes 4 Non Blondes If I'd Been The One Dear Mama What's Up Rockin' Onto The Night Thugz Mansion 4 P.M. Second Chance Until The End Of Time Lay Down Your Love Wild Eyed Southern Boys 2Pac & Eminem Sukiyaki 10 Years One Day At A Time 4 Runner Beautiful 2Pac & Notorious B.I.G. Cain's Blood Through The Iris Runnin' Ripples 100 Proof Aged In Soul 3 Doors Down That Was Him (This Is Now) Somebody's Been Sleeping Away From The Sun 4 Seasons 10000 Maniacs Be Like That Rag Doll Because The Night Citizen Soldier 42nd Street Candy Everybody Wants Duck & Run 42nd Street More Than This Here Without You Lullaby Of Broadway These Are Days It's Not My Time We're In The Money Trouble Me Kryptonite 5 Stairsteps 10CC Landing In London Ooh Child Let Me Be Myself I'm Not In Love 50 Cent We Do For Love Let Me Go 21 Questions 112 Loser Disco Inferno Come See Me Road I'm On When I'm Gone In Da Club Dance With Me P.I.M.P. It's Over Now When You're Young 3 Of Hearts Wanksta Only You What Up Gangsta Arizona Rain Peaches & Cream Window Shopper Love Is Enough Right Here For You 50 Cent & Eminem 112 & Ludacris 30 Seconds To Mars Patiently Waiting Kill Hot & Wet 50 Cent & Nate Dogg 112 & Super Cat 311 21 Questions All Mixed Up Na Na Na 50 Cent & Olivia 12 Gauge Amber Beyond The Grey Sky Best Friend Dunkie Butt 5th Dimension 12 Stones Creatures (For A While) Down Aquarius (Let The Sun Shine In) Far Away First Straw AquariusLet The Sun Shine In 1910 Fruitgum Co.
    [Show full text]
  • Songs by Artist
    Songs by Artist Title Title (Hed) Planet Earth 2 Live Crew Bartender We Want Some Pussy Blackout 2 Pistols Other Side She Got It +44 You Know Me When Your Heart Stops Beating 20 Fingers 10 Years Short Dick Man Beautiful 21 Demands Through The Iris Give Me A Minute Wasteland 3 Doors Down 10,000 Maniacs Away From The Sun Because The Night Be Like That Candy Everybody Wants Behind Those Eyes More Than This Better Life, The These Are The Days Citizen Soldier Trouble Me Duck & Run 100 Proof Aged In Soul Every Time You Go Somebody's Been Sleeping Here By Me 10CC Here Without You I'm Not In Love It's Not My Time Things We Do For Love, The Kryptonite 112 Landing In London Come See Me Let Me Be Myself Cupid Let Me Go Dance With Me Live For Today Hot & Wet Loser It's Over Now Road I'm On, The Na Na Na So I Need You Peaches & Cream Train Right Here For You When I'm Gone U Already Know When You're Young 12 Gauge 3 Of Hearts Dunkie Butt Arizona Rain 12 Stones Love Is Enough Far Away 30 Seconds To Mars Way I Fell, The Closer To The Edge We Are One Kill, The 1910 Fruitgum Co. Kings And Queens 1, 2, 3 Red Light This Is War Simon Says Up In The Air (Explicit) 2 Chainz Yesterday Birthday Song (Explicit) 311 I'm Different (Explicit) All Mixed Up Spend It Amber 2 Live Crew Beyond The Grey Sky Doo Wah Diddy Creatures (For A While) Me So Horny Don't Tread On Me Song List Generator® Printed 5/12/2021 Page 1 of 334 Licensed to Chris Avis Songs by Artist Title Title 311 4Him First Straw Sacred Hideaway Hey You Where There Is Faith I'll Be Here Awhile Who You Are Love Song 5 Stairsteps, The You Wouldn't Believe O-O-H Child 38 Special 50 Cent Back Where You Belong 21 Questions Caught Up In You Baby By Me Hold On Loosely Best Friend If I'd Been The One Candy Shop Rockin' Into The Night Disco Inferno Second Chance Hustler's Ambition Teacher, Teacher If I Can't Wild-Eyed Southern Boys In Da Club 3LW Just A Lil' Bit I Do (Wanna Get Close To You) Outlaw No More (Baby I'ma Do Right) Outta Control Playas Gon' Play Outta Control (Remix Version) 3OH!3 P.I.M.P.
    [Show full text]