In 2015, the estate of Marvin Gaye was awarded $7.4 million in damages against Robin Thicke and Pharrell Williams for having, shall we say, “blurred the lines” of their appropriation of the copyrighted “Got to Give It Up.” The award in Gaye v. Williams was later reduced to $3.2 million (885 F.3d 1150), but it serves as a cautionary tale for anyone negotiating fair use in the twenty-first century.
No medieval dramatist was concerned about copyright as we understand its protections today; and no farceur was checking in with the local troubadour to clear permissions for “Dormez-vous, fillettes?” (below, #12, note 21). Far from it: imitation was the sincerest form of flattery in an era when, philologically speaking, an author was an auctor or aucteur borrowing freely from prior wielders of authority (auctoritas). Thus, while premodern parodists were the frequent targets of legal reprisals, their delicts were typically unrelated to intellectual property theft. All was fair in love, war, and what we now call plagiarism. All use was fair use. Fair enough, but what about performances in the present?
As I’ve explained in previous Appendixes, the farcical repertoire is chock-full of “musical clichés” (FF, 401–3; HD, 427–28). Medieval speakers regularly break into song, such that beloved lyrics can even enter a lexicon. A copyright symbol doesn’t appear over your head when you kick your partner out and shout, à la Mayfield, “hit the road, Jack!” Nor must you hasten to the BMI repertory or the licensing portal at www.raycharles.com for permissions related to “Hit the Road, Jack.” Language eternally renews itself. Popular culture too, of which music is an integral part. In the fifteenth and sixteenth centuries, French farce was likewise wont to speak in lyrics and melodies; and music sang right back. Since those multiple musical intertexts are imperative to any faithful translation, I’ve once again fashioned a comparative musical tool that preserves both the original meaning(s) and the postmedieval proprietary interests of musicians, lyricists, and performers. For purposes of scholarly understanding, I readopt these practices:
The better to capture the musical spirit of the present dozen plays, I make a large number of time-sensitive suggestions regarding rough, translational analogues for the vast array of medieval songs, rhymes, or ditties. I further acknowledge anew that, given the speed with which musical tastes evolve, my choices might already strike you as old hat. By all means, swap away. None of my musical nods to the originals constitute quotations in the traditional sense. Rather, they are there to encourage actors, directors, and readers to strike the right musical notes for themselves and for their audiences. Please consider all songs here referenced to be my own unscripted musings that it seemed prudent not to set in stone. If anything, I’ve elected quite deliberately not to “script” the music officially. As my translations age, so too will their music—but the latter will age more easily when untethered to a specific historical moment.
That said, I cannot emphasize strongly enough that any theater company wishing to include music in producing these farces must seek and obtain the rights to currently copyrighted materials. This is absolutely mandatory and legally required. Failure is not an option; and any lack of response from the copyright holder does not in and of itself denote consent. Indeed, the primary purpose of this Appendix is to facilitate the acquisition of rights. (As far as I’m concerned, the pleasure of publicizing the work of a panoply of gifted lyricists and composers is just a bonus.)
Throughout this book, I’ve marked each allusion to music with the copyright symbol (©) as a reminder to check whether copyright applies. In an excess of caution, I do so even when copyright manifestly does not apply, as for “anonymous” or “traditional” folk songs, spirituals, ballads, lullabies, nursery rhymes, or lieder in the public domain (in which case, I give the dates of composition, if known). Better safe than sorry because, today, specific renditions of anonymous songs may indeed be designated the protected intellectual property of the recording artist. Normally, the copyright symbol identifies a song title here, less frequently a refrain or other lyric (above, “ABT,” § “Prose, Verse, Music”). Speaking of which, this caveat: consistent with oral performance traditions, a musical catchphrase can enter the English language so completely that we no longer recognize its origins in a possibly copyrighted song. The converse as well. “Easy come, easy go” was an idiom long before people wrote songs by that name. It’s a safe bet to say that I’ve missed a few English song lyrics that have wended their way into popular discourse. It’s an absolute certainty that I’ve missed a great many in Middle French that have been lost to history.
Should any theater practitioner wish to follow up dramaturgically on my thoughts about viable musical analogues, the detailed list below is designed to help with the first steps toward obtaining permission for use. Again, do note that rights may be held by lyricists, composers, performers, corporations, and others besides. It may, therefore, be necessary to seek separate permission from more than one entity. In each and every instance when a song pops up in these dozen farces, I indicate the professional registry—there may be more than one—that administers the rights to that song. The vast majority of artists are affiliated with either ASCAP or BMI and, as of this writing, a joint search of both repertories is now possible through Songview (Halperin, “Music Rights”), which also indicates percentages of ownership rights held. You will likewise find any official identification numbers assigned to a given song by ASCAP (www.ascap.com), BMI (www.bmi.com), MPL Music Publishing (www.mplcommunications.com), Music Theatre International (www.mtishows.com), SESAC (www.sesac.com), and on the rare occasion, the licensing portal at www.raycharles.com. When a song title is not listed in any repertory but an artist number is, I try to supply the latter (IPI, e.g., for ASCAP). And, inasmuch as my goal is to translate language as opposed to oft irrecuperable melodies, I provide the names of composers and lyricists only, if known, rather than those of artists who might have popularized the song in question. For simplicity’s sake, I do not follow the usual order of “music and lyrics by,” nor do I list collaborators by priority of contribution, as is often done. Instead, the artists appear in alphabetical order, except when I cite songwriting teams, for example, that it would be jarring to hear as anything other than, say, “Rodgers and Hammerstein.” I also prefer to cite music creators by their more recognizable names: Buddy Holly instead of Charles Hardin Holly, Freddie Mercury instead of Farrokh Bulsara, and so forth. At no time do I appropriate any artist’s trademark interpretation of any song.
Finally, it bears reemphasizing in no uncertain terms that before contemplating production, theater practitioners are required to investigate and resolve any and all issues of copyright, fair use, or royalty arrangements related to any of the following, to which I make scholarly references in this anthology.
“Achy-Breaky Heart.” By Kenneth Gregory Watters. SESAC Work Number: 55896468.
“All My Trials.” By Joan Baez. ASCAP Work ID: 310153330.
“All She Wants to Do Is Dance.” ASCAP Work ID: 310240843.
“Amazing Grace.” By John Newton. (1779).
“Amazing Journey.” By Peter Townshend. BMI Work #33852.
“Amen.” By Jerry Goldsmith. BMI Work #34271.
“America the Beautiful.” Katherine Lee Bates and Samuel Ward. BMI Work #34771.
“And When I Die.” By Laura Nyro. BMI Work #40714.
“Anything You Can Do.” By Irving Berlin. ASCAP Work ID: 310056043.
“A Tisket, a Tasket.” Traditional.
“Baby Got Back.” By Anthony L. Ray. BMI Work #72106.
“Baby, It’s You.” By Burt Bacharach, Mack David, and Barney Williams. ASCAP Work ID: 320111553.
“Baby, What a Big Surprise.” By Pete Cetera. ASCAP Work ID: 320230915.
“Bad Company.” By Simon Kirke and Paul Rodgers. ASCAP Work ID: 320187240.
“Bad Moon on the Rise.” By John Cameron Fogerty. BMI Work #79979.
“Barbara Ann.” By Fred Fassert. BMI Work #87434.
“Battle Hymn of the Republic.” By Julia Ward Howe. (19th c.)
“Bibbidi Bobbidi.” By David Mack, Al Hoffman, and Jerry Livingston. ASCAP Work ID: 320044162.
“The Big Muddy.” By Pete Seeger. BMI Work #114413.
“Big Rock Candy Mountain.” Traditional.
“Big Spender.” By Cy Coleman and Dorothy Fields. ASCAP Work ID: 320137955.
“Black Magic Woman.” By Peter Alan Green. BMI Work #121091.
“Bohemian Rhapsody.” By Freddie Mercury. ASCAP Work ID: 320199817.
“Both Sides Now.” By Joni Mitchell. ASCAP Work ID: 360095229.
“Bottle of Wine.” By Tom Paxton. ASCAP Work ID: 320130096.
“Brother, Can You Spare a Dime?” By Yip Harburg and Jay Gorney. ASCAP Work ID: 320093878.
“Burning Love.” By Dennis Linde. BMI Work #160887.
“A Bushel and a Peck.” By Frank Loesser. ASCAP Work ID: 320102867.
“Bust a Move.” By Matt Dike, Luther Rabb, and Marvin Young. ASCAP Work ID: 320348316.
“Bye-Bye, Birdie.” By Lee Adams and Charles Strouse. ASCAP Work ID: 320119564.
“California, Here I Come.” By B. G. De Sylva, Al Jolson, and Joseph Meyer. ASCAP Work ID: 330004507.
“Carry That Weight.” By John Lennon and Paul McCartney. BMI Work #187794.
“Celebration.” By Eumire Deodato Almeida et al. ASCAP Work ID: 330279293.
“C’est moi.” By Alan Jay Lerner and Frederick Loewe. Music Theatre International. https://www.mtishows.com/camelot.
“C’est si bon.” By Henri Betti and André Hornez. ASCAP Work ID: 887366085.
“Les Champs Elysées.” By Pierre Delanoë, Michael Wilshaw, and Michael Deighan. BMI Work #849309.
“Chevaliers de la table ronde.” Traditional.
“Concrete and Clay.” By Thomas Moeller and Brian Parker. BMI Work #239352.
“Crazy Love.” By Russell Young. ASCAP Work ID: 330259797.
“Cry Like a Baby.” By Dewey Lindon Oldham Jr. and Daniel Pennington. BMI Work #261591.
“Dang Me.” By Roger Miller. BMI Work #275944.
“De-Lovely.” By Cole Porter. ASCAP Work ID: 340019152.
“Doctor, My Eyes.” By Jackson Browne. ASCAP Work ID: 340138550.
“Do It [till You’re Satisfied].” By Billy Nichols. BMI Work #309081.
“Dominique.” By Soeur Sourire, aka Jeannine Deckers. ASCAP Work ID: 340100063.
“Don’t Leave Me This Way.” By Kenneth Gamble, Cary Grant Gilbert, and Leon Huff. BMI Work #323300.
“Do-Wacka-Do.” By Roger Miller. BMI Work #1719799.
“Dry Bones.” [“Dem Bones.”] By Jay Weldon Johnson and J. Rosomond Johnson. (19th c.)
“Everything’s Alright.” By Andrew Lloyd-Webber and Timothy Rice. ASCAP Work ID: 250061588.
“Everything’s Coming Up Roses.” By Stephen Sondheim and Jule Styne. ASCAP Work ID: 350034303.
“Evil Woman.” By Jeffrey Lynne. BMI Work #393757.
“Fat-Bottomed Girls.” By Brian Harold May. BMI Work #406587.
“Field of Opportunity.” By Neil Young. ASCAP Work ID: 360219907.
“Frère Jacques.” Traditional.
“Gee, Officer Krupke.” By Stephen Sondheim and Leonard Bernstein. Music Theatre International. https://www.mtishows.com/west-side-story.
“Get Happy.” By Harold Arlen and Ted Koehler. ASCAP Work ID: 360219907.
“Get Ready.” By William [Smokey] Robinson. ASCAP Work ID: 370083240.
“Gimme That Old Time Religion.” Gospel song. (19th c.)
“Girl from Ipanema.” By Vinicius de Moraes, Norman Gimbel, and Antonio Carlos Jobim. BMI Work #470303.
“Girls Just Want to Have Fun.” By Victor Carstarphen, Robert Hazard, Cyndi Lauper, Gene McFadden, Richard David Morel, John Cavadus Whitehead. ASCAP Work ID: 372137750.
“God Bless America.” By Irving Berlin. ASCAP Work ID: 370029559.
“God Rest Ye Merry Gentlemen.” Traditional.
“Goin’ Down.” By Suketu Khandwala, Taylor Momsen, and Benjamin Phillips. BMI Work #11639290.
“Good Lovin’.” By Rudy Clark and Arthur Resnick. BMI Work #494823.
“Good Old-Fashioned Lover Boy.” By Freddie Mercury. BMI Work #495994.
“Gotta Dance.” By Hugh Martin. ASCAP Work ID: 370048707.
“Go Your Own Way.” By Lindsey Buckingham.1
“Greensleeves.” [“What Child Is This?”] Traditional ballad.
“The Hallelujah Chorus.” From George Frideric Handel’s Messiah (1741).
“Hand in My Pocket.” By Glen Ballard and Alanis Morissette. BMI Work #2028578.
“Heaven Sent.” Jingle. By Buddy Weed.2
“Hello Dolly.” By Jerry Herman. ASCAP Work ID: 380106250.
“Hey Diddle Diddle.” Nursery rhyme.
“His Love Makes Me Beautiful.” By Bob Merrill and Jule Styne. ASCAP Work ID: 380108632.
“Hit Me with Your Best Shot.” By Edward Sydney Schwartz. ASCAP Work ID: 380218380.
“Hit the Road, Jack.” By Percy Mayfield. BMI Work #571691.
“Hodie Christus Natus Est.” From Ceremony of Carols. By Benjamin Britten (1942).
“Hokey Pokey.” Traditional.
“Hosanna.” By Andrew Lloyd-Webber and Timothy Rice. ASCAP Work ID: 381488533.
“Hot Blooded.” By Louis A. (Andrew) Grammatico and Michael Leslie Jones. ASCAP Work ID: 380199428.
“How Long?” By J. D. Souther. ASCAP Work ID: 380147929.
“I Cain’t Say No.” By Richard Rodgers and Oscar Hammerstein II. ASCAP Work ID: 390003762.
“I Can’t Get No Satisfaction.” By Mick Jagger and Keith Richards. BMI Work #608621.
“If I Only Had a Brain.” By Harold Arlen (ASCAP IPI #1307353) and E. Y. Harburg (ASCAP IPI #13397497).3
“I Got Plenty o’ Nuttin’.” By George Gershwin, Ira Gershwin, and DuBose Heyward. ASCAP Work ID: 390020583.
“Il est de nôtres.” Traditional.
“I’ll Be There for You.” By David Crane, Marta Kauffman, Michael Jay Skloff, Philip Solem, Danny Wilde, and Allee Willis. BMI Work #2033645.
“I’ll Get You.” By John Lennon and Paul McCartney.4
“I’ll Take You There.” By Alvertis Isbell. BMI Work #643764.
“I’m a Woman.” By Jerry Leiber and Mike Stoller. BMI Work #4175708.
“I’m Called Little Buttercup.” By William Schwenk Gilbert, Nicholas Cameron Patrick, and Sir Arthur Seymour Sullivan. From H.M.S. Pinafore (1878). BMI Work #4257023.
“It’s in His Kiss.” By Rudy Clark. BMI Work #744118.
“It’s Raining Men.” By Paul Jabara and Paul Shaffer. BMI Work #1226921.
“I Whistle a Happy Tune.” By Richard Rodgers and Oscar Hammerstein II. ASCAP Work ID: 390083480.
“Jacob’s Ladder.” Spiritual.
“Jailhouse Rock.” By Jerry Leiber and Mike Stoller. BMI Work #757227.
“Johnny B Goode.” By Chuck Berry. BMI Work #773553.
“Joshua Fit the Battle of Jericho.” Spiritual.
“Jubilation T. Cornepone.” By Gene de Paul and Johnny Mercer. ASCAP Work ID: 400022800.
“Just One Look.” By Gregory Carroll and Doris Payne. BMI Work #788840.
“Knockin’ on Heaven’s Door.” By Bob Dylan. SESAC Work Number: 514919.
“Let ’Em In.” By Paul and Linda McCartney. ASCAP Work ID: 420198209.
“Let’s Get It On.” By Marvin Gaye and Edward Townsend. BMI Work #857218.
“Let’s Hear It for the Boy.” By Dean Pitchford and Thomas Snow. BMI Work #858383.
“Like a Virgin.” By Thomas Kelly and William Steinberg. ASCAP Work ID: 420307199.
“Little Less Talk and a Lot More Action.” By Keith W. Hinton and Jimmy Alan Stewart. BMI Work #880887.
“Little Tin Box.” By Jerry Bock and Sheldon Harnick. BMI Work #883643.
“Longfellow Serenade.” By Neil Diamond. SESAC Work Number 514272.
“The Lord Bless You and Keep You.” Traditional hymn.
“Losing My Religion.” By Robert Baskaran, William Berry, Peter Buck, Michael Mills, John Michael Stipe, and Brian Wakefield. BMI Work #20325189.
“Love Is a Battlefield.” By Mike Chapman, Randall Hargove, and Holly Knight. ASCAP Work ID: 882360621.
“Love, Reign o’er Me.” By Pete Townshend. BMI Work #924510.
“Lovesick Blues.” By Cliff Friend and Irving Mills. ASCAP Work ID: 420097327.
“Magic to Do.” By Stephen Lawrence Schwartz. ASCAP Work ID: 886449522.
“Maria.” By Richard Rodgers and Oscar Hammerstein II. ASCAP Work ID: 430030594.
“La Marseillaise.” By Claude Joseph Rouget de Lisle. (18th c.)
“The Mess-Around.” By Ahmet Ertegun [Nugetre]. BMI Work #981371.
“Michael Finnegan.” Traditional.
“More, More, More.” By Gregg Diamond. ASCAP Work ID: 430240205.
“My Boyfriend’s Back.” By Bob Feldman, Gerald Goldstein, and Richard Gottehrer. BMI Work #1028431.
“My Way.” By Paul Anka, Claude François, Jacques Rivaud, and Gilles Thibaut. BMI Work #1044656.
“Nothing Compares 2 U.” By Prince. ASCAP Work ID: 440162807.
“Now I Lay Me Down to Sleep.” [“All Night, All Day, Angels Watching Over Me.”] By Otis Leon McCoy. (19th c.)
“O Come, All Ye Faithful.” [Adeste fidelis]. Traditional (ca. 1600s or 1700s).
“Oh Happy Day.” By Philip Doddridge. (18th c.)5
“Oh, Mary, Don’t You Weep.” Spiritual.
“Old Dope Peddler.” By Tom Lehrer. ASCAP Work ID: 450017026.
“Once in a Lifetime.” [“Letting the Days Go By.”] By David Byrne, Brian Eno, Christopher Frantz, Jerry Harrison, and Martina Weymouth. BMI Work #1117241.
“One, Two, Three.” Len Barry [Leonard Borisoff], Lamont Dozier, Brian Holland, Eddie Holland, John Medara, and David White. BMI Work #1126577.
“On the Wings of a Nightingale.” By Paul McCartney. ASCAP Work ID: 450177005.
“Over the Rainbow.” By Harold Arlen and E. Y. Harburg. ASCAP Work ID: 450062263.
“Pa-, Pa-, Pa-, Papageno.” From The Magic Flute. By Wolfgang Amadeus Mozart (1791).
“Papa Don’t Preach.” By Brian Elliot. ASCAP Work ID: 460257114.
“Papa’s Got a Brand New Bag.” By James Brown. BMI Work #1149944.
“Petticoat Junction.” By Paul Henning and Curtis Massey. BMI Work #1169258.
“Pickin’ Up the Pieces.” By Richie Furay. BMI IPI #57552074.6
“Plop, Plop, Fizz, Fizz.” [Alka-Seltzer jingle.] By Thomas Dawes. ASCAP Artist IPI Number: 88568319.7
“Poor Jerusalem.” By Andrew Lloyd-Webber and Timothy Rice. ASCAP Work ID: 460132212.
“Poor, Poor Pitiful Me.” By Warren Zevon. BMI Work #1189347.
“Put on a Happy Face.” By Lee Adams and Charles Strouse. ASCAP Work ID: 890113209.
“Rag Doll.” By Bob Crewe and Bob Gaudio. BMI Work #1223896.
“Rag Doll.” By Holly Knight, Joe Perry, Steven Tallarico, and James Vallance. ASCAP Work ID: 480200315.
“Respect.” By Otis Redding. BMI Work #1244564.
“The Rhythm Is Gonna Get You.” By Gloria Estefan and Enrique Garcia. BMI Work #1248618.
“Ride a Cock Horse to Banbury Cross.” Traditional.
“Rock Around the Clock.” By Max Freedman and James Myers. ASCAP Work ID: 480039358.
“Row, Row, Row Your Boat.” Traditional.
“Run for the Roses.” By Dan Fogelberg. ASCAP Work ID: 480149122.
“Seven Deadly Virtues.” By Alan Jay Lerner and Frederick Loewe. Music Theatre International. https://www.mtishows.com/camelot.
“76 Trombones!” By Meredith Willson. ASCAP Work ID: 490040443.
“Shake a Tail Feather.” By Otha Hayes, Verlie Rice, and Zephire Williams. BMI Work #1318017.
“Shambala.” By Daniel Moore. BMI Work #1319243.
“Shiny Happy People.” By Bill Berry, Peter Buck, Mike Mills, and Michael Stipe. SESAC Work Number: 689794367.
“Show Me the Way to Go Home.” By James Campbell and Reginald Connelly [aka Irving King]. (1925).
“Signed, Sealed, Delivered, I’m Yours.” By Lee Garrett, Lula Mae Hardaway, Stevie Wonder, and Syreeta Wright. ASCAP Work ID: 490293528.
“The Simple Joys of Maidenhood.” By Alan Jay Lerner and Frederick Loewe. Music Theatre International. https://www.mtishows.com/camelot.
“Since You’ve Gone, [My Heart Is Broken Another Time].” By Gary Busey. ASCAP Work ID: 490359716.
“Sisters Are Doin’ It for Themselves.” By Ann Lennox and David Allan Stewart. ASCAP Work ID: 790710124.
“Sit Down, You’re Rocking the Boat.” By Frank Loesser. ASCAP Work ID: 490071624.
“Skip to My Lou.” Traditional.
“So Long, Farewell.” By Richard Rodgers and Oscar Hammerstein II. ASCAP Work ID: 490089142.
“Someone to Lay Down Beside Me.” By Karla Bonoff. BMI Work #1376250.
“Spread a Little Sunshine.” By Stephen Schwartz and Roger Hirson. Music Theatre International. https://www.mtishows.com/pippin.
“Spring Carol.” From Ceremony of Carols. By Benjamin Britten (1942).
“Stairway to Heaven.” By Robert Plant and Jimmy Page. ASCAP Work ID: 490294198.
“Stop in the Name of Love.” By Lamont Dozier, Brian Holland, and Eddie Holland. BMI Work #1413855.
“Suspended from Class.” By Tracyanne Campbell. ASCAP Work ID: 493817573.
“Sweet Gypsy Rose.” By Irwin Levine and Russell Brown. BMI Work #1294630.
“Sweet Painted Lady.” By Elton John and Bernie Taupin. BMI Work #1440132.
“Sympathy for the Devil.” By Mick Jagger and Keith Richards. BMI Work #144456.
“Take Me to the Pilot.” By Elton John and Bernie Taupin. BMI Work #1450840.
“That Old Black Magic.” By Harold Arlen and Johnny Mercer. ASCAP Work ID: 500035232.
“That Smell.” By Allen Collins and Ronnie Van Zant. BMI Work #1483429.
“That’s the Way I Like It.” By Harry Wayne Casey and Rick Finch. BMI Work #1481515.
“These Boots Are Made for Walkin’.” By Lee Hazlewood. ASCAP Work ID: 500170925.
“They’re Coming to Take Me Away, Ha-Ha.” By Jerry Samuels. ASCAP Work ID: 500221503.
“This Old Man.” Traditional.
“Three Is Company Too.” By Donald Nicholl and Joe Raposo. ASCAP Work ID: 500265976.
“The Times They Are A-Changin’.” By Bob Dylan. SESAC Work Number: 514866.
“Tits and Ass.” By Marvin Hamlisch and Edward Kleban. ASCAP Work ID: 892861121.
“Treat Her Right.” By Roy Head and Gene Kurtz. BMI Work #1542510.
“Trouble.” By Lenka Kripac and Thomas Salter. ASCAP Work ID: 505224635.
“Twist.” By Hank Ballard. BMI Work #1561070.
“Two Tickets to Paradise.” By Eddie Money. BMI Work #1564326.
“Virgin.” [“Not a Virgin Anymore.”] By Annie Poe, Kenneth Burgomaster, and Matthew Wilder. BMI Work #5369139.
“Vogue.” By Madonna [Ciccone] and Shep Pettibone. ASCAP Work ID: 520105119.
“Waited So Long.” [“Daddy, I’m No Virgin.”] By Carly Simon. ASCAP Work ID: 530179450.
“War Is a Science.” By Stephen Schwartz and Roger Hirson. Music Theatre International. https://www.mtishows.com/pippin.
“We Hasten with Eager Footsteps.” (Wir eilen mit Schwachen.) By J. S. Bach.
“We May Never Love Like This Again.” By Joel Hirschhorn and Al Kasha. BMI Work #1617187.
“We May Never Pass This Way Again.” By Darrell Crofts and Jimmy Seals. BMI Work #1617190.
“What a Girl Wants.” By Shelly Peiken and Guy Roche. BMI Work #4993749.
“What’d I Say.” By Ray Charles. BMI Work #1631628; also licensed through https://raycharles.com/music/singles-discography/.
“What’s the Buzz?” By Andrew Lloyd-Webber and Timothy Rice. ASCAP Work ID: 530169050.
“When Johnny Comes Marching Home.” By Patrick Gilmore [aka Louis Lambert]. (19th c.)
“When the Saints Come Marching In.” Traditional.
“Who’s Sorry Now?” By Burt Kalmar and Harry Ruby. ASCAP Work ID: 530081448.
“Wrigley’s Spearmint Gum [jingle].” By Steve Karmen. ASCAP Work ID: 57001664.
“Ya Got Trouble.” By Meredith Willson. ASCAP Work ID: 550000489.
“You Can Leave Your Hat On.” By Randy Newman. ASCAP ID: 550069602.
“You Give Love a Bad Name.” By Jon Bongiovi, Desmond Child, and Richard Sambora. ASCAP ID: 550147303.
“You Got Me Wrapped [Around Your Little Finger].” By Beth Rowley and Benjamin Castle. BMI Work #9833096.
“You Keep Me Hangin’ On.” By Lamont Dozier, Brian Holland, and Eddie Holland. BMI Work #1720690.