Cyrus Saladin Ming

Pop Song 534 of 1000 We just disagree' Dave Mason 1977 Watch Dave Mason Live https://www.youtube.com/watch?v=p8_FOQ7-P30 [Verse 1] Been away, haven't seen you in a while How've you been, have you changed your style? And do you think that we've grown up differently? Don't seem the same, seems you've lost your feel for me [Chorus] So let's leave it alone, 'cause we can't see eye to eye There ain't no good guy, there ain't no bad guy There's only you and me and we just disagree Ooh-hoo-hoo, oh-oh-ho [Verse 2] I'm going back to a place that's far away How bout you, have you got a place to stay? Why should I care when I'm just trying to get along? We were friends, but now it's the end of our love song [Chorus] So let's leave it alone, 'cause we can't see eye to eye There ain't no good guy, there ain't no bad guy There's only you and me and we just disagree Ooh-hoo-hoo, oh-oh-ho [Chorus] So let's leave it alone, 'cause we can't see eye to eye There ain't no good guy, there ain't no bad guy There's only you and me and we just disagree Ooh-hoo-hoo, oh, oh-oh-ho

Pop Song 533 of 1000 'Crazy' Gnarls Barkley 2005 MV https://www.youtube.com/watch?v=-N4jf6rtyuw Watch them live! https://www.youtube.com/watch?v=WOjFhKg4h3s Musically, "Crazy" was inspired by film scores of Spaghetti Westerns, in particular by the works of Ennio Morricone, and the song "Last Men Standing" by Gian Piero Reverberi and Gian Franco Reverberi from the 1968 Spaghetti Western Django, Prepare a Coffin, an unofficial prequel to Django. "Crazy" samples the song, and also utilizes parts of the main melody and chord structure.[6] Because of this, the Reverberis are credited as songwriters along with CeeLo Green and Danger Mouse. The lyrics for the song developed out of a conversation between Danger Mouse and Green. According to Danger Mouse, "I somehow got off on this tangent about how people won't take an artist seriously unless they're insane... So we started jokingly discussing ways in which we could make people think we were crazy... CeeLo took that conversation and made it into 'Crazy', which we recorded in one take. I remember when I remember, I remember when I lost my mind There was something so pleasant about that place Even your emotions have an echo in so much space And when you're out there without care Yeah, I was out of touch But it wasn't because I didn't know enough I just knew too much Does that make me crazy? Does that make me crazy? Does that make me crazy? Possibly And I hope that you are having the time of your life But think twice, that's my only advice Come on now, who do you, who do you, who do you Who do you think you are Ha ha ha, bless your soul You really think you're in control I think you're crazy I think you're crazy I think you're crazy Just like me My heroes had the heart to lose their lives out on the limb And all I remember is thinking I want to be like them Ever since I was little Ever since I was little it looked like fun And it's no coincidence I've come And I can die when I'm done But maybe I'm crazy Maybe you're crazy Maybe we're crazy Probably

Pop Song 532 of 1000 'Killing me softly' Lori Lieberman covered by Roberta Flack 1971 Watch MV https://www.youtube.com/watch?v=mrudT410TAI In November 1971, Lieberman, then 20, went out with her friend Michele Willens (daughter of millionaire Harold Willens) to see Don McLean perform at the Troubadour nightclub in Los Angeles.[1] McLean's hit song "American Pie" was rising in the charts, but Lieberman was strongly affected by McLean singing another song: "Empty Chairs".[7][8] This song spurred her to write poetic notes on a paper napkin while he was performing the song.[9] Willens confirms that Lieberman was "scribbling notes" on a napkin as soon as McLean began singing the song. After the concert, Lieberman phoned Gimbel to read him her napkin notes and share her experience of a singer reaching deep inside her world with his song.[1] Lieberman's description reminded Gimbel of a song title that was already in his idea notebook, the title "killing us softly with some blues".[10] Gimbel expanded on Lieberman's notes, fleshing them out into song lyrics. Gimbel said in 1973 that "Her conversation fed me, inspired me, gave me some language and a choice of words."[1] Gimbel passed these lyrics to Fox, who set them to music Strumming my pain with his fingers Singing my life with his words Killing me softly with his song Killing me softly with his song Telling my whole life with his words Killing me softly with his song I heard he sang a good song, I heard he had a style And so I came to see him, To listen for a while And there he was this young boy, A stranger to my eyes Strumming my pain with his fingers Singing my life with his words Killing me softly with his song Killing me softly with his song

Pop Song 531 of 1000 'Heart-Shaped Box' Nirvana 1993 Please watch the MV https://www.youtube.com/watch?v=n6P0SitRwy8 Please watch Nirvana live https://www.youtube.com/watch?v=92fK3K8nagk In the 1993 Nirvana biography Come As You Are: The Story of Nirvana, Cobain told author Michael Azerrad that "Heart-Shaped Box" was written about children with cancer. "Every time I see documentaries about little kids with cancer I just freak out", he explained. "It affects me on the highest emotional level, more than anything else on television."[2] As Azerrad noted, however, the song's lyrics were more likely about Love. Charles R. Cross, author of the 2001 Cobain biography Heavier Than Heaven, described the lyric, "I wish I could eat your cancer when you turn black" as "what has to be the most convoluted route any songwriter undertook in pop history to say 'I love you'".[14] Garr wrote that "while the song does reference [cancer], the lyrics appear more to address the physical and emotional dependencies inherent in relationships."[13] Cobain's unused liner notes for In Utero, first described in Heavier Than Heaven and published in Journals the following year, featured an explanation for "Heart-Shaped Box" that "fell completely apart", according to Cross, "but touched on The Wizard of Oz, 'I Claudius', Leonardo da Vinci, male seahorses (who carry their young), racism in the Old West, and Camille Paglia".[14] The song's title was inspired by the collection of heart-shaped candy boxes Love kept in the front room of the Fairfax apartment she and Cobain lived in.[2] However, early versions of the song featured the word "coffin" rather than "box". According to Bailey, the song also featured the working title "New Complaint."[15] In a 1993 interview with Circus, Cobain explained that the chorus lyrics "Hey/ Wait/ I've got a new complaint" were a reference to how he believed he was often perceived by the media. She eyes me like a Pisces when I am weak I've been locked inside your heart-shaped box for weeks I've been drawn into your magnet tar pit trap I wish I could eat your cancer when you turn black Hey! Wait! I've got a new complaint Forever in debt to your priceless advice Hey! Wait! I've got a new complaint Forever in debt to your priceless advice Hey! Wait! I've got a new complaint Forever in debt to your priceless advice Your advice Meat-eating orchids forgive no one just yet Cut myself on angel hair and baby's breath Broken hymen of Your Highness, I'm left black Throw down your umbilical noose so I can climb right back Hey! Wait! I've got a new complaint Forever in debt to your priceless advice Hey! Wait! I've got a new complaint Forever in debt to your priceless advice Hey! Wait! I've got a new complaint Forever in debt to your priceless advice Your advice She eyes me like a Pisces when I am weak I've been locked inside your heart-shaped box for weeks I've been drawn into your magnet tar pit trap I wish I could eat your cancer when you turn black

Pop Song 530 of 1000 'Where the streets have no name' U2 1987 Please watch https://www.youtube.com/watch?v=GzZWSrr5wFI The lyrics were inspired by a story that Bono heard about Belfast, Northern Ireland, where a person's religion and income were evident by the street on which they lived.[13] He contrasted this with the anonymity he felt when visiting Ethiopia, saying: "the guy in the song recognizes this contrast and thinks about a world where there aren't such divisions, a place where the streets have no name. To me, that's the way a great rock 'n' roll concert should be: a place where everyone comes together... Maybe that's the dream of all art: to break down the barriers and the divisions between people and touch upon the things that matter the most to us all."[14] Bono wrote the lyrics while on a humanitarian visit to Ethiopia with his wife, Ali; he first wrote them down on an airsickness bag while staying in a village.[15] According to him, the song is ostensibly about "Transcendence, elevation, whatever you want to call it."[16] Bono, who compared many of his lyrics prior to The Joshua Tree to "sketches", said that "'Where the Streets Have No Name' is more like the U2 of old than any of the other songs on the LP, because it's a sketch—I was just trying to sketch a location, maybe a spiritual location, maybe a romantic location. I was trying to sketch a feeling." I wanna run, I want to hide I wanna tear down the walls That hold me inside I wanna reach out And touch the flame Where the streets have no name I wanna feel sunlight on my face I see the dust-cloud Disappear without a trace I wanna take shelter From the poison rain Where the streets have no name Where the streets have no name Where the streets have no name We're still building and burning down love Burning down love And when I go there I go there with you (It's all I can do) The city's a flood, and our love turns to rust We're beaten and blown by the wind Trampled in dust I'll show you a place High on a desert plain Where the streets have no name Where the streets have no name Where the streets have no name We're still building and burning down love Burning down love And when I go there I go there with you (It's all I can do) Our love turns to rust We're beaten and blown by the wind, blown by the wind Oh, and I see love See our love turn to rust And we're beaten and blown by the wind, blown by the wind Oh when I go there I go there with you (It's all I can do)

Merry Christmas Everyone! God bless us all!

Pop Song 529 of 1000 'Black Betty' Ram Jam 1977 version, Lead Belly 1939 Watch the MV https://www.youtube.com/watch?v=I_2D8Eo15wE "Black Betty" (Roud 11668) is a 20th-century African-American work song often credited to Huddie "Lead Belly" Ledbetter as the author, though the earliest recordings are not by him. Some sources say it is one of Lead Belly's many adaptations of earlier folk material The origin and meaning of the lyrics are subject to debate. Historically, the "Black Betty" of the title may refer to the nickname given to a number of objects: a bottle of whiskey, a whip, or a penitentiary transfer wagon. David Hackett Fischer, in his book Albion's Seed: Four British Folkways in America (Oxford University Press, 1989), states that "Black Betty" was a common term for a bottle of whisky in the borderlands between northern England and southern Scotland; it later became a euphemism in the backcountry areas of the eastern United States. In January 1736, Benjamin Franklin published The Drinker's Dictionary in the Pennsylvania Gazette offering 228 round-about phrases for being drunk. One of those phrases is "He's kiss'd black Betty."[2][3] Other sources give the meaning of "Black Betty" in the United States (from at least 1827) as a liquor bottle In Caldwells's Illustrated Combination Centennial Atlas of Washington Co. Pennsylvania of 1876, a short section describes wedding ceremonies and marriage customs, including a wedding tradition where two young men from the bridegroom procession were challenged to run for a bottle of whiskey. This challenge was usually given when the bridegroom party was about a mile from the destination-home where the ceremony was to be had. Upon securing the prize, referred to as "Black Betty", the winner of the race would bring the bottle back to the bridegroom and his party. The whiskey was offered to the bridegroom first and then successively to each of the groom's friends.[6] John A. and Alan Lomax's 1934 book, American Ballads and Folk Songs describes the origins of "Black Betty": "Black Betty is not another Frankie, nor yet a two-timing woman that a man can moan his blues about. She is the whip that was and is used in some Southern prisons. A convict on the Darrington State Farm in Texas, where, by the way, whipping has been practically discontinued, laughed at Black Betty and mimicked her conversation in the following song." (In the text, the music notation and lyrics follow.) — Lomax, John A. and Alan Lomax, American Ballads and Folk Songs. John Lomax also interviewed blues musician James Baker (better known as "Iron Head") in 1934, almost one year after Iron Head performed the first known recorded performance of the song.[7] In the resulting article for Musical Quarterly, titled "'Sinful Songs' of the Southern Negro", Lomax again mentions the nickname of the bullwhip is "Black Betty".[8] Steven Cornelius in his book, Music of the Civil War Era, states in a section concerning folk music following the war's end that "prisoners sang of 'Black Betty', the driver's whip."[9] In an interview conducted by Alan Lomax with former Texas penal farm prisoner Doc "Big Head" Reese, Reese stated that the term "Black Betty" was used by prisoners to refer to the "Black Maria" — the penitentiary transfer wagon. Whoa, Black Betty (Bam-ba-lam) Black Betty had a child (Bam-ba-lam) The damn thing gone wild (Bam-ba-lam) She said, "I'm worryin' outta mind" (Bam-ba-lam) The damn thing gone blind (Bam-ba-lam) I said oh, Black Betty (Bam-ba-lam) Whoa, Black Betty (Bam-ba-lam) Whoa, Black Betty (Bam-ba-lam) Whoa, Black Betty (Bam-ba-lam) She really gets me high (Bam-ba-lam) You know that's no lie (Bam-ba-lam) She's so rock steady (Bam-ba-lam) And she's always ready (Bam-ba-lam) Whoa, Black Betty (Bam-ba-lam) Whoa, Black Betty (Bam-ba-lam) Get it! Whoa, Black Betty (Bam-ba-lam) Whoa, Black Betty (Bam-ba-lam) She's from Birmingham (Bam-ba-lam) Way down in Alabam' (Bam-ba-lam) Well, she's shakin' that thing (Bam-ba-lam) Boy, she makes me sing (Bam-ba-lam) Whoa, Black Betty (Bam-ba-lam) Whoa, Black Betty Bam-ba-laaam, yeah, yeah

Pop Song 528 of 1000 'Play that funky music' Wild Cherry 1976 Watch https://www.youtube.com/watch?v=BHcYFxU4fMo Wild Cherry was a hard rock cover band, but with the advent and popularity of the disco era, it began to be difficult to get bookings because audiences wanted to dance. Parissi told the band that if they wanted to get bookings, they were going to have to start to include dance tunes in their sets, but the band resisted becoming a disco band. While playing at the 2001 Club on the North Side of Pittsburgh to a predominantly black audience, a patron said to band member Beitle during a break, "Are you going to play some funky music, white boys?" Parissi grabbed a pen and order pad and wrote the song in about five minutes. The lyrics literally describe the predicament of a hard rock band adjusting to the disco era. Hey, once I was a boogie singer Playing in a rock 'n' roll band I never had no problems, yeah Burning down the one-night stands Then everything around me, yeah It got to start to feeling so low And I decided quickly, yes, I did, heh To disco down and check out the show Yeah, they were dancing and singing And moving to the grooving And just when it hit me Somebody turned around and shouted... "Play that funky music, white boy Play that funky music right Play that funky music, white boy Lay down the boogie and play that funky music 'til you die" (heh, heh) 'Til you die, yeah, uh Here, here, ha Well, I tried to understand this (yeah) Heh, I thought that they were out of their minds How could I be so foolish? How could I? To not see I was the one behind? So still I kept on fighting Well, losing every step of the way (hey, what'd you do?) I said, "I must go back there," I got to go back And check to see if things still the same Yeah, they were dancing and singing And moving to the grooving And just when it hit me Somebody turned around and shouted...

Live Performance 'We've Got Tonight' Bob Seger 1978 Please watch young Bob Seger Live https://www.youtube.com/watch?v=HCBhN4LIyXQ Please watch old Bob Seger Live! https://www.youtube.com/watch?v=rbIYXgMlQDk Anna Lam Winter Recital Two lonely people who aren't right for each other but will do for one night. Seger wrote the song after seeing the movie The Sting, starring Robert Redford and Paul Newman. In the film, there's scene where Redford puts the moves on a waitress, who says, "I don't even know you." He replies: "You know me. I'm the same as you. It's two in the morning and I don't know nobody." "That just hit me real hard," Seger told the Detroit Free Press in 1994. "The next day I wrote 'We've Got Tonight,' this song about two people who say 'I'm tired. It's late at night. I know you don't really dig me, and I don't really dig you, but this is all we've got, so let's do it. I know it's late, I know you're weary I know your plans don't include me Still here we are, both of us lonely Longing for shelter from all that we see Why should we worry? No one will care, girl Look at the stars so far away We've got tonight Who needs tomorrow? We've got tonight, babe Why don't you stay? Deep in my soul, I've been so lonely All of my hopes fading away I've longed for love like everyone else does I know I'll keep searchin' even after today So there it is girl, I've said it all now And here we are babe, what do you say? We've got tonight Who needs tomorrow? We've got tonight, babe Why don't you stay? I know it's late I know you're weary (weary) Ooh, I know your plans don't include me Still here we are both of us lonely (lonely) Both of us lonely (lonely) We've got tonight (we've got tonight) Who needs tomorrow? Let's make it last Let's find a way Turn out the light (turn out the light) Come take my hand now We've got tonight, babe Why don't you stay? We've got tonight Who needs tomorrow? Let's make it last Let's find a way Turn out the light Come take my hand now We've got tonight, babe Why don't you stay? Oh, we've got tonight (we've got tonight) Who needs tomorrow? Let's make it last Let's find a way Turn out the light (turn out the light) Come take my hand now We've got tonight, babe Why don't you stay? Oh-oh, oh, why don't you stay?

Pop Song 527 of 1000 'Man in the box' Alice in Chains 1991 Watch the MV https://www.youtube.com/watch?v=TAqZb52sgpU In a 1992 interview with Rolling Stone, Layne Staley explained the origins of the song's lyrics: I started writing about censorship. Around the same time, we went out for dinner with some Columbia Records people who were vegetarians. They told me how veal was made from calves raised in these small boxes, and that image stuck in my head. So I went home and wrote about government censorship and eating meat as seen through the eyes of a doomed calf.[11] Jerry Cantrell said of the song: But what it's basically about is, is how government and media control the public's perception of events in the world or whatever, and they build you into a box by feeding it to you in your home, ya know. And it's just about breaking out of that box and looking outside of that box that has been built for you. I'm the man in the box Buried in my shit Won't you come and save me? Save me Feed my eyes (Can you sew them shut?) Jesus Christ (Deny your maker) He who tries (Will be wasted) Oh, feed my eyes (Now you've sewn them) shut I'm the dog who gets beat Shove my nose in shit Won't you come and save me? Save me Feed my eyes (Can you sew them shut?)

Pop Song 525 of 1000 'If' Bread 1971 Watch their performance https://www.youtube.com/watch?v=IQyKMueMFGk The narrator expresses a desire to capture the beloved in a painting to show the beauty of the relationship, to be with them in two places at once, and to be with them through the end of the world. Thus, the song underscores the emotional intensity of the relationship, and the commitment to remain connected for eternity. The chorus is particularly powerful in emphasizing the narrator's vow to stay together forever, suggesting that their love can outlast even death. If a picture paints a thousand words Then why can't I paint you? The words will never show The you I've come to know If a face could launch a thousand ships Then where am I to go? There's no one home but you You're all that's left me too And when my love for life is running dry You come and pour yourself on me If a man could be two places at one time I'd be with you Tomorrow and today Beside you all the way If the world should stop revolving Spinning slowly down to die I'd spend the end with you And when the world was through Then one by one the stars would all go out Then you and I would simply fly away

Pop Song 524 of 1000 'Something just like this' Coldplay & The Chainsmokers 2017 Watch the MV https://www.youtube.com/watch?v=FM7MFYoylVs Watch them live https://www.youtube.com/watch?v=4u6bWs-ZG0o The narrator doesn't feel up to the job of being in a relationship. He doesn't think he's good enough, but his love interest affirms realistic, healthy expectations for the relationship. I've been reading books of old The legends and the myths Achilles and his gold Hercules and his gifts Spider-Man's control And Batman with his fists And clearly, I don't see myself upon that list But she said, "Where'd you wanna go? How much you wanna risk? I'm not looking for somebody with some superhuman gifts Some superhero Some fairy tale bliss Just something I can turn to Somebody I can kiss" I want something just like this Doo-doo-doo, doo-doo-doo Doo-doo-doo, doo, doo-doo Doo-doo-doo, doo-doo-doo Oh, I want something just like this Doo-doo-doo, doo-doo-doo Doo-doo-doo, doo, doo-doo Doo-doo-doo, doo, doo-doo Oh, I want something just like this I want something just like this I've been reading books of old The legends and the myths The testaments they told The moon and its eclipse And Superman unrolls a suit before he lifts But I'm not the kind of person that it fits She said, "Where'd you wanna go? How much you wanna risk? I'm not looking for somebody with some superhuman gifts Some superhero Some fairy tale bliss Just something I can turn to Somebody I can miss" I want something just like this I want something just like this Oh, I want something just like this Doo-doo-doo, doo-doo-doo Doo-doo-doo, doo, doo-doo Doo-doo-doo, doo-doo-doo Oh, I want something just like this Doo-doo-doo, doo-doo-doo Doo-doo-doo, doo, doo-doo Doo-doo-doo, doo, doo-doo Where'd you wanna go? How much you wanna risk? I'm not looking for somebody with some superhuman gifts Some superhero Some fairy tale bliss Just something I can turn to Somebody I can kiss I want something just like this Oh, I want something just like this Oh, I want something just like this Oh, I want something just like this

Pop Song 523 of 1000 'Come undone' Duran Duran 1993 watch the MV https://www.youtube.com/watch?v=Epj84QVw2rc&t=161s At its core, “Come Undone” is a song about the fragility of human connection. From its opening lines, the track sets a tone of introspection and vulnerability: “Mine, immaculate dream, made breath and skin, I’ve been waiting for you, signed, with a home tattoo.” The speaker is clearly in love, but there’s a sense of anxiety and uncertainty that hangs over the relationship, a fear that things might fall apart at any moment. As the song progresses, this tension builds, with the narrator grappling with his own emotions and desires. “Can’t ever keep from falling apart at the seams, can’t I believe you’re taking my heart to pieces,” he laments, acknowledging the pain and uncertainty that comes with opening yourself up to another person. While “Come Undone” is primarily a song about love and connection, it’s also deeply concerned with desire and the role it plays in our lives. The chorus, with its repeated chant of “can’t ever keep from falling apart,” is a haunting reminder of how easily we can be consumed by our own desires, how they can override our better judgement and cause us to act in ways we might not otherwise. At the same time, there’s a sense of hopelessness to this aspect of the song, as if the narrator knows that his desires are leading him down a path that can only end in pain and disappointment. “Can’t ever keep from falling apart, at the seams,” he sings, “can’t I believe you’re taking my heart to pieces.” It’s a powerful reminder of how complicated and challenging relationships can be, and how difficult it can be to navigate the thorny emotional landscape of desire.

Pop Song 522 of 1000 'Dream a little dream of me' Andre, Schwandt and lyrics Gus Kahn 1931 Please listen to Ella Fitzgerald and Louis Armstrong https://www.youtube.com/watch?v=QJhSM17a8OA "Dream a Little Dream of Me" is a 1931 song with music by Fabian Andre and Wilbur Schwandt and lyrics by Gus Kahn.[1] It was first recorded in February 1931 by Ozzie Nelson and His Orchestra, soon followed by Wayne King and His Orchestra with vocals by Ernie Birchill. A popular standard, it has seen well over 400 recorded versions Stars shining bright above you Night breezes seem to whisper "I love you" Birds singing in the sycamore tree Dream a little dream of me Say nighty-night and kiss me Just hold me tight and tell me you'll miss me While I'm alone and blue as can be Dream a little dream of me Stars fading but I linger on dear (Oh, how you linger on) Still craving your kiss (How you crave my kiss) Now I'm longing to linger 'til dawn dear Just saying this (Give me a little kiss) Sweet dreams 'til sunbeams find you Sweet dreams that leave all worries behind you But in your dreams whatever they be Dream a little dream of me Stars fading but I linger on dear Still craving your kiss Yeah, I'm longing to linger 'til dawn dear Just saying this Sweet dreams, I'm dreamin' ('Til sunbeams find you) Keep dreamin' (Gotta keep dreaming) Leave the worries behind you But in your dreams whatever they be You've gotta make me a promise (oh, yes) Promise to me You'll dream Dream a little dream of me

Pop Song 521 of 1000 'Eleanor Rigby' The Beatles 1966 Watch the MV https://www.youtube.com/watch?v=HuS5NuXRb5Y https://en.wikipedia.org/wiki/Eleanor_Rigby Ah, look at all the lonely people Ah, look at all the lonely people Eleanor Rigby Picks up the rice in the church where a wedding has been Lives in a dream Waits at the window Wearing the face that she keeps in a jar by the door Who is it for? All the lonely people Where do they all come from? All the lonely people Where do they all belong? Father McKenzie Writing the words of a sermon that no one will hear No one comes near Look at him working Darning his socks in the night when there's nobody there What does he care? All the lonely people Where do they all come from? All the lonely people Where do they all belong? Ah, look at all the lonely people Ah, look at all the lonely people Eleanor Rigby Died in the church and was buried along with her name Nobody came Father McKenzie Wiping the dirt from his hands as he walks from the grave No one was saved All the lonely people (ah, look at all the lonely people) Where do they all come from? All the lonely people (ah, look at all the lonely people) Where do they all belong?

Pop Song 520 of 1000 'Sabotage' Beastie Boys 1994 Please watch this great MV https://www.youtube.com/watch?v=z5rRZdiu1UE The song was first conceived when MCA played the signature bass line one day in the studio and it immediately caught the band's attention. Both Ad-Rock and Mike D picked up their respective instruments and started building on it. According to Ad-Rock in the 2020 Beastie Boys Story documentary, the lyrics are a fictitious rant about how their producer "was the worst person ever and how he was always sabotaging us and holding us back." I can't stand it, I know you planned it I'm gonna set it straight, this Watergate I can't stand rocking when I'm in here 'Cause your crystal ball ain't so crystal clear So while you sit back and wonder why I got this fucking thorn in my side Oh my God, it's a mirage I'm tellin' y'all, it's a sabotage So, so, so, so listen up 'cause you can't say nothin' You'll shut me down with a push of your button? But you, I'm out and I'm gone I'll tell you now, I keep it on and on 'Cause what you see you might not get And we can bet, so don't you get souped yet You're scheming on a thing that's a mirage I'm trying to tell you now, it's sabotage Why Our backs are now against the wall? Listen all y'all, it's a sabotage Listen all y'all, it's a sabotage Listen all y'all, it's a sabotage Listen all y'all, it's a sabotage I can't stand it, I know you planned it I'm gonna set it straight, this Watergate Lord, I can't stand rockin' when I'm in this place Because I feel disgrace because you're all in my face But make no mistakes and switch up my channel I'm Buddy Rich when I fly off the handle What could it be? It's a mirage You're scheming on a thing, that's sabotage

Pop Song 518 of 100 'Edelweiss' Richard Rodgers Hammerstein 1959 Please watch from The Sound of Music https://www.youtube.com/watch?v=8bL2BCiFkTk While The Sound of Music was in tryouts in Boston, Richard Rodgers felt Captain von Trapp should have a song with which he would bid farewell to the Austria he knew and loved. Rodgers and Oscar Hammerstein II decided to write an extra song that von Trapp would sing in the festival concert sequence towards the end of the show. As they were writing it, they felt this song could also use the guitar-playing and folk-singing talents of Theodore Bikel, who had been cast as the Captain. The Lindsay and Crouse script provides the metaphor of the simple edelweiss wildflower as a symbol of the Austria that Captain von Trapp, Maria, and their children knew would live on, in their hearts, despite the Nazi annexation of their homeland. The metaphor of this song builds on an earlier scene when Gretl presents a bouquet of edelweiss flowers to Baroness Elsa Schräder, during the latter's visit to the von Trapp household. Rodgers provided a simple, yet haunting and affecting, waltz-time melody, to the simple Italian style ritornello lyric that Hammerstein wrote about the appearance of the edelweiss flower. "Edelweiss" turned out to be one of the most beloved songs in the musical, as well as one of the best-loved songs by Rodgers and Hammerstein. Edelweiss is the last song Rodgers and Hammerstein wrote together; Hammerstein was suffering from stomach cancer, which took his life nine months after The Sound of Music opened on Broadway. Edelweiss, Edelweiss Every morning you greet me Small and white, clean and bright You look happy to meet me Blossom of snow, may you bloom and grow Bloom and grow forever Edelweiss, Edelweiss Bless my homeland forever Small and white, clean and bright You look happy to meet me Blossom of snow, may you bloom and grow Bloom and grow forever Edelweiss, Edelweiss

Pop Song 519 of 1000 'Hold on Loosely' .38 Special 1980 watch 38 special live https://www.youtube.com/watch?v=vJtf7R_oVaw Barnes going through a difficult time in his marriage, lamented that his wife was not being more supportive of his career aspirations. He presented a seed idea for a song to co-writer Jim Peterik, asking what he thought of the title "Hold On Loosely", to which Peterik came back with, "...but don't let go". For the music, Peterik described the song's opening riff as "Like the Cars meets Lynyrd Skynyrd or something". Taking inspiration from "Just What I Needed" by the Cars, Jeff Carlisi wrote the famous riff to the song. You see it all around you Good lovin' gone bad And usually it's too late when you Realize what you had And my mind goes back to a girl I met Some years ago who told me Just hold on loosely, but don't let go If you cling too tightly, you're gonna lose control Your baby needs someone to believe in And a whole lot of space to breathe in So damn easy When your feelings are such To overprotect her To love her too much And my mind goes back to a girl I met Some years ago who told me Just hold on loosely, but don't let go If you cling too tightly, you're gonna lose control Your baby needs someone to believe in And a whole lot of space to breathe in Don't let her slip away Sentimental fool Don't let your heart get in the way Yeah, yeah, yeah You see it all around you Good lovin' gone bad And usually it's too late when you

Chinese Song 2 '怒放的生命 Life in Full Bloom' 汪峰 Wang Feng 2005 Anna Lam Winter 2023 Recital Please watch this nice version with English translation subtitles. https://www.youtube.com/watch?v=JsvMHCmz3m4

Pop Song 517 of 1000 'Freeze Frame' J Geils Band 1981 Please watch the MV https://www.youtube.com/watch?v=wHo43B6nu60 Freeze-frame I could see it was a rough-cut Tuesday Slow-motion weekdays stare me down Her lipstick reflex got me wound There were no defects to be found Snapshot image froze without a sound Thursday mornin' was a hot flash-factor Her face still focused in my mind Test-strip proof-sheet love is hard to find Friday night, we'll dance the spotlight grind Stop-time heart for me if she's not mine (Freeze-frame) freeze-frame (Freeze-frame) freeze-frame (Freeze-frame) freeze-frame (Freeze-frame, woo!) Now, freeze Now I'm lookin' at a flashback Sunday Zoom lens feelings just won't disappear Close-up darkroom sweet-talk in my ear Her hot-spot love for me is strong This freeze-frame moment can't be wrong (Freeze-frame) freeze-frame (Freeze-frame) freeze-frame (Freeze-frame) freeze-frame (Freeze-frame, woo!) Now, freeze Shoot, shoot Shoot, shoot Shoot, shoot (Freeze-frame) freeze-frame (Freeze-frame) freeze-frame (Freeze-frame) freeze-frame (Freeze-frame, woo!) Now, freeze Yeah (Freeze-frame, freeze-frame) (Freeze-frame) freeze-frame (freeze-frame) Freeze, please freeze, woo! (Freeze-frame) (Shoot, shoot, freeze-frame) (Shoot, shoot, freeze-frame) (Shoot, shoot, freeze-frame)

Pop Song 526 of 1000 'Blue sky' The Allman Brothers Band 1972 The song was written and sung by guitarist Dickey Betts, who penned it about his girlfriend (and later wife), Sandy "Bluesky" Wabegijig. The track is also notable as one of guitarist Duane Allman's final recorded performances with the group. Walk along the river, sweet lullaby They just keep on flowin' They don't worry 'bout where it's goin' No, no Don't fly, mister bluebird I'm just walkin' down the road Early morning sunshine Tell me all I need to know You're my blue sky, you're my sunny day Lord, you know it makes me high When you turn your love my way Turn your love my way, yeah Good old Sunday mornin' Bells are ringin' everywhere Goin' to Carolina It won't be long and I'll be there You're my blue sky, you're my sunny day Lord, you know it makes me high When you turn your love my way Turn your love my way, yeah, yeah

Chinese Song 1 '愛我別走 Love me, dont go' 張震嶽 Chang Chen-yue 1998 Watch for English and Chinese lyrics https://www.youtube.com/watch?v=quJNfhTr4Fc Anna Lam Student Recital December 3, 2023

Pop Song 515 of 1000 'Opus' Ryuichi Sakamoto Please watch person perform it https://www.youtube.com/watch?v=C0tanRTJe4c

Pop Song 514 of 1000 'Believer' Imagine Dragons 2016 watch the mv https://www.youtube.com/watch?v=7wtfhZwyrcc&t=46s Dan Reynolds told People that the song was inspired by his experiences with ankylosing spondylitis in 2015. He said that, "The meaning of the song is really reflecting on specific things in my life that were painful, whether it was anxiety and dealing with crowds, feeling overwhelmed by that or the success of the band, disease, going through depression—anything that was a source of pain in my life. And just rising above that, finding a place of perspective where I could be appreciative of the pain in my life and make it my greatest strength First things first, I'ma say all the words inside my head I'm fired up, and tired of the way that things have been, oh-ooh The way that things have been, oh-ooh Second thing second, don't you tell me what you think that I can be I'm the one at the sail, I'm the master of my sea, oh-ooh The master of my sea, oh-ooh I was broken from a young age Taking my sulking to the masses Writing my poems for the few That look at me, took to me, shook to me, feelin' me Singing from heartache from the pain Taking my message from the veins Speaking my lesson from the brain Seeing the beauty through the Pain! You made me a, you made me a believer, believer Pain! You break me down, and build me up, believer, believer Pain! Oh, let the bullets fly, oh, let them rain My life, my love, my drive it came from Pain! You made me a, you made me a believer, believer Third things third, send a prayer to the ones up above All the hate that you've heard has turned your spirit to a dove, oh-ooh Your spirit up above, oh-ooh I was choking in the crowd Building my rain up in the cloud Falling like ashes to the ground Hoping my feelings, they would drown But they never did, ever lived, ebbin' and flowin' Inhibited, limited, 'til it broke open, and it rained down It rained down like Pain! You made me a, you made me a believer, believer Pain! You break me down, and build me up, believer, believer Pain! Oh, let the bullets fly, oh, let them rain My life, my love, my drive it came from Pain! You made me a, you made me a believer, believer Last things last, by the grace of the fire and the flames You're the face of the future, the blood in my veins, oh-ooh The blood in my veins, oh-ooh But they never did, ever lived, ebbin' and flowin' Inhibited, limited, 'til it broke open, and it rained down It rained down like Pain! You made me a, you made me a believer, believer Pain! You break me down, and build me up, believer, believer Pain! Oh, let the bullets fly, oh, let them rain My life, my love, my drive it came from Pain! You made me a, you made me a believer, believer

Pop Song 513 of 1000 'Sweet emotion' Aerosmith 1975 Watch Aerosmith live! https://www.youtube.com/watch?v=33ClrPlzuVQ Many Aerosmith fans believe that Steven Tyler wrote all of the lyrics to the song about the tension and hatred between the band members and Joe Perry's first wife. Tyler himself has said that only some of the lyrics were inspired by Perry's wife. It was stated in Aerosmith's tell-all autobiography Walk This Way and in an episode of Behind the Music that growing feuds between the band members' wives (including an incident involving "spilt milk" where Elyssa Perry threw milk over Tom Hamilton's wife, Terry) may have helped lead to the band's original lineup dissolving in the early 1980s. The line "Can't catch me / 'Cause the rabbit done died" is a reference to the rabbit test. Sweet emotion Sweet emotion Sweet, it's broken Sweet Emotion (Emotion) Sweet emotion Sweet emotion Talk about things that nobody cares Wearing other things that nobody wears You're calling my name but I got to make clear I can't say baby where I'll be in a year Some sweat hog mama with a face like a gent Said my get up and go, musta got up and went Well I got good news, she's a real good liar 'Cause the backstage boogie set your pants on fire Sweet emotion Sweet emotion I pulled into town in a police car Your daddy said I took it just a little too far You're telling me things but your girlfriend lied You can't catch me because the rabbit done died, yes it did You stand in the front just a shaking your ass I'll take you backstage you can drink from my glass I'll talk about something you can sure understand 'Cause a month on the road and I'll be eating from your hand