#Oom Pah Pah

[bat-in-the-machine]

A Sneak Peek at the next Miraculous World Tour

Oom pah pah oom pah pah That's how it goes Oom pah pah oom pah pah Everyone knows They all suppose what They want to suppose When they hear oom pah pah Pretty Marrinetta Thought things were getting better When she came out to Gotham To boost her career Then her uncle's concert Was hijacked by a monster Who then forced everybody To live their worst fears Oom pah pah oom pah pah That's how it goes Oom pah pah oom pah pah Everyone knows Whether it's Riddler Or if it's Scarecrow She's sick of oom pah pah!

[term1nallyfey]

Oom-Pah-Pah, mein liebling 🇩🇪

[beardedmrbean]

[justsomeguycore]

i have mental disorders because i’m a theatre kid who is also too critical and self aware of how theatre kids look to truly be a theatre kid. i miss the days when i would have performed la vie boheme part A in a dennys and thought people liked that

[noneorother]

All the music you didn’t hear: The Good Omens soundtrack is lying to you. *Part 1*

The Bonkers Meta Series part 2: Electric Boogaloo.

I so rarely get a chance to misuse my experience in classical music, but here we are. When I realized on my most recent watch-through of the series that the David Arnold score was brilliant, but also really wonky in some parts and I couldn’t put my finger on why, @embracing-the-ineffable suggested I listen to the album soundtrack to compare.

And when I tell you what I found hidden in there, you’re going to need Eccles cakes...

1) The Song is the Clue

So right up top we have this banger. The 12th track on the album is the orchestral backdrop to the scene in the Job minisode where Aziraphale reveals Crowley’s crow/goats. The duration is 2:22 (the only track with multiples on the album), and if you look at the track by itself it doesn’t mean much. But the song just before it is actually from this fucking scene:

You know, the one where there’s a song that’s a clue to a mystery. Except Clue is capitalised, and Aziraphale pronounces it. I’ve seen guesses that this is a reference to the movie Clue, but I would put a lot of money on the fact that we are supposed to read the title of the song currently playing at that moment in the show *as a Clue*, which is super convenient, because the word Clue is capitalized in the track listing. 

Seems like the overlords of Good Omens have a message for us : The song is the Clue. It’s what God wants. Cool cool cool. WHAT SONG?

2) Symmetry in all things��

Before I straight up tell you, we have to go back and look at season 1.

Now I’m far from the first to notice tons of parallels between the story, details and even lines in both seasons. It got me thinking that maybe there are some fun synch-up parallels between the two season’s soundtracks, seeing as they are both 6 episodes long. Here’s the end of S1 and then S2

Oh that’s a bummer, I thought to myself. 

They don’t even add up to the same number, or playtime, and neither of them is exactly 60 tracks. But do you want to hear a secret? S2 is actually missing 3 tracks on the album. And because there are 2 discs in S2 (cute), the numbers of the tracks start over again from 1. Remember how much God likes sevens? Check out where all the weirdness is happening in disc 2 (I’ve added the missing track listings in red to add context):

After checking each track with the show and listening side by side (for reasons that will become clear in another post) I can definitively say that there is something *very weird* going on at the end of episode 4. 

First is track 7, Zombie dressing room, which seems to actually reach over two distinct scenes of the photo evidence in the dressing room and then Shax in hell even though it only has one title.

But *between* these two scenes we get an eerily silent wine date with Aziraphale & Crowley.

There’s really no music or even sound here besides the dialogue and room tone (until after the cheers), and it seems like a very intentionally silent version of a ritz date from season 1.

My best guess is that we are supposed to divide that track into two tracks of 7, before and after the date to get a second track 7. Or maybe the silent one is missing music? The third track number 7 is the weirdest one. It’s this scene here, when Nina parks her bike, and Aziraphale parks the car at the end of S2E4.

If you take a close listen to the music, it’s a jaunty little piece, with an oom-pah base in 3 ⁄ 4 time. The thing is, this music does not exist in any Good Omens album. Please feel free to correct me, but I’ve tried to find any part of any song that this could even be a reprise of, and I Shazammed it to be sure it wasn’t anything else. This song does not exist anywhere except in this scene. (It quickly morphs into a reprise of the original theme once Nina leaves Aziraphale). It’s an invisible song.

So we have 3 tracks at the end of S2E4: a long one, a silent one and an invisible one. Only one of which is numbered 7, but that all fit into that place in the track listing.

Which, when we add the two extras to the original total of fifty-nine we get... sixty-one! Hey wait a minute.

How are we going to get to 62?

3) The real missing track. 

So the real reason we had to go back to the S1 album was because it contains the missing track that God is talking about. Let’s compare the last tracks on each album.

I’ve highlighted the mismatch between the in-show music and the album in S2, which means I had to add A Nightingale Sang in Berkeley Square back into the S2 album because guess what, it’s not in the S2 album. Even though it plays in the show. 

You want to know how not in the album it is? Amazon had to track it in the show as a season 1 song. They had to give Tori Amos credit for her song on Good Omens in the X-ray bonus features because that’s how not in the album this song is.

So my fellow beings, if the song is the Clue, then It’s what God Wants.

And if God wants a happily ever after with Aziraphale and Crowley on their own side, then by Job, I think Neil is going to give it to her.

-----------

And there's more where that came from! Part 2 coming shortly.

[maxwell-grant]

I'm working on a big post breaking down my thoughts on episode 01 of The Penguin and I wanted to post this theme separately. There's only so many ways I can say the show is perfect and does perfect Penguin things but this theme merits it's own post, it is so good. I love how differently the show sounds compared to the movie, how that plays into the exact scene and moment where it stops being The Batman and becomes The Penguin. It follows similar ideas to past themes for Penguin in that sense of awkwardness and stress, these offbeat weird motifs stumbling over themselves, like the "lumbering oom-pah brass", as Daniel Schweiger described it, he had for TAS. The soundtrack for this episode in general sounds cartoonish and old-fashioned, that music sting that plays when Sofia Falcone indicates how she's onto Oz wouldn't be out of place in a silent film, and it's so perfect for Penguin. The whole song is really good but it's those first notes that bowled me over.

So perfect as a point of contrast with the way The Batman is scored, and specifically the theme that's associated with Batman himself. Batman's theme is that imposing, dramatic bell, those four notes that adapt and creep up and overtake their surroundings, the dark foreboding brass of it all. That's the motif that plays when Batman enters a room. For The Penguin? It's that DUUUUUUN-DUN!, it's the strings that play when he's either royally screwed or royally screwing someone, the pain and indignity that's either about to happen to him or he's about to inflict on someone else. Pure musical expression of "Aw fuck, not that guy right now / here comes the bastard".

It is simply sublime, that the first note of this Batman's theme tells you "oh shit, Batman's coming for you.", while the first note of this Penguin's theme, in turn, instantly tells you "Oh shit, sunavabitch did it AGAIN!".

[azdmathings]

Christmas Gift Ideas!

For your Buddy From the Oom Pah Band, Some time with your Horn!

[annofthearchives]

buffalo springfield’s “i am a child” through the eyes of romantic power imbalances

Buffalo Springfield was a band founded in 1966 by (most notably) Neil Young and Stephen Stills, among several others. most known for their hit song "for what it's worth," the band messes around in folk, country, psych. rock, and sometimes even jazz. their record last time around released in july of 1968 is essentially a compilation of previous records, as most members of the band had moved onto other projects at the time. the song "i am a child" is a Neil Young tune, one he continued to perform for the rest of his career.

the song opens with a classic Neil Young harmonica solo, accompanied by a guitar, bass, and drum. the chord progression is simple, the guitar has a simple strumming pattern, the bass repeats an "oom-pah" V-I bassline, and the drum hits are simple. overall, the song is easy to listen to. it seems to be a finished version to Young's unreleased song "the rent is always due" - a song that details the mental change that comes from transitioning into adulthood. the lyrics describe a child talking to an older male figure - "You hold my hand, rough up my hair / It's lots of fun to have you there," for one example.

however, one cannot ignore the somber, if not morose, delivery of Young's lyrics. in the (possible) demo "the rent is always due," Young's delivery is uplifting, especially towards the end of stanzas. it seems that there's a positivity about adulthood that Young can see. in "i am a child" on the other hand, it's clear that he views the experience of a child as one of power imbalance, maybe pointing to a specific relationship with an elder in his life. Young's relationship with father was uncertain, at best, so this might be a reflection of that relationship. while not meant as the original interpretation, one can also view this song from the perspective of an imbalanced romantic relationship.

regardless of age difference or sex difference, Young's lyrics can apply to the point of view from a less experienced romantic, to a partner possibly taking advantage of them, either mentally, physically, emotionally, etc. the lyric in the opening stanza "You can't conceive of the pleasure in my smile" sums the relationship divide well - one less experienced, more naïve lover compared to an older, more mature, or jaded partner. the next line "You hold my hand, rough up my hair" seems sweet at first but could hold a double entendre - if our interpretation is anyone but a kid, the notion of their hair being 'roughed up' could hold symbolism for some aspect of their lives being roughed up, or messed with. given this interpretation, Young's repetition of the line "It's lots of fun to have you there" at the end of multiple stanzas could also be seen in a sarcastic light.

he goes on to say "You make the rules, you say what's fair," noting that this other person is, to be frank, in charge of the ground that the relationship is built on. for a child/father relationship, this makes sense, although possibly hinting at the frustration that kids might feel to be put under rules they don't quite understand yet. in a romantic interpretation, it's a relatable line for anyone that has gone through an abusive or mentally/emotionally tolling relationship - you may never know what the rules are, and may never feel that the other person is setting fair expectations. later on, Young states "I gave to you, now you give to me," either still awaiting to be given the same care as the person he's talking to, or stating a fact of how the noted relationship works. this works well for our narrative as these types of parasitic relationships rely on one partner giving constantly, always awaiting for their partner to give the same.

lastly, if not the most convincing line for this argument, Young twice repeats "What is the color, when black is burned? / What is the color?" this phrase is said after the simple line "The sky is blue and so is the sea," a statement of fact. in the original meaning of the song, it's something that can be heard as a child just stating fact that they have maybe learned which preambles the question about what color black is once it's burned. in the original interpretation, this line is confusing, as it seems to hint to that morose mood but with no context to what it could mean. in our interpretation, i see it as telling the state of the relationship - what IS the color when black is burned? well, it can't get darker, so it stays stagnant, in the darkest it could be. for a relationship, this could be hitting rock bottom with nowhere to go.

all that being said, i'd also like to end with connecting the lyrics and meaning to an entirely unrelated story - Lolita (1955) by Vladimir Nabokov. Nabokov's 1955 novel tells the tale of a french literature professor, Humbert, who falls in love, kidnaps, and takes advantage of a 12 year old girl, Dolores Haze. actor Brian Cox, who played Humbert in a 2009 production of the movie describes the novel as "Lolita as a memory," insinuating (like others have said) that the book never gives us an insight into Dolores' actual thoughts, rather just Humbert's narrative telling of her personality. Humbert, in this way is more of an unreliable narrator than anything else - Brian Cox describes it best when he states that the novel would be best told in theater as a solo monologue, rather than a play with multiple characters. from this perspective, applying the solo narrative approach that Nabokov gives Humbert, we can approach Young's song from the 'perspective' of Dolores. not her thoughts exactly, rather the thoughts that Humbert's idealized retelling of the tale might give her. a childlike perspective on an imbalanced relationship whose faults might not even be known to the voice in the lyrics. for those who are familiar with the story, you can see how the lyrics fit.

for what its worth, its a nice simple song with an originally simple meaning. trust the musicologist to give a simple song an unnecessarily complex meaning.

*this is not a claim that the lyrics are directly related to anything i've stated, - just all food for thought.*

similar songs (by vibe):

4+20 - crosby, stills & nash

sweet wanomi - bill withers

everydays (live) - buffalo springfield

thorn tree in the garden - derek & the dominos

bluebird - paul mccartney, wings

treetop flyer (demo) - stephen stills

river man - nick drake

similar songs (by theme discussed):

probably just anything by lana del ray

[bossymarmalade]

@spaceorphan18 tagged me to spell my journal name in song titles so here goes, the all-musicals version: B: Bring Him Home - Les Miserables O: Oom-Pah-Pah - Oliver! S: Santa Fe - Newsies S: Suddenly Seymour - Little Shop of Horrors Y: You Can't Stop the Beat - Hairspray M: Mr. Cellophane - Chicago A: All I Ask of You - Phantom of the Opera R: Rose Tint My World - Rocky Horror Picture Show M: Moses - Singin' in the Rain A: Adelaide's Lament - Guys and Dolls L: Louisiana Hayride - The Bandwagon A: Anatevka - Fiddler on the Roof D: Damned for All Time - Jesus Christ Superstar E: Edelweiss - The Sound of Music

tagging @snarkyblue and only @snarkyblue lol

[if-only-angels-could-prevail]

In starting production, the musical team was interested in keeping the sound of the original (but scored for a smaller orchestra) and, at the same time, in adding elements of traditional folk music. When I looked at the original, however, I was concerned because the orchestration was VERY 'meat and potatoes'... that is, very straightforward, almost nothing in the way of countermelodies or texture. Basically the original orchestration doubled the melody A LOT and left the rest of the orchestra to do "oom pah pah" accompaniment figures. It was a style that, with a million strings, would sound simple but very lush, but in our orchestra (of 7 strings on opening, cut down to a string quartet as the production went along) would not be very interesting AT ALL. So I asked (and received) permission to do whatever I wanted, so long as it still sounded like The Sound of Music to an audience member. I think the result was quite successful in that it's often very, very different from the original (LOTS of countermelodies, lots of moving horn lines, etc), yet not stylistically jarring in any way. And by using recorders, handbells, tuba, a zither and other folk instruments, I was able to capture the authentic Austrian folk music quality the director was after.

-Bruce Coughlin (orchestrator of the 1998 revival)

[strazcenter]

Tuba Day Salutes the Big Oom

It’s a sound that immediately brings to mind Oktoberfest, or at least Polka Night at the Elks’ Lodge. It’s two sounds, actually – one deep and low, the other notably higher. The latter tone is pah, the response to the former, which is oom. As each yang has its corresponding yen, every pah shares an unbreakable union with its oom. Oom is earthy, sturdy and skeptical, while pah is oom’s lighter,…

[entryn17]

I looked at ur site and just wanted to say I think it's really cool! The setting intrigued me the most but I really love your art and characters! Hamrawit and Lilium's designs are my favorite! I wanted to ask how you pronounce the names? I don't want to get any of them wrong :)

AWW THANK YOU!!! i'm really glad to hear!!! what a nice message to receive. as for the pronunciation of everyone's names..!

arevik paruni - ah-re-vick (re as in "red") pah-ru-nee

hamrawit taye - ham-ra-wit ta-yee

ipera aydin - ay-pea-ra ay-deen

lilian - lily-ann

lilium - lily-oom

[tootern2345]

I love how stuff escalates from 0-100 in this scene

From 1930’s Oom Pah Pah, an Aesop’s fable directed by John Foster & Harry Bailey for Van Beuren

[forlorn-crows]

Polarising I know, but what about twenties, it fucks so hard!

TWENTIES. FUCKS. HARD.

tobias recently said he wants to play it on tour, but that its a 'crowd heavy song' BITCH I WILL SING THE ENTIRE THING TRY ME.

the horns? that oom PAH rhythm? the DRUMSSSSSSS.

please. i need to see mountain smASHING them. hear the BEAUTY of that double kick drum pedal action.

also the fucking BASS LINE?? fucking SLAPS.

that fucking dog bark/ growl at the end of the chorus

LISTEN UP / YOU MOTHERFUCKERS . . . TELL THEM ALL THIS IS WAR / AND NOT FIGHTING A WAR IS FOR SUCKERS.

IM NUMBER ONE / YOURE NUMBER TWO / YOUVE GOT A LOT OF GODS WORK TO DO

the entire fucking sound behind the guitar solo

the 'EUGH' and 'aaaahhh' in that little bridge section and then it just SLAPS YOU IN THE FACE FOR THE END

this song makes me wanna run around my apartment like a little gremlin

[frostcorpsclub]

Frostverse Sountrack!

This post will get updated as I think of stuff <3 <3 <3 Some of these have full spotify playlists! Ask if you'd like the link.

The Family

-You're Dead by Norma Tanega

-Our House by Madness

-Our Word by Jessie Shelton

-Finale Ultimo (Don't Feed The Plants) from the Little Shop of Horrors Soundtrack

-Razzle Dazzle by Richard Gere

-Smash! by Starbomb

-The Family Jewels by MARINA

-----------------------------------------

Individuals

Jack

-My Dad Says That's For Pussies by Bloodhound Gang

-A Lap Dance Is So Much Better When The Stripper Is Crying by Bloodhound Gang

-Possum Kingdom by Toadies

-The Bad Touch by Bloodhound Gang

-Beer! by Psychostick

-Peaches by The Presidents of the United States

-Show Me Your Genitals by Jon Lajoie

-Skinned by Blind Melon

-Girls, Girls, Girls by Motley Crue

-Scotty Doesn't Know by Lustra

-Chloroform Girl by Polkadot Cadaver

-Frosty The Pervert by Matt Rogers

-Asshole by Denis Leary

-Nasty Dog by Sir Mix-A-Lot

-Get It Up by Mindless Self Indulgence

-Close But No Cigar by Weird Al Yankovic

-Fuck The Dead by GG Allin

Santa

-The Nowhere King by The Centaurworld Cast

-Almost Human by Aurelio Voltaire

-Arsonist's Lullabye by Hozier

-Sympathy For The Devil by The Rolling Stones

-You by Bad Religion

-Who Is She? by I Monster

-Israels Son by Silverchair

-Mom by Highly Suspect

-Heart Shaped Box by Nirvana

Suzy

-Dive Into The Madness by Dan Bull

-Sabbath Bloody Sabbath by The Cardigans

-Happy Meal II by The Cardigans

-Step On Me by The Cardigans

-Stuff Is Way by They Might Be Giants

-The Ballad Of Jane Doe by Emily Rohm

-Skinned by Blind Melon

-She's Not There by The Zombies

-Killer Queen by Queen

-Suburbia Overture/Greetings from Mary Bell Township!/Vampire Culture by Will Wood

-Halloweenie IV: Innards by Ashnikko

-Nuttin For Christmas by Art Mooney and Barry Gordon

-Suzy Snowflake by Rosemary Clooney

-I Want A Hippopotamus for Christmas by Gayla Peevey

-Frosty the Snowman by The Ronettes

-Tonight You Belong To Me by Patience and Prudence

-Alive by Anthony Warlow

-Valley Girl by Frank Zappa and Moon Zappa

-Screw Loose by Ali Mauzey

-You're Dead by Norma Tanega

-The Red Means I Love You by Madds Buckley

-The End Of The World by Skeeter Davis

-I Will Follow Him by Peggy March

-Batty Rap by Robin Williams

-Stand By Your Man by Tammy Wynette

-I'm A Woman by Peggy Lee

-Sweet Bod by Lemon Demon

-You Ain't Woman Enough by Loretta Lynn

-Lights On by Kyle Allen

-Livin' In The Sunlight by Tiny Tim

-Cold Island by My Singing Monsters

-Thermodynamic Lawyer by Will Wood

-Stupid Girls by Pink

-My Favorite Things by Julie Andrew

-Come Little Children by Erutan

-When You're Good To Mama by Queen Latifah

-Edelweiss by Bill Lee

-I Want To Be Evil by Eartha Kitt

Virginia

-Right Now by Korn

-Break Stuff by Limp Biskit

-Scars by Papa Roach

-Pity Party by Melanie Martinez

-Habits (Stay High) by Tove Lo

-Somewhere Only We Know by Keane -Dark Red by Steve Lacy

-Creep by Radiohead

-Tears In Heaven by Eric Clapton

-Pain by Three Days Grace

-Semi-Charmed Life by Third Eye Blind

-Song 2 by Blur

-Shut Up And Drive by Rihanna

-Fat Bottomed Girls by Queen

-Big Girl by MIKA

-Girls by MARINA

-Sex and Candy by Marcy Playground

-Oom-Pah-Pah by Sally Dexter

James

- My Ordinary Life by The Living Tombstone

-Biggering by The 88

-Dead To Me by Kali Uchis

-Take A Slice by Glass Animals

-Apex Predator by Barrett Wilbert Weed

-World Burn by Taylor Louderman

-Killer Instinct from Bring It On: The Musical

-ROXANNE by Arizona Zervas

-Applause by Lady Gaga

-Don't Mess With Me by temposhark

-Everybody Loves Me by OneRepublic

-King Herod's Song by Mike D'Abo

-Feast or Famine by Starkid Productions

-Let's Have A Battle by The Dazzlings

-Under Our Spell by The Dazzlings

-When You're Evil by Aurelio Voltaire

-The Ugly Truth by Nick Jonas

-Venus Fly Trap by MARINA

-Call Me Cruella by Florence + The Machine

-Land of the Dead by Aurelio Voltaire

-Toxic Love by Tim Curry

-The Hills by The Weeknd

-The King of Villains by Aurelio Voltaire

-The Main Character by Will Wood

-Killing Spree by Matt Smith

-Not A Common Man by Matt Smith

-Ultraluminary by Phillipa Soo

-I Know Him by Johnathan Groff

-Ambrosia Wine by Madds Buckley

-Fabulous by Phineas

-Be Prepared by Jeremy Irons

-Bezos I by Bo Burnham

-Fabulous by Sharpay Evans

-Watch Me Work by Andrew Rannells

-Paint The Town Red by Doja Cat

-Primadonna by MARINA

-Bigger is Better by Amber

-Kevin by Andrew Rannells

-Bring On The Men by Linda Eder

-Killer The Ready Set

-Espresso by Sabrina Carpenter

-Brand New Girl by Julie Brown

-Tipsy On The Dancefloor by Ayesha Erotica

-Sugar Daddy by Neil Patrick Harris

-Competition by Azealia Banks

Jasmine

-Apple by Charli XCX

-Skinny by Billie Eilish

-Class of 2013 by Mitski

Janet

-Blame It On The Boogie by The Jackson 5

-Money, Money, Money by ABBA

- Jump In the Line by Harry Belafonte

-Dance The Night by Dua Lipa

-Move Your Feet by Junior Senior

-Super Freak by Rick James

-Girls Just Want To Have Fun by Cyndi Lauper

-I Wanna Dance with Somebody by Whitney Houston

-Primadonna by MARINA

-Fancy by Reba McEntire

-I Squeezed Out A Baby, Yet I Have No Idea Who The Father Is by Masuna

-Cause I'm A Blonde by Julie Brown

-I Told You I Was Poor by Skeleton Staff

-Groove Is In The Heart by Deee-Lite

-Material Girl by Madonna

-Money by The Flying Lizards

-867-5309 by Tommy Tutone

-Sodomy by Bryce Rynes

-WAP by Cardi B

-Call Me A Princess by Kerry Butler

-My Name Is Tallulah by Paul Williams

January

- I'm A Princess by Bill Wurtz

-I'll Make A Man Out Of You by Donny Osmond

-Zero To Hero by Lillias White

-She's In Love by B D'Addario

-Under The Sea by Samuel Wright

-Pretty Little Dolly by Teresa Fischer

-The Dress That My Mother Wore by Larry Morey

-Danger, Danger by Alan Schmuckle

-Hayloft by Mother Mother

Jasper

-Hoodie Ninja by MC Chris

Julian

-1985 by Bo Burnham

Justin

-Girls by The Beastie Boys

-Monsta Mack by Sir Mix-A-Lot

-Lips of an Angel by Hinder

-You're Pretty When I'm Drunk by Bloodhound Gang

-Everywhere I Go by Hollywood Undead

-Zombie Prostitute by Aurelio Voltaire

-Venus As A Boy by Bjork

-Chick Habit by April March

Rath

-Pretty Boy by Naethan Apollo

-What You Feel by Buffy The Vampire Slayer Cast

-Nancy Boy by Placebo

Kimberly

-Twisted by The Original Starkid Cast of Twisted

-No Good Deed by Idina Menzel

-Gethsemane by Andrew Lloyd Webber

Drusilla

- Northern Downpour by Panic! at the Disco

-Nine in the Afternoon by Panic! at the Disco

-----------------------------------------

Character Relationships

Jack and Santa

-Eddie Baby by Felix Hagan and The Family

-Lay All Your Love On Me by ABBA

-I WANNA BE YOUR SLAVE by Maneskin

-Wrecking Ball by Mother Mother

-Curses by The Crane Wives

-Angel Of Small Death And The Codene Scene by Hozier

-Arsonist's Lullabye by Hozier

-Just The Two Of Us by Bill Withers

-Iris by The Goo Goo Dolls

-Like Real People Do by Hozier

-Rainbow Connections by Garfunkel and Oates

-Tim I Wish You Were Born A Girl by of Montreal

-Blue by Barrett Wilbert Weed

-Do I Wanna Know? by Arctic Monkeys

-Bang The Doldrums by Fall Out Boy

-Wrecking Ball by Mother Mother

-Me and Michael by MGMT

Jack and Suzy

-Chapel Of Love by The Dixie Cups

-Today I Met The Boy I'm Gonna Marry by Darlene Love

-I'm Into Something Good by Herman's Hermits

-Hopelessly Devoted To You by Olivia Newton-John

-Screw Loose by Alli Mauzey

-Uptown Girl by Billy Joel

-Under My Thumb by The Rolling Stones

-Pavlov by Kate Douglas

-An Unhealthy Obsession by The Blake Robinson Synthetic Orchestra

-The Horror Of Our Love by Ludo

-Running On A Treadmill by Oingo Boingo

-Accidentally In Love by Counting Crows

-Me And My Husband by Mitski

-Be My Baby by The Ronettes

-Magic Man by Heart

-Stalkers Tango by Autoheart

-I Will Possess Your Heart by Death Cab for Cutie

-Poisoning Pigeons in the Park by Tom Lehrer

-Obsessed With You by The Orion Experience

-I Hold Your Hand In Mine by Tom Lehrer

-I Only Want To Be With You by Dusty Springfield

-Hey Lover by The Daughters of Eve

-I Touch Myself by Divinyls

-Personal Property by Def Leppard

-Criminal by Britney Spears

-He's So Fine by The Chiffons

-Tear You Apart by She Wants Revenge

-Slice O Your Pie by Mark Rivers

-The Bigger The Figure by Louis Prima

-Sh-Boom by The Crew Cuts

-Misty by Lesley Gore

-Baby It's Cold Outside by Frank Sinatra

-Snowman by Sia

-Ugliest Girl On The Beach by Kyle Gordon

Santa and Virginia

-Think About Things by Dadi Freyr

- Everlong by The Foo Fighters

- Cirice by Ghost

- Electric Love by BORNS

- Love The One You're With by Crosby, Stills & Nash

-Animals by Nickelback

-Somethin' Stupid by Frank Sinatra

-Lucky by Collbie Calliat

James and Rath

-There's Nothing Holding Me Back by Shawn Mendes

-I Don't Know How To Love Him by Yvonne Elliman

-That's What I Like by Bruno Mars

-Cooler Than Me by Mike Posner

-The Masochism Tango by Tom Lehrer

-Smooth by Santana and Rob Thomas

-The Cult Of Dionysus by The Orion Experience

-A Little More Time On You by NSYNC

-Watermelon Sugar by Harry Styles

-Please Please Please by Sabrina Carpenter

-Golden Brown by The Stranglers

-Love Me Dead by Ludo

-I Remember You by Frank Ifield

-What You Won't Do For Love by Bobby Caldwell

Justin and Mercy

- I Think I Love You by The Partridge Family

- Once Shattered, Now Whole by Brian D'Arcy

- Glimpse Of Us by Joji

- Love Grows by Edison Lighthouse

- There She Goes by The La's

-Talia by Chaz Duffy

-Maria by Leonard Bernstein

-She's A Lady by Tom Jones

-Sunday Morning by Maroon 5

-Cupid's Chokehold by Gym Class Heroes

-Good Vibrations by The Beach Boys

-Goosebumps by Lemon Demon

Jasmine and Jeremy

-Nothing Left To Lose by Jeremy Jordan

-Crossing The Line by Mandy Moore

-Good For You by Rachael Bay Jones

-Nothing Good by Lea Salonga

-Fish In A Birdcage by Fish In A Birdcage

-Mama's Boy by Dominic Fike

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[davvvd]

Beatles Rock Band coming out in 2009 coincided with a lot of people learning for the first time that "I Am The Walrus" contains the lyrics "oom-pah, oom-pah, stick it up your jumper"