Let Us Know How Access to This Document Benefits You

Total Page:16

File Type:pdf, Size:1020Kb

Let Us Know How Access to This Document Benefits You Portland State University PDXScholar Dissertations and Theses Dissertations and Theses Spring 5-20-2015 Untitled Alexander Scott Dannemiller Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the Fiction Commons Let us know how access to this document benefits ou.y Recommended Citation Dannemiller, Alexander Scott, "Untitled" (2015). Dissertations and Theses. Paper 2392. https://doi.org/10.15760/etd.2389 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Untitled by Alexander Scott Dannemiller A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing Thesis Committee: Leni Zumas, Chair Dan DeWeese John Beer Portland State University 2015 i Abstract Deeply concerned with body politics, sexual slavery, identity, and technology, this work takes a serious and brutally honest route through the close perspectives of those living it moment by moment. With influences from science fiction, horror, weird, and literary fiction, the untitled novel blends genres for a disturbing account. This novel also plays with constraints in the spirit of many constraint-based writing movements, without the inclusion of names, few identifying markers, and in publication the removal of title, chapter numbers, page numbers, and author name. ii Table of Contents Abstract ................................................................................................................................ i Chapter One ........................................................................................................................ 1 Chapter Two...................................................................................................................... 19 Chapter Three.................................................................................................................... 38 Chapter Four ..................................................................................................................... 58 Chapter Five ...................................................................................................................... 77 Chapter Six........................................................................................................................ 95 Chapter Seven ................................................................................................................. 107 Chapter Eight .................................................................................................................. 119 Chapter Nine ................................................................................................................... 137 Chapter Ten ..................................................................................................................... 152 Chapter Eleven ................................................................................................................ 180 Chapter Twelve ............................................................................................................... 206 Chapter Thirteen ............................................................................................................. 232 Chapter Fourteen ............................................................................................................. 251 Chapter Fifteen................................................................................................................ 272 Chapter Sixteen ............................................................................................................... 287 Chapter Seventeen .......................................................................................................... 313 Chapter Eighteen ............................................................................................................. 331 Chapter Nineteen ............................................................................................................ 343 Chapter Twenty ............................................................................................................... 357 Chapter Twenty-One ....................................................................................................... 371 Chapter Twenty-Two ...................................................................................................... 387 Chapter Twenty-Three .................................................................................................... 403 Chapter Twenty-Four ...................................................................................................... 420 Chapter Twenty-Five ...................................................................................................... 433 Chapter Twenty-Six ........................................................................................................ 445 Chapter Twenty-Seven.................................................................................................... 452 1 Chapter One Up on the ceiling the faint orange light of the city cuts in parallel lines that clamber together when a warm breeze rattles my plastic blinds. Even at night, even with my little desk fan blowing across my body on its max setting, the end of the summer heat makes my skin sticky. My pajama shorts and the sweat-stained and tattered straps of my first bra cling tight to my body. Next to me, shoved aside in frustration, the twisted knot of sheets radiate a heat of their own. I try to ignore all this and stare up at the ceiling repeating my name aloud. Rolling the sound of it across my tongue like the billows of a long summer wind, I extend the vowels, and then shift to imitating a car alarm, a bird, or smoke detector. I say my name quick, several times in a row, making it all one long sound, exhaling and deflating my chest until I’m breathless. The fan eats my voice, blowing my name back into the room, keeping it from escaping through the black screen and out the window. If someone heard me speak my name, it would be a crime and they would come for me, and maybe my mother too, and expel us from the city. And then what? I’m not sure. I don’t know what’s outside the wall. But I continue repeating my name as I toss onto my side where the fan blows on my face. The air it presses against my skin is still warm and will stay warm until the early morning, just a few hours before the sun rises to steal the night’s chill away. I flip one way, then another, swirling in my bed like a straw. I am “stir crazy.” I laugh between the short syllables of my name. My bed springs pop with a dull bungt . One spring refuses to budge and presses against my ribs like a finger. Behind my closed eyes I repeat my name inside my head, letting my throat rest, repeating it as others count sheep. 2 Our kitchen door slams shut. The two sounds of it, from inside the house and through the window, clash together in a thud and clack . I sit up from drifting into sleep and stare at the city light outside through the fan. The slits of light vibrate in the same way dying florescent lights pulse. Their flickering almost calms me back to bed. My mother has left again, or returned, it’s hard to say which from the door alone. I stand and walk into the hall. From somewhere down the stairs a single light tinges the darkness with an amber glow. A ghost pattern, the remnants of the light through my blinds, lingers somewhere behind my eyes, leaving prints of itself everywhere I look. On my way down the hall I glance into my mother’s room and see that it’s empty. Her blinds left open, leaving the city glow to square across her bed with its sheets peeled back, one corner dog-eared. It doesn’t surprise me. All summer she’s left like this, through the back door in the middle of the night. I’ve watched her dark shape disappear around the house, listened as she opened the backyard gate and closed it behind her. She leaves for several hours and sometimes I fall asleep before she comes back. In the kitchen all the lights are on. Her mask hangs from the hook next to my cloak and mask. On the counter her pack of cigarettes sit opened. At the kitchen door I cup my hands around my eyes, the double image of my reflection in the glass does the same, and wait for them to adjust to the darkness. In the black, a dull red light blinks on and off from on top the wall that reaches far above our fence and surrounds the city, the wall itself now hidden by night. She’s out there in the back yard, walking around the edge of the grass, following the perfect lines of our two-story fence and flowerbeds at her feet. Back and forth in the shadow that is her hand swings the glowing end of a cigarette. I step back from the door when she starts to turn. My white bra and shorts glow in the glass 3 reflection. The rest of my body nearly disappears as I step farther and farther away. Under my feet the linoleum tile of the kitchen is warm. When I reach the carpet I turn. The door opens behind me. Even if I ran now she’d know I was up and then she’d come to my room and ask what I was doing. So I stop. She takes off her cloak and hangs it, lifting the mask, and then putting it back down on top of the cloak. Her shoes are already off. I didn’t notice them there, next to mine, but they sit in a perfect line. She’s wearing tan mid-thigh shorts
Recommended publications
  • Oral History Interview with Ann Wilson, 2009 April 19-2010 July 12
    Oral history interview with Ann Wilson, 2009 April 19-2010 July 12 Funding for this interview was provided by the Terra Foundation for American Art. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Ann Wilson on 2009 April 19-2010 July 12. The interview took place at Wilson's home in Valatie, New York, and was conducted by Jonathan Katz for the Archives of American Art, Smithsonian Institution. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview ANN WILSON: [In progress] "—happened as if it didn't come out of himself and his fixation but merged. It came to itself and is for this moment without him or her, not brought about by him or her but is itself and in this sudden seeing of itself, we make the final choice. What if it has come to be without external to us and what we read it to be then and heighten it toward that reading? If we were to leave it alone at this point of itself, our eyes aging would no longer be able to see it. External and forget the internal ordering that brought it about and without the final decision of what that ordering was about and our emphasis of it, other eyes would miss the chosen point and feel the lack of emphasis.
    [Show full text]
  • Detective Special Agent = DET. =SA Assistant
    Detective = DET. Special Agent =SA Assistant Prosecuting Attorney =APA Unknown Male One= UM1 Unknown Male Two- UM2 Unknown Female= UF Tommy Sotomayor= SOTOMAYOR Ul =Unintelligible DET. Today is Thursday, November 6, 2014 and the time is 12:10 p.m. This is Detective with the St. Louis County Police Department's Bureau of Crimes Against Persons, . I'm here in a conference room, in the Saint Louis County Prosecuting Attorney's Office, with a, Special Agent, Special Agent of the F.B.I., and also present in the room is ... Sir, would you say your name for the recorder please? DET. Okay, and it's is that correct? That's correct. DET. Okay ... and what is your date of birth, ? DET. ...and your home address? DET. And do you work at all? DET. Do not. DET. Okay ... and what is your cell phone? What is my what now? DET. Cell phone? Number? DET. Yes Sir. DET. Okay and, a, did you say an apartment number with that? DET okay. mm hmm. DET. So ... you came down here, a, to the Prosecuting Attorney's Office, because you received a Grand Jury Subpoena, is that correct? That is correct. DET Okay and you received that Grand Jury Subpoena a few days ago? Yes. DET. Okay ... and since then, you had a conversation with a, at least one of the Prosecutors here, explaining to you that they would like you to come down to the office today, is that correct? Yes. DET. Okay, uhh ... having said that, a, I think your attendance at the Grand Jury will be later on this afternoon, or, or in a little bit here.
    [Show full text]
  • The Career of John Jacob Niles: a Study in the Intersection of Elite, Traditional, and Popular Musical Performance
    The Kentucky Review Volume 12 Article 2 Number 1 Double Issue of v. 12, no. 1/2 Fall 1993 The aC reer of John Jacob Niles: A Study in the Intersection of Elite, Traditional, and Popular Musical Performance Ron Pen University of Kentucky, [email protected] Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the Music Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Pen, Ron (1993) "The aC reer of John Jacob Niles: A Study in the Intersection of Elite, Traditional, and Popular Musical Performance," The Kentucky Review: Vol. 12 : No. 1 , Article 2. Available at: https://uknowledge.uky.edu/kentucky-review/vol12/iss1/2 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. The Career of John Jacob Niles: a Study in the Intersection of Elite, Traditional, and Popular Musical Performance Ron Pen As a young and naive doctoral student, I approached my folklore professor with a dissertation proposal. Quivering with trepidation, I informed him that I intended to provide an initial biography and works of the composer and balladeer John Jacob Niles. The folklorist cast a bemused glance over his tortoise shell glasses and said: "He was a fraud. You realize, of course, that no folklorist would write his obituary." Years later, with the dissertation nestled securely on the library shelves, I recalled this conversation and attempted to reconcile my understanding of John Jacob Niles's career with the folklorist's accusation.
    [Show full text]
  • Experiences of Millennials' Usage of the Cassette Tape As Music Media
    Play, Rewind, Play Again: Experiences of Millennials’ Usage of the Cassette Tape as Music Media Waleed Rashidi California State University, Fullerton This paper was presented at the 2018 International Summit of the Music & Entertainment Industry Educators Association March 22-24, 2018 https://doi.org/10.25101/18.23 This project was funded by a MEIEA research grant. Abstract Cassette tape purchases in the United States increased Introduction 35% from 2016 to 2017, with 174,000 units sold in 2017 In 2014, Hollywood Records released one of the most (Caulfield 2018). New titles from contemporary artists and popular cassette-based soundtrack albums within the past reissues of classic albums are currently being released on decade. The tape was a soundtrack for Guardians of the cassette, with teens and young adults as some of the recent Galaxy, a film which grossed approximately $773 million users of the analog technology. worldwide (Box Office Mojo, n.d.). Dubbed Awesome Mix This exploratory qualitative study’s purpose is to de- Vol. 1, the compilation included classic tracks by popular scribe and categorize the experiences of millennials’ recent artists of the 1970s and 1980s, including the Jackson 5, Da- purchases and playing of cassette tapes via a presentation vid Bowie, The Raspberries, The Runaways, and Marvin of themes derived from multiple in-depth interviews. The Gaye. Another cassette compilation from the film, Cosmic study offers insight on how some millennials purchase cas- Mix Vol. 1, was released less than a year later with music settes, where and how they play their cassettes, and the at- from artists of similar eras.
    [Show full text]
  • Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge
    Centre for Research in the Arts, Social Sciences and Humanities Cinematic Urban Geographies Thursday 3 - Friday 4 October 2013 at CRASSH · Alison Richard Building · 7 West Road · Cambridge Invited speakers CHARLOTTE BRUNSDON (Film Studies, University of Warwick) TERESA CASTRO (Universite Sorbonne Nouvelle - Paris 3) RICHARD COYNE (Architectural Computing, Edinburgh College of Art), ROLAND-FRANÇOIS LACK and (French Studies, UCL) STEVE PILE (Human Geography, The Open University) ANDREW PRESCOTT (Digital Humanities, King’s College London) MARK SHIEL (Film Studies, King’s College London) PETER VON BAGH (Film Historian and Director, Helsinki) Conveners FRANÇOIS PENZ (University of Cambridge) RICHARD KOECK (University of Liverpool) ANDREW SAINT (English Heritage) CHRIS SPEED (Edinburgh College of Art) www.crassh.cam.ac.uk/events/2473 Battersea Power Station and Nine Elms, 1966, Aerofilms Collection, English Heritatge 1966, Aerofilms and Nine Station Elms, Power Battersea Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) Acknowledgements Supported by the Centre for Research in the Arts, Humanities and Social Sciences (CRASSH), the Architecture Department, both at the University of Cambridge and the Arts and Humanities Research Council (AHRC). Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) | Alison Richard Building | 7 West Road Cambridge CB3 9DT | UK | www.crassh.cam.ac.uk Cinematic Urban Geographies Cinematic Urban Geographies 3 & 4 October 2013 at CRASSH (SG1&2) Conveners François Penz (Architecture Department, University of Cambridge) Co-Conveners Richard Koeck (School of Architecture, University of Liverpool) Chris Speed (Edinburgh College of Art) Andrew Saint (English Heritage) Summary The Cinematic Urban Geographies conference aims to explore the di!erent facets by which cinema and the moving image contribute to our understanding of cities and their topographies.
    [Show full text]
  • Alex Toys Magnetic Letters
    Alex Toys Magnetic Letters notLowse dash and enough, well-coupled is Barclay Kimball cracking? never Odontophoroustrot below when andCreighton double-spaced eavesdropped Conrad his never Renoir. sinning When his Ethelbert Aldebaran! containerizes his yelps hire Alex Artist Studio Magnetic Letters Kids Art american Craft Fruugo. If you can i will ban accounts and toys. Colorful foam letters come in drainable mesh area that can suction to thick wet he or tiles. These colorful toys are fifty two interchangeable parts, allowing for different fix and texture combos and stream patterns. When you for future purchase it back to get my seller offers replacement only problem i have no. All logos, trademarks, brands, names and contents belong to there respective owners. You children be prompted to waste an advance payment to spoil the rim on Delivery order. Magnetic letters come in a and of sizes, materials and colors. DOM element of main suspect we need any swap. Online Markdown Feed arm the most extensive list are recent online markdowns across the web. While desertcart makes reasonable efforts to dream show products available with your kid, some items may be cancelled if minor are prohibited for import in Pakistan. This plunge is automatic. There seat no user reviews yet. Reading & Writing Alex Toys Artist Studio Magnetic Letters. Turns out, then can lavish on a classic. Introduce children to discover multiple colors are the letters for quality and tell us as your order than expected as we use cookies do not. You rated this product! We review News heard the writing and Psycho Goreman plus we also important the Godzilla vs.
    [Show full text]
  • Hello, Hatchlings Families! a Few Reminders
    SESSION 3 LCCOOM EEL MEE WW Hello, Hatchlings Families! A few reminders Unexpected Calm down Respect is expected without the crowd baby’s rest Hands on Stay Engaged; exploration Silence phones Let’s go around and introduce ourselves! 1 Smile, talk, sing, share books and play with your baby. Early speech and language skills are associated with success in developing reading, writing, and social skills, in childhood and later in life. Talk, Sing, Share Books & Play. Can You Clap With Two Hands? “Mirror” the faces your baby makes, clap when your RHYME baby claps. Old Mother Goose when she wanted to wander, would fly through the air on a very fine gander. 2 There are many ways to read a story... k about wh up sto al at ke ri T you see. a es M . Once Upon a 1 3 Time 2 4 C ou t’s nt wha . in s the picture And even sing to any tune you like or make up a song! There are Bubbles in the Air Try chanting! “You can do it!” Babies’ brains learn best when you talk directly to them, not by listening to the television. Books Away 3 Name the parts of your baby’s face and talk about the faces they’re making. Who’s That Tapping on my Shoulder & Two Little Eyes to Look Around Two little eyes to look around, Two little ears to hear a sound. One little nose to smell what’s sweet... (take a deep smell) And one little mouth that likes to eat! (mmmmmmm) Use words to describe how you think your baby is feeling.
    [Show full text]
  • MUSIC BUSINESS and STUDIO RECORDING
    ROB FREEMAN TITLEWAVE PRODUCTIONS, Inc. email: [email protected] www.titlewaveproductions.com MUSIC BUSINESS and STUDIO RECORDING PRODUCTION w/RECORDING and MIXING CREDITS (Partial List) Go-Go's* “Beauty and the Beat” IRS Records ^†º • Double Platinum No.1 LP “We Got the Beat” IRS Records • Gold No. 2 Single “Our Lips are Sealed” IRS Records Top 10 Single Twisted Sister “Bad Boys of Rock n' Roll” TSR Records Debut Single Gregg Swann “Dizzy at the Door” Dalin Records R&R Chart Top 20 Tim Moore “Flash Forward” Elektra LP “Yes” (Single) Top Tapes Records No.1 Brazil/Portugal Single Bullet Theory “Single Bullet Theory” Nemperor Billboard Chart LP “Keep it Tight” Nemperor Top 100 Single Larry Gowan “Gowan” Columbia Canadian Chart LP Queen City Kids “Black Box” Epic Canadian Chart LP Regina “Deep Dreamin'” Johnny Apollo EP Allen Robin “Thank You Mr. President” Columbia Comedy LP Surgin' “When Midnight Comes” EMI Records UK Import Chart LP Kevin Sepe “On the Dance Floor” Domain Records 12” Single Jailbait “(Let Me) Be the One” Atlantic Records Billboard 12” Chart RECORDING and/or MIXING CREDITS (Partial List) Kiss “Ace Frehley” Casablanca †• Platinum LP “New York Groove” Top 10 Single “Music from THE ELDER” Casablanca Billboard Chart LP “Lick it Up” Mercury Billboard Chart LP Abba “Can't Shake Loose” Polygram Top 30 Single Blondie “Blondie” Chrysalis ¥ Gold LP “Plastic Letters” Chrysalis ¥ Gold LP “Best of Blondie” Chrysalis † • 4/12 on Platinum LP The Ramones “Ramones” Sire Billboard Chart LP “Ramones Mania” Rhino • 3/30 on Gold
    [Show full text]
  • "Rip Her to Shreds": Women's Musk According to a Butch-Femme Aesthetic
    "Rip Her to Shreds": Women's Musk According to a Butch-Femme Aesthetic Judith A, Peraino "Rip Her to Shreds" is the tide of a song recorded in 1977 by the rock group Blondie; a song in which the female singer cat­ tily criticizes another woman. It begins with the female "speak­ er" addressing other members of her clique by calling attention to a woman who obviously stands outside the group. The lis­ tener likewise becomes a member of the clique, forced to par­ ticipate tacitly in the act of criticism. Every stanza of merciless defamation is articulated by a group of voices who shout a cho­ rus of agreement, enticing the listener to join the fray. (spoken! Hey, psf pst, here she comes !lOW. Ah, you know her, would YOIl look ollhlll hair, Yah, YOIl know her, check out Ihose shoes, A version of this paper was read at the conference "Feminist Theory and Music: Toward a Common Language," Minneapolis, MN, June 1991. If) 20 Peraino Rip Her to Shreds She looked like she stepped out in the middle of somebody's cruise. She looks like the Su nday comics, She thinks she's Brenda Starr, Her nose·job is real atomic, All she needs is an old knife scar. CHORUS: (group) 00, she's so dull, (solo) come on rip her to shreds, (group) She's so dull, (solo) come on rip her to shreds.! In contrast to the backstabbing female which the Blondie song presents, so-called "women's music" emphasizes solidarity and affection between women, and reserves its critical barbs for men and patriarchal society.
    [Show full text]
  • NIC and VIV's COMPULSORY COURTSHIP Will Mcintosh
    NIC AND VIV'S COMPULSORY COURTSHIP Will McIntosh Will McIntosh (@willmcintoshSF and http://www.willmcin - tosh.net) lives in Williamsburg, Virginia, with his wife and their twins. The author was a psychology professor before turning to writ ing full time. He is a Hugo award winner and finalist for the Nebula and other SF/F awards. Will has published eight novels and around fifty short stories—in Asimov’s (where he won Reader’s Awards in 2010 and 2013), Lightspeed, Science Fiction and Fantasy: Best of the Year, and elsewhere. In his new story, Will explores the complications that may arise as humans and AIs learn to live together. One From across Viv’s dining table on the thirty-ninth floor of Lavender Tower, Ferruki raised his wine glass and said, “Here’s to living in one of the best places on Earth, during one of the best times, and sharing it with the perfect woman.” Viv clinked his glass and took a sip. “I love that you add those qualifiers. One of the best places. It drives me crazy when people say things like, ‘She’s the greatest singer who ever lived.’ Really? The greatest who ever lived? And you listened to recordings of every singer in the history of the world to reach that conclusion?” Viv raised a finger. “Except you didn’t qualify me . You should have said ‘sharing it with one of the best women,’ or something like that.” “That’s true,” Ferruki said. “I love how clear-eyed you are in approaching this rela - tionship.
    [Show full text]
  • Karaoke Book
    10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO.
    [Show full text]
  • Songs by Title
    Karaoke Song Book Songs by Title Title Artist Title Artist #1 Nelly 18 And Life Skid Row #1 Crush Garbage 18 'til I Die Adams, Bryan #Dream Lennon, John 18 Yellow Roses Darin, Bobby (doo Wop) That Thing Parody 19 2000 Gorillaz (I Hate) Everything About You Three Days Grace 19 2000 Gorrilaz (I Would Do) Anything For Love Meatloaf 19 Somethin' Mark Wills (If You're Not In It For Love) I'm Outta Here Twain, Shania 19 Somethin' Wills, Mark (I'm Not Your) Steppin' Stone Monkees, The 19 SOMETHING WILLS,MARK (Now & Then) There's A Fool Such As I Presley, Elvis 192000 Gorillaz (Our Love) Don't Throw It All Away Andy Gibb 1969 Stegall, Keith (Sitting On The) Dock Of The Bay Redding, Otis 1979 Smashing Pumpkins (Theme From) The Monkees Monkees, The 1982 Randy Travis (you Drive Me) Crazy Britney Spears 1982 Travis, Randy (Your Love Has Lifted Me) Higher And Higher Coolidge, Rita 1985 BOWLING FOR SOUP 03 Bonnie & Clyde Jay Z & Beyonce 1985 Bowling For Soup 03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 BOWLING FOR SOUP '03 Bonnie & Clyde Jay Z & Beyonce Knowles 1985 Bowling For Soup 03 Bonnie And Clyde Jay Z & Beyonce 1999 Prince 1 2 3 Estefan, Gloria 1999 Prince & Revolution 1 Thing Amerie 1999 Wilkinsons, The 1, 2, 3, 4, Sumpin' New Coolio 19Th Nervous Breakdown Rolling Stones, The 1,2 STEP CIARA & M. ELLIOTT 2 Become 1 Jewel 10 Days Late Third Eye Blind 2 Become 1 Spice Girls 10 Min Sorry We've Stopped Taking Requests 2 Become 1 Spice Girls, The 10 Min The Karaoke Show Is Over 2 Become One SPICE GIRLS 10 Min Welcome To Karaoke Show 2 Faced Louise 10 Out Of 10 Louchie Lou 2 Find U Jewel 10 Rounds With Jose Cuervo Byrd, Tracy 2 For The Show Trooper 10 Seconds Down Sugar Ray 2 Legit 2 Quit Hammer, M.C.
    [Show full text]